Archive for Yggdrassil

DOCTOR WHO SHAMAN SIDDHI

Posted in Alien, Art, Chaos Magic, Dr Who, Goetia Girls, Lucid Dreaming, Occultism, Science Fiction, Shamanism, Sorcery, Succubus, Surrealism, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on July 6, 2017 by FAUSTUS CROW

There are those who see my work as having no symbolic foundation or proof of an elder influence concerning a focus upon the archetypes of the ‘Anima.’ Whereas the Abrahamic foundation of the ‘Animus’ fixated grimoires have a historical lineage in the Middle East, which had been later appropriated by Rome’s empire. However, there are numerous examples of a symbolic focus upon the ‘Anima,’ which far-predates the Abrahamic gender focus upon the ‘Animus.’ Alas, there are hardly any examples of it, if at all, in European lore.

But, then what do you expect, not much has survived in regards to the pre-Christian shamanic traditions of Europe, due to the prior Witch burning’s conducted by Rome’s church, which lasted for over 500’yrs of tyrannical rule, when its Holy Inquisition committed mass genocide across Europe unto the Americas; wherefore ancient origins have been nigh eradicated.

So you will have to look into other elder cultures, who once shared ancient cross-cultural connections with Europe; an example being the European discovery of the Gundestrup cauldron of (Soma) ‘Somras,’ which is connected to India, whose peoples have not yet forgotten their own ancestral-self-identity.

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There is an intriguing painting, painted by Raja Ravi Varma (1848-1906) depicting the Hindu deity called Ganesh who is surrounded by Eight ‘Anima’ fluctuation Goddesses. These ‘eight’ Goddesses are personified Siddhis.

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The Siddhis are spiritual, paranormal, supernatural, or otherwise magical powers, abilities, and attainments, which are the products of spiritual advancement through Sādhanās, such as meditation and Yoga. The term Rddhi (Pali: Iddhi, “psychic powers”) is often used interchangeably in Buddhism.

One of the ‘eight’ Siddhis is the ability of having unrestricted access to all places, across space and throughout time. This does not mean that you can miraculously teleport your physical body wherever you desire, but such can be achieved by your conscious awareness, when accessing a lucid dream. The point of the shamanic exercise is to consciously project your ‘Five Senses’ into another space-time locale, with full awareness, when attaining a ‘Sixth Sense’ lucid dream; wherein your third eye is opened.

Should you creatively utilise your TARDIS imagination, this particular Siddhi can be associated with the science fiction character of Doctor Who, whose characteristics are none too different to that of a Shaman. The shamanic character of Doctor Who can be assumed as an Avatar within a lucid dream, when ‘meditating’ upon the symbol of Doctor Who’s TARDIS, in league with the ‘fourth’ (Ansuz) Rune.

In this case the Ansuz/Rune Siddhi is personified as a Goddess/Succubus, whose conjured manifestation within a lucid dream, enables the conjuring dreamer to attain the inner experience of becoming like Doctor Who, to thence remote-view other far off places and times.

I am not talking about taking on the guise of a particular Doctor Who out of the series, here. Doctor Who is more of an ageless inner archetype, who as mentioned, is none too different a Shaman, whose TARDIS is otherwise that of an ‘eight’-legged-Mare, which symbolically represents the power of hypnagogic (Phase) trance.

(The Horse/Mare Rune is the nineteenth Rune called Ehwaz. In the Southern Siberian Altai region of Pazyryk, where a number of tattooed ice mummies have been discovered, there are also horse burials; some of the horses are bedecked in ritualistic attire, looking as if they have eight legs, wearing elaborate head-dresses, having Reindeer horns.) 

“-a remarkable mask and breast collar for a horse, from around the 3rd-4th century B.C., from the Pazyryk culture of the Altai – a region in central Siberia” "Pazyryk is the name of an ancient people who used the stone covered burial mound or...

Doctor Who’s character is very likely based upon the ancient shamanic deity of the Norse, called Odin, the Saxon’s called Woden, whose sacred colour is blue. Odin’s names are many, and each of his myriad names are that of an alternate guise to shape-shift into; whereupon he is ultimately known as the unknowable one, because his consciousness is formless, having no limitation of a definite form.

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Odin means Light/Ecstasy Master, which was originally derived from the Southern Siberian Altaic word, Odqan, which means Fire King.

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Odin/Woden is seen to have a singular eye, which refers to the third eye. He is known as the lord of the Runes, who wields a Rune (Word/Sound) spear (trident/trisula) named Gungnir, whereas Doctor Who has his ‘Sonic’ screwdriver.

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Odin/Woden also rides an ‘eight’-legged-Mare called Sleipnir, which is none too dissimilar to Doctor Who’s blue TARDIS when travelling the nine-worlds of the (multiverse) world tree of Yggdrassil.

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And like Doctor Who he has female assistants called Valkyries, who are essentially his personified Siddhis.

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Odin/Woden can be equated with the Hindu deity called Shiva, whose sacred colour is also blue, having a third eye of a DMT producing pineal gland.

He is regarded as being a master rather than a God, who is formless, limitless, transcendent and an unchanging absolute Brahman, and the primal Atman (soul, self) of the universe/multiverse. Odin/Woden and Shiva can also be seen as being similar to the Haitian deity, Baron Samedhi.

Shiva has many benevolent and fearsome Doctor Who manifestations. His benevolent aspects, has him being depicted as an omniