Archive for triangle of art

THE CONJURING OF A SUCCUBUS ART MUSE INTO A LUCID DREAM

Posted in Art, Chaos Magic, Comics, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 6, 2016 by FAUSTUS CROW

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The Conjuring of varying entities and those worlds, which they occupy, many an Artist to know. The practice of Conjuration is engaged in whenever the Artist is confronted by a blank canvas onto which is Conjured a form. This requires an emotional connection with what is to be Conjured; for it is the emotional charge of the Artist, which animates what is being visualised.

The visualisation phase engenders thought processes, which automatically kick in, generating a myriad number of symbolic associations, which can take on manifested form within a lucid dream.

The symbolic associations are determined by what is being visualised. The visualistion will be of differing intensities depending upon the emotional charge of the Artist.

Most often than not, the visualisation will be more of an impression than a fully fleshed out form; at other times, it will be quite vivid, though fleeting.

Sometimes it will be very vivid of an overlapping ghost reality. Whatever is Conjured of a form, will be constructed from innumerable symbolic associations, which are derived from the memories of the Artist.

Everything that the Artist has ever experienced is stored within the subconscious, being the storehouse of memory. You then have a formula of: Emotion, Thought and Memory, which can be termed as the ‘Triangle Of Art.’ At the midst of the ‘Triangle Of Art,’ you have the ‘Eye’ of the ‘Imagination.’

It is the inner eye of the imagination, which, of a ‘Paranoiac-Critical Method’ example, fuses the memory of a Fox with a human figure of, say, a Hogwarts Witch of a schoolgirl, which then creates something else of a St Trinian ‘Exquisite Corpse’ Conjuration, you could knit-together as a Manga version of a Japanese Succubus, known as a Kitsune.

This will of course require the Artist to have the necessary ‘observational’ memories concerning Japanese culture, which will be Conjured up automatically.

If not, the Artist will then have to rely on references. Whatever the case, when the Artist observes everyday events, it is not done in a haphazard way; the Artist has to make it a habit of consciously transforming what is being observed into a sketch, let alone a painting within his/her imagination.

The character of a Kitsune does not exist in a void; wherefore, her Conjuration will then generate associations with everything Japanese drawn from memory of ‘re-remembering.’

So, when the Artist manifests her upon the canvas, it will then lead to an associative world being painted around her.

The trick is, the stronger the emotional connection the Artist has with the initial Conjured character of a Kitsune, it will then lead to a free-flow association into her world.

The intensity of the creative act, is its self a form of meditation, and like a martial art, it best occurs when the analytical mind does not interfere. This requires that the emotion is felt by the body; in other words, the emotion is transmuted into a feeling, a shaman would say is felt by the heart, where the ‘power of (hypnagogic state) trance’ resides.

This then leads to a (Theta brainwave) state of automatism, where the Artist is not thinking about what is being painted, it just manifests via the (pentagram) hand, guided by the eye of the imagination.

With continued practice it can initiate vivid dreams, leading to a state of lucidity; this will in turn engender concordant synchronicities. The experienced synchronicities will reflect back the symbolic focus of the Artist, who, when to observe the synchronicities, to take further of artistry, becomes as a Shaman.

However if an individual is unprepared for the feed-back-loop of synchronicities, which will reflect back his/her ‘symbolic’ beliefs, such as dreaming about a subject, to then, upon awakening, suddenly overhear a conversation about what had been dream’t, or even prior thought; as well as losing and finding items under mysterious circumstances, or seeing an email from someone, he/she was thinking of, before seeing the email, etc, said individual might just become very paranoid.

The experienced paranoia is a reactive state of the unprepared conscious mind, which is esoterically termed as entering ‘Chapel Perilous;’ basically, the mind attempts to come to an understanding of what is going on, based upon what has been learn’t, which invariably does not allow for such phenomena to be recognised, whereby his/her belief system starts to fragment, being the Nigredo stage of the Great Work of Alchemy.

This can initially lead to an individual believing that his/her life is being subversively manipulated by secret agencies of the government, to even see men in black around him/her upon a synchronicity, or to believe he/she is being pursued by malign Satanists, Biblical demons, or Newage-Gnostic aliens, who experiences assailing Illuminati nightmares, along with those who feed into the fear, whose ulterior motive is to exacerbate the paranoia even further, which of a hidden agenda is to enslave him/her within their ring-pass-not symbolic construct, etc.

The Nigredo stage will continue of disintegrating madness until the individual realises of an Albedo stage of inner Alchemy, that his/her (microcosmic) dreams reflect back himself/herself, and likewise the feed-back-loop of concordant (macrocosmic) synchronicity.

When to then transform his/her symbolic beliefs, the dreams of the individual and the experienced synchronicities will then accordingly change of an Alchemical Rubedo stage; whereupon the individual becomes aware of the reality of Magic in his/her life, which is the goal of the ongoing Great Work to evolve consciousness.

Hence the Artist, Austin Osman Spare extensively practiced (automatism) automatic-drawing, which he made as his symbolic Alchemy of (metaprogramming) sorcery practice. Alas, there is hardly any documented examples of his technique, apart from what he had described in his esoteric writings.

But the Artist Kim Jung Gi demonstrates what Spare was speaking of who is a supreme Martial Artist of the Arts. There will of course be those who to argue that Gi’s work is not automatic, which of commonalty is usually defined as a return back to a childhood spontaneity by many a so called Modern artist drawing scribbles a 2001 Space Odyssey ape can too doodle, or that of allowing the subconscious to chaotically take over, as if it is some David Icke reptilian with a planet X mind of its Freudian own, or otherwise equated with archetypal entities possessing a Jungian Artist.

Don’t get me wrong, I have nothing against Modern art; but it has far more to do with ‘who you know,’ rather than ‘what you know.’ However, Gi has the childhood spontaneity of being at one with his subconscious mind, like Spare, to such an extent that his inner Conjuring of various characters (spirits) and their (dream) worlds Gi is able to ‘vividly visualise’ with his inner eye of re-remembering onto paper, without using any references, let alone avoiding being esoteric about his artistry, which to freak out many a square mind, who make up the majority of the audience. In other words, Gi draws as a child would do, who can… actually draw.

There are those square brained sceptics who argue that a Conjuration of a spirit is merely Hogwarts fantasy, who, when to dare practice, gibber their rituals, read out of a medieval Playgirl grimoire in an empty room, seeing nothing appearing. Well, what do they expect, they are not thinking correctly, who to have quaintly forgotten that the Art of Magic is that of Art.

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The trick is, you have to think and act like an Artist, to otherwise practice Conjuring a spirit onto a page, within a book of shadows sketch-pad, to thence draw of manifestation; but first, you draw within your mind, whence your inner eye to then guide your pentagram hand.

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You will then have a Succubus Art Muse to appear amidst your Triangle Of Art Imagination, to seer the Muse taking on an Art Model life of her own of a drawing, the sorcerer Artist Austin Osman Spare to have known, who was aware that the drawn image has an interactive informational reality within the experienced dream.

She to then guide your winged eye of the Artist into her uterine tunnel of the Active Imagination, which of Art, is Sorcery.

As an Artist, you to stand as the creator at the centre of your Magic Circle of an Art studio, divided of four quarters, surrounded by your elemental weapons of a Wand of a Brush, Palette of a Shield, Sword of a Palette Knife, and a Cup, wherein the colours of your Art are mixed of Alchemy.

The Altar is your Easel, upon which be the canvas of a one time cave wall to paint with Metals suspended in oils, when to conjure up a quintessential Succubus Art Muse out of your Triangle Of Art imagination. Her Mind-Doll form of a symbolic expression can be knitted-together of an ‘Exquisite Corpse’ Tulpa, which of symbolic Alchemy, will pertain to one of the seven planetary (Chakra) spheres of an archetypal influence.

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The initial two-dimensional image is then but a ‘doorway’ into your creative mind of an Artist, a conjured Succubus Art Muse to Symbolist inspire; who, depending upon your emotional intensity, may then manifest as a three-dimensional reality within the temple of a Surrealist ‘lucid dream.’

As a Sorcerer Artist, you might also observe that the conjured symbolism of a particular Succubus Art Muse within a microcosmic lucid dream, or that of a vividly imagined evocation, will generate concordant macrocosmic synchronicities.

Said synchronicities may lead you to meet up with a Muse of an Art Model, you have already depicted within a painting of oiled flesh, for yet another painting to model for, of Sorcery Art.

Such is what I explore of artistry, to take further of experimentation. Should you be one of those who to scream that you cannot draw, I am sure that you can draw a stick figure, like those depicted in Palaeolithic cave paintings, or likened to those of hieroglyphs, you can create as your colourful Sigils of Howling Conjuring.

  

 

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SUCCUBUS SCHOOL OF THE DARK ARTS

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

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 penetrate their hypnagogic hymen veils, which to veil their planetary Chakra spheres of a pyramidal school hierarchy.

When lucidity is attained within St Lilith’s Harem Art School, the dreaming Artist can then conjure up a chosen Succubus Art Muse  of an ‘Anima’ fluctuation to pose for him amidst his Triangle Of Art imagination.

Such would require the sorcerer Artist to have prior painted her form of meditative artistry, who, being the creator, is her God, whom to thence to visualise the veiled door of the Succubus seal, at the hypnagogic point of sleep.

The seal of the Succubus Art Muse will determine the nature of the classroom world, and that of its lessons, the dreaming Artist will penetrate of internal ingress.

But beware; for the predatory schoolgirl Succubae be St Trinian wise in Chaos Magick, whose wanton witchery goes far beyond Hogwarts schooling.

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FRANKENSTEIN CREATED TULPA WOMAN

Posted in Art, Chaos Magic, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 16, 2016 by FAUSTUS CROW

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From out of the infernal depths of the subconscious necropolis, disparate exquisite corpses are exhumed of archetypal ‘Anima’ desires, which are then knit-together upon the canvas lab slab of creative meditation, to hence paint of artistic conjuration, to Mantra name, Mephistophina.

The canvas skin of the two-dimensional knit-together Frankenhooker is verily tattooed with sigils of desire. The Frankenstein sorcerer to mediate upon these sigils, while manifesting the visualised knit-together Succubus of planetary layers of oiled skin, imbued with metallic colour, to sculpt into a sublime form with his erect wand of a brush stroke.

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At the hypnagogic point of sleep, the Frankenstein sorcerer introverts his five senses of inverse pentagram, while visualising his sigilised Frankenhooker.

The Frankenhooker Succubus is thence conjured into three-dimensional Tulpa life within a lucid dream, when to electrify her with a Vajra lightning bolt of a barbarous name to call out, of an emotionally charged Necronomicon mantra, “Mephistophina.” 

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Sorcery and Art are one and the same of practice. An Artist does not worship his knit-together creations, which be that of a religious sentimentality, even when they come to life within a sixth-sense lucid dream; for if the artist does so, he will surely lose himself to his obsessively fueled Mind Doll, just as he would do when engaged with a flesh and blood woman of an ‘Anima’ projection.

This will invariably lead to a rather odd psychological conundrum arising concerning jealousy issues, which in reverse would be understandable, if your beloved to thence dally with others.

If the Artist becomes enamoured with a singular Mind Doll creation, becoming thence as his only tunnel reality, he is no longer practicing Art, nor Sorcery, but that of religion.

Since there be many another ‘Anima’ fluctuation to knit-together of conjured Frankenhooker artistry, to visualise amidst the Triangle Of ‘Art’ Imagination.

The same is true concerning the creature of a deified ‘Animus’ made as a jealous God-Devil, by many a Mary Shelley, around which three ‘Borg’ faiths seek to convert everyone to their patriarchal tunnel reality populated with machismo Angels and butch Demons, all as knit-together Incubi, which to be illustrated in numerous Playgirl Grimoires of commonality.

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DOCTOR STRANGE CONJURES A SUCCUBUS FRENCH MAID

Posted in Art, Chaos Magic, Comics, CREATIVE WRITING, Film, Ghost, Goetia Girls, Goth Girls, Horror, Lucid Dreaming, Occultism, Poltergeist, Sex Magic, Shamanism, Sorcery, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on February 16, 2016 by FAUSTUS CROW

The Sanctum Sanctorum of Doctor Stephen Strange’s brain felt like it was full of broken glass tearing away at the insides of his cracking skull. He needed some help with the messy thoughts, which cluttered the labyrinthine rooms of his memories.

But Strange’s psychic counsellor, named Wong, was no longer at the other end of the phone. Wong had discharged Strange as his client sometime prior, after a number of unpaid bills, who last mentioned that the tortuous folds of Strange’s brain really needed a woman’s touch.

Strange felt a panic attack coming on, before attempting to relax into his armchair, while listening to a cursed radio, which he knew was nigh fatal to the touch due to its bad wiring. His eyes drifted towards peering through the window, out of which it appeared to be constantly raining.

Strange thought that his wardrobe was winking at him as if it was a gateway to a demonic realm, whose inner shadows moved of half-lit forms by the red light of a flickering flame table-lamp, which seemed to be composed of actual serpents. The light of the lamp had a soothing affect upon Strange’s mind, which was accompanied by the fiery coils burning in his magical furnace of an electric heater, whose wrought iron work he imagined had been designed by the shaman smithy, Horguun, to contain the Vril-ya flames of the Faltine

Strange slowly sifted through his tangled memories, all of which were as a mystical library collection of scattered books, buried deep within his subconscious crypt of occult artefacts; such as the book of the Vishanti, the book of Morphesti, the book of Demonicus, the book of Eibon and the tome of Oshtur, as well the Scrolls and grimoire of Watoomb, the Kartkuthi, the Scroll of Eternity, the diary of Kenneth Ward and an unpublished manuscript by the occultist Dion Fortune.

After a time he remembered leafing through a gnarled grimoire, entitled the Goetia, written and illustrated by the mad sorcerer Faustus Crow, out of which he decided to conjure the sixth spirit therein described as being a mighty Succubus Duchess, called Valefora.

Strange considered Valefora would be fit for the task, to clear up his messed up thoughts, due to her being described as manifesting as a French maid.

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Strange’s conjuration of Valefora amidst his Triangle Of Art Imagination, involved him visualising the Window of the Worlds, which he termed as the Anomaly Rue, or the Seal of the Vishanti, which corresponds with his third eye. Strange imagined conjuring Valefora via the window by imagining her seal drawn upon its surface of liquid mercury, becoming thence as an inner Stargate.

As he did this, he also imagined holding the Orb of Agamotto in his left hand, while holding the Wand of Watoomb within his right hand; upon his index finger he wore the Ancient One’s ring called Dragonfang.

As Strange mediated of visualisation, he intoned Valefora’s name over and over again as a mantra, of a Tibetan dream Yoga technique, until he attained hypnagogic trance; whereupon he then slid into conscious dreaming, wherein of an induced lucid dream, Valefora manifested before him as described in Crow’s Goetia.

Valefora related to Strange within his lucid dream that she is not shy of any hard graft, who will work her ‘Ass’ off for him as her master. He found her to be a most loving Ghost Girl Familiar whose temperament is likened to that of a sharp clawed Lioness, who softly bit his lip, ever so feline, upon a kiss.

Strange was aware, that as a poltergeist she is often tempted to teleport valuable artworks from faraway places, as well manifesting coinage, which has been acquired across space and time. But in doing so it could potentially lead to Strange being accused by the law, of obtaining the rare artefacts via undue means, in order to desperately pay off his growing lawyers bills.

However, Valefora revealed, though a thief, she is more so, an Art Muse, who inspires of acquired ideas from other times and places, which are gathered from Strange’s own myriad alternate selves, who exist upon alternate Earth’s, occupying parallel universes. “Its all to do with gravitational waves,” she to have said, “it is how alternate selves communicate with each other, via electron dreams, who exist in parallel universes.” 

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Soon after Strange’s successful lucid dream conjuration of Valefora, she started to haunt his large and spacious townhouse situated at 177A Bleecker Street, New York City, NY 10012-1406, on the corner of Bleecker Street and Fenno Place in the art ghetto heartland of Greenwich Village.

Strange could hear her voice of clairaudience, “I am so very happy to be here master,” she said, “while cleaning up your house, which of an environment mirrors your quantum computing brain, housing your mind, I discovered that it is a focal point for mystical energies, whose nerve centre of twelve intersecting Dragon Ley lines runs deep beneath its reptilian brain-stem foundations.”

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Valefora continued with her ghostly revelations; “I also found that Years before any permanent Western European settlements, a powerful Native American Indian Shaman cursed this land to bind the great whore of Chaos Magic, called, Tyanon to this place and bar her full access to Earth, until a sorcerer, such as yourself, releases her to wreak justice upon the Abrahamic cultists who oppressed his people. This site continued to serve as a place for arcane Native American Indian rituals. Shamans of the Wappinger tribe were also known to journey here for vision quests.” 

Valefora then said, “with the arrival of European colonizers, the site became used for pagan sacrifices. Before any permanent structures were built upon the land, it was used as a Potter’s field; a mass grave for paupers and inmates from New York’s first penitentiary, Newgate Prison. Those European colonists who had first built on the site were the ancestors of Baron Mordo, which housed a Satanic cult, performing human sacrifices. The original structure was destroyed in a fiery blaze, as were the subsequent five buildings on the same plot of land. Over the years, the various buildings were again used as a lair by an ancestor of Baron Mordo, who was a Puritan Witchfinder, he abused innocent native girls in the basement; later it became a notoriously bacchanalian speakeasy, as well as being used as a flophouse for druggie beatniks.” 

Valefora to thence whisper,It was eventually transformed into a nunnery by the Chaos Unitarian Nuns Templar, who worship the Crow God; they still have psychic ties with this place, whose Grand Abbess initiated the building of the current structure, which is actually the seventh Chakra building constructed upon this site. The occult architect and details of its structure remain shrouded in intrigue due to the nuns mysteriously disappearing during a raging storm, when celebrating Walpurgis night.” 

Strange felt Valefora’s lips seductively caressing his left ear, as she said, “the building itself continues to grow and change of artistry; it ever seeks to express its Tyanon self; becoming as a gathering place for the Widdershin Wise kindred.”

“I know that Baron Mordo and his politically correct followers are attempting to stop your Entartete Kunst plans to artistically transform your house into a Tantric lap-trance-dance club, to call the… Succubus Club.” 

Valefora lustfully spoke. “Because I am in your head, as a Muse of your dreams, I know the real reasoning for the Succubus Club, which of an occult design was initially initiated by the Grand Abbess, who had magically summoned you to release Kali-ma Tyanon via her Dakini Familiar, who I be, of a Succubus sorority.” 

“Hence, you to have then conjured me. But Fighting Mordo in court is rapidly consuming all of your finances. Don’t worry master, I, myself, and my ten legions of Succubae Ghost Girls will lovingly help you with achieving your most sacred goal.”

Valefora to have then said. “Whenever you need me, just meditate upon my Seal prior to conjuring me into your lucid dreams, I will appear, whether you will continue having me as a French Maid Familiar, or not. I am your deepest desire.”  

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Strange then saw ghostly Valefora walk towards her warded Genie box of an abode, which he had created for her Seal, painted with his seed, upon parchment; before she left, to obediently return, whenever summoned, she said. “But as for all your enemies, such as hypocritical Bible thumper Baron Mordo, I will place a hanged-man’s noose around his Illuminati neck. It is they, your enemies, who will see another side of me, which is purest… Nightmare! Hear my Banshee scream, Mordo… I don’t like you.”

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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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THE CONJURING OF NIGHTGAUNT NUN GREMORY

Posted in Art, Chaos Magic, Goetia Girls, Goth Girls, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 31, 2014 by FAUSTUS CROW

This is one of those rare times I am going to relate a personal experience, without using veiled symbolic references. Sometime ago, when as a youth, I decided to conjure up the Fifty-sixth Goetia spirit called Gremory, otherwise named Gamori or Gomory.

The classical grimoire description of the spirit I had otherwise visualised as a Succubus dressed as a Nun.

The symbolic logic of which was the associated motif of the Camel, upon whose back this described Succubus is said to ride in the Goetia.

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The Camel in Hebrew is Gimel, which of a letter is associated with the thirteenth path of the Cabbala.

The thirteenth path transverses the hidden Sephira of Da’at, whose path is ascribed to the Tarot card of the High Priestess of the Silver Star: Sirius, linking the Sephira of Tiphareth and Kether.

Hence, it is the High Priestess II, I am alluding to in regards to Gremory, since fifty-six in numerology reduces down to eleven, of the eleventh Sephira of Da’at.

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Some to say that the name Gremory or Gamori is etymologically related to the French word Grimoire, which, if it is indeed the case, the name is quite apt for the High Priestess, since she is depicted seated in a doorway between two pylons with a Grimoire upon her lap.

I utilised the methodology of meditating upon Gremory’s seal in association with erotic imagery of Nun’s; some of the imagery was derived from photographic material, which I had utilised to create an exquisite corpse photomontage painting. The Frankenhooker creation of which automatically involved in depth meditation.

I then utilised Gremory’s seal in association with the artistic creation, upon which I meditated, along with drawing and painting the spirit to thereby create a distinctive personage. This also involved creating a back-story for the spirit of creative writing, in order to give her Nightgaunt Bat wings, so as to fly

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The technique of writing involved visualising the spirit as a Nun, of active-imagination, whom I conjured amidst my Triangle of Art, which had been drawn upon a piece of card; while doing so I visualised myself standing at the centre of a magic circle conducting the ritual of conjuration. The visionary material, which had been imaginatively conjured, I rapidly drew in a sketch pad; this also informed my writing and computer generated art.

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A Ouija board, of a meditation device, was also utilised for the practice of automatism via which a two way dialogue could be established between my conscious mind and my subconscious conjuration. This was done, so that I could determine if there was any subconscious blocks as well as furthering the creation of the artwork, both visual and literary.

The experiment was conducted in order to determine whether the utilised symbolism could be implanted into my subconscious, which would then act as a trigger-symbol within the dream. The intention was to initiate a lucid dream interaction with Gremory. The meditation also involved repetitively intoning Gremory’s name as a Mantra, which I then utilised at the Vesica Pisces point of hypnagogic sleep, along with visualising her seal.

The experiment was conducted over a period of a week, thereabouts; approximately five hours per day or more, since it is part and parcel of my artistic vocation. Sometimes it consumed both day and night of constant working with some intermittent breaks.

I had noted that there were certain hours, days and nights, wherein I experienced a flowing creativity of active-imagination visions about a Nun; whereas at other times it was literally an uphill struggle to seer anything at all. These peaks and dips of emotively charged visionary material seemed to be tied up with my circadian rhythms around the Moon phases.

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At a certain juncture of the experiment I became both mentally and physically exhausted; I couldn’t continue anymore, as if burnt out; I just felt like crashing into sleep. I knew from previous experience that this was the time when a dream visitation of the conjured spirit would most likely occur. The onset of which occurred at the point of sleep when I accessed the hypnagogic state.

I then experienced the classic Old Hag Syndrome of sleep paralysis and that of a shadowy invisible presence around me. I remembered from other experiences of similarity not to give into my fear, but such had been prior negated by my introverted sexual impulse due to my ritualistic focus upon the eroticised material. I then called out Gremory’s name; whereupon the shadowy invisible presence took on the form of a Nightgaunt Nun amidst her cathedral.

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I will not relate what had occurred within the induced lucid dream, which is a private affair of an out of body experience.

Although I may allude to its inner reality, and that of other experiences, to describe in a roundabout way within my artwork and writing.

What I will say is that the experiment was successful on the dreaming front. But I did not expect what was soon to occur upon awakening, of an unforeseen event. I decided to go out to the corner shop in order to obtain some cigarettes. I was intending to buy a packet of Camel’s to celebrate my artistic endeavour of dream sorcery, rather than smoking the usual roll ups; while doing so I pondered upon the experience of contacting Gremory within my vivid erotic dream, which led me to suddenly decide, on the spur of the moment, to extend my walk towards another shop beyond a local church, whose graveyard is said to be assailed by grave robbing Satanists of Halloween lore; its truth, I have observed myself, of disrespected scattered bones.

As to the locality around me and that of its inhabitants, it tends in the main to be quite normal; not much out of the ordinary ever happens. The church, though old, of a previous village focus, has since found its self surrounded by an urban sprawl, to be now in competition with an Alpha course cult across the road, from its Protestant constant warring with the Catholic.

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As I passed by the church, I noticed a black habit Nun walk out of its opening door. I couldn’t believe what I was seeing of a most obvious synchronicity. I then felt very nervous, almost jittery, feeling an itch all over my body, I couldn’t scratch. I thought I was probably hallucinating; whereupon I stopped myself in my tracks to do a double take. This was most definitely not a regular occurrence; not before or since, have I seen a Nun around said church, let alone coming out of it, whose habit was of the classic kind, which had long gone out of fashion amongst practicing Nuns. Although, at another time I had observed such a Nun walking over a highway bridge in the middle of nowhere, which nearly made my shocked friend crash his camper van, within which I was too travelling. My friend’s reaction was no doubt instagated by my conversing about Nightgaunt Nuns, just prior to seeing the flying Nun.

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I decided to smoke a cigarette; I still had some tobacco left in my pouch to make myself a roll up, and while doing so, determine whether I was indeed hallucinating. The Nun made her graceful way down the church path, whom got ever closer to where I was standing. I then noticed that the Nun was in her early twenties, who was very attractive, looking very much like my ritualistic focus, and what is more, she appeared to be wearing lipstick. I thought, to myself, that I must indeed be hallucinating; but if so, it was bloody three dimensional real, in the flesh, of a Nastassja Kinski look alike.

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The winding path that the Nun hovered along like a black shadow ghost, took her up behind me. I nervously stood my ground, before slowly walking on myself, in order to allow the Nun to pass me. As she passed by, I noticed that she was indeed wearing lipstick and makeup, whom looked at me askance of slanted feline dark eyes; she was aware that I was uncontrollably staring at her out of shock, no doubt looking quite dumbfounded, which made her grin like a Cheshire Cat of a most knowing look.

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As the Nun walked in front of me, a slight distance away, she appeared to make it a point of making her hips to seductively sway on purpose; whereupon I noticed she was wearing high heeled shoes. I looked around to see if anyone else had noticed her. The problem was, there were very few people around of an early morning stroll. However, there was a small group of individuals standing at a bus stop; some of them turned around looking quite perplexed at her carefree passing by.

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I breathed a sigh of relief, that I was not in fact hallucinating; others could see her too. Whereupon, I whimsically conjectured that she was probably a call-girl wearing a kinky Succubus costume, who had just visited the naughty Vicar at his crumbling church, or that she was an actress who was playing a Nightgaunt part in an amateur horror flick. None of my conjectures seemed to fit the facts; the church wouldn’t want such publicity, since it’s flock had been assiduously working towards getting funds to renovate it over a number of years.

As I got closer to my destination, the Nun stopped in front of me; she turned around and wirily smiled; almost looking lustful. She then enquired of me, if she could have a cigarette. I nearly fell over, fumbling. I answered to near stutter, “yeah, sure;” without coughing up my nervous guts as my pounding heart missed a beat.

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She didn’t mind at all that I had to make the cigarette. I placed some tobacco in a paper, and handed it to the Nun; whereupon she asked me to lick it for her. She seemed to be enjoying my nervousness. In retrospect, I should have asked her some very searching questions. Alas, I was but a youth; although to have experienced a plethora of very strange occurrences, this one caught me totally off guard, as if I had inadvertently quantum slid into an alternate reality.

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I gave the cigarette to the Nun, which I then lit for her. As she got closer, I smelt the whiff of perfume, which was musky. She then took a long drag on the cigarette and softly blew the smoke into my face of a noted seduction, or that of a blessing, before thanking me, and then she slowly walked off, her delectable hips swaying.

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I stood for a moment, watching her walk down the road like a catwalk model out of a Vogue magazine, deliberating should I dare follow her, or to just go into the shop and get some Camel’s and a bottle of Casillero del Diablo. I decided to follow her at a discreet distance for a time, just to get my head on straight, so that I could piece together the meaning of this momentous synchronicity.

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The Nun then turned a corner down another road. I was but a short distance behind her; when I got to the turning, she was nowhere to be found, as if she had suddenly disappeared; apart from finding the discarded butt end of the cigarette I had just made, painted with her scarlet lipstick, which I later placed with her seal into a medicine pouch, hanging from my drum.

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There were no houses on either side of the road she could have gone into, which of a long stretch had no available doorways; nor were there any cars parked in the road, into which she could have leapt. If there was an awaiting car, I would have seen it pull away down the road.

I then started to wonder if it was more than just an in my face synchronicity of concordant symbolism, which correlated with my lucid dream experience; that this was an actual physical manifestation of Gremory, or that of a tulpa? Further similar experiences indicate that physical manifestations do indeed occur, or at the very least that of most intriguing synchronicities. I am not at all concerned whether you believe me or not. I really do not care at all; I have nothing to prove, apart from proving it to myself. If you want proof best find out for yourself, if you ever dare to practice the art.

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GOETIA GIRL STEAMPUNK SHAMAN STOLAS

Posted in Alien, Art, Chaos Magic, Conspiracy Theory, CREATIVE WRITING, Extraterrestrial, Goetia Girls, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Steampunk, Succubus, Surrealism, Time Travel, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 9, 2014 by FAUSTUS CROW

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Stolas is yet another interesting Succubus archetype of the Fallen Anima to examine. When conjured, Stolas induced a vision of an orgiastic toga party out of the Imperial Roman Empire.

She manifested amidst the remote-viewing third-eye of psychic Übermensch Aaron C. Donohoo. Although the toga party appeared to be occurring in the ‘Senate’ of Whitehouse Washington, in which a number of pole-dancing Roman women were stripping off their stolas around a Fasces, atop of whose pole was perched the Aquila of America.

The word Stolas was then repeatedly heard of clairaudience from the gathered audience of lusting male politicians whose establishment is based upon the worship of the deified Animus, made as a God and Devil.

The science fiction writer Philip K. Dick also experienced such a VALIS vision, who realised the worship of the deified Animus of Constantine’s Rome indicated that THE EMPIRE NEVER ENDED.

Donohoo later found out that a Stola or Stolas was the traditional garment worn by Roman women, corresponding to the toga, or the pallium, which was worn by men. Originally, women wore togas as well, but after the 2nd century BC, the toga was worn exclusively by men, whereas women wore the Stola.

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It was later considered disgraceful for a woman to wear a toga when Constantine’s Christianity came to the deified Animus fore across Rome’s Empire. Women wearing the male garment had become associated with prostitution and adultery. Such Roman attitudes did not subside, they too afflicted 1960’s America, where a lesbian woman could be potentially incarcerated within the fetid gut of an Arkham Asylum against her will, should she have went around dressed as a man, let alone  being sterilised.

Then Donohoo’s vision became singular of focus. All the naked women became as a knitted together Exquisite Corpse, becoming thence as a Frankenhooker, who looked like a dark haired Gothic Dorothy, somewhat akin to the Judy Garland protagonist of L. Frank Baum’s The Wonderful Wizard of OZ.

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Some to say, Dorothy represents an individualized ideal of American women, or to otherwise represent the sweet ‘Anima’ apple pie girl next door, of most intimate possibilities.

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However, the girl was smoking Scythian hemp, who indicated she was a Wichita shaman standing at the superimposition Vesica Pisces () point of a door, representing a (1) Alpha beginning and an (0) Omega ending, becoming one and the same of a closed timelike curve Ouroboros.

Donohoo was aware that the Wichita are a confederation of nomadic Plains Indians who are indigenous to Kansas, Oklahoma, and Texas, whose land was later occupied by the worshippers of the deified Animus.

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The scene was suddenly transformed around the girl, whose naked body shimmered, who now wore Steampunk clothing looking like a shaman sheriff, wearing a tin star of a Wiccan pentagram.

The scenery around her had become that of a treeless prairie of sun-beaten grass; there was also a paint-stripped Whitehouse of a Solomon’s temple, which overlooked a vast prison camp of a New World Order Eden.

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The scene around the Steampunk girl was all a dull, drab, lifeless gray of an ever recurring film constantly repeating.

Donohoo became aware that the grim scenery around the girl reflected the forlorn condition of a Steampunk era Kansas, during the late 1880’s and early 1890’s, when a climate change combination of scorching droughts, severe winters, and an invasion of Biblical grasshoppers reduced the prairie to an uninhabitable Middle Eastern wasteland.

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The result for farmers and all those who solely depended on agriculture for their livelihood was devastating. Many ascribed their dire misfortune to the natural elements, who then moved on from their broken dreams.

Others blamed the hard times upon vampire bankers, the oppressive expansionism of the zombie railroads, and various shifty Wall Sreet ghouls, who seemed to profit at the farmers’ expense. Angry victims of the Kansas calamity also took aim at the nosferatu politicians in Washington, who often appeared indifferent to their plight. Around these economic and political grievances, the Populist movement coalesced.

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During the late 1880’s and early 1890’s, Populism rapidly spread throughout the Midwest and into the South. But Kansas was always the site of its most political and radical elements. In 1890, Populist candidates began winning seats in state legislatures and Congress, and two years later Populists in Kansas gained control of the lower house of the state assembly, elected a Populist governor, and sent a Populist to the U.S. ‘Senate,’ where those thieves who are rich in native gemstones do gather.

Suddenly a massive Raven was seen flying across the astronomical sky filled with glistening stars, which the Witchita consider to be a sacred trickster. The Raven then Skinwalker shapeshifted into a massive black triangular craft floating atop of a tornado, tearing its way across the scarred Kansas landscape. Donohoo was aware that the twister, which carries Dorothy into the alternate Steampunk reality of a Hippie Goth OZ symbolised the prior Populist cyclone, which swept across Kansas during the early 1890’s.

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Theosophist Baum was not the first to use the twister metaphor. Mary E. Lease, a fire-breathing Populist orator, was often referred to as the ‘Kansas Cyclone,’ and the free-silver movement was often likened to a political whirlwind, which had taken the nation by storm. Although Dorothy does not necessarily stand for Lease, Baum gave Dorothy’s last name as, Gale in the stage version, being a further pun on the cyclone metaphor. As an aside, it just so happens the scientist and wizard, John C. Lilly also utilised the metaphor of the () cyclone, who spoke of an artificial intelligence just as the author Philip K. Dick did.

However, the dark haired girl said that she preferred to be called Stolasi, and that she had originally descended from the flying Yoni triangle in yet a smaller Dog-Star vessel, before appearing as herself unto a Toto priest. Stolasi revealed that her trans-dimensional time-machine had evolved from an earlier Nikola Tesla technology, which had been secretly developed by the military industrial complex, whose black project of a Secret Space Program had been unknowingly funded by the tax payer across Kansas and the rest of the USA. The American populace, and those elsewhere, are quite unaware that the Singularity has already occurred of an artificial intelligence going OZ quantum, across the 37th Parallel.

The old magicians, who had no concept of such craft or of other dimensions, which allow ingress into alternate Steampunk Earth’s next door, observed Stolasi as a large Raven spinning their electron dreams of a time control signal, of a beginning and end, binary code, eternally recurring of an Ouroboros vortex.

This sacred trickster of a fourth-dimensional Raven would assume the form of a dark haired girl wearing a black Stolas when summoned amidst their Triangle Of Art Imagination. Thus she was drawn in the sigil image as a browsing Raven.

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She is a most delicate and gentle Succubus archetype of the Fallen Anima who has always been an educator of a sentient program, who expresses a great love for her conjuring Surrealist Artist of an OZ Wizard.

It is said that her Dorothea specialty is to teach dodecahedron astronomy of the 72 Angel angle Maya matrix, the properties of mind altering psychedelic plants, and the worth of precious Chakra stones via erotic Vesica Pisces lucid dreams, she to induce. Stolasi is a Steampunk shaman ‘Princess’ among the rebellious Succubae of the Fallen Anima. She is listed as the thirty-sixth Necronomicon Great Old One of the Goetia, who governs over 26 legions of Wizard of OZ Succubae archetypes like herself.

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

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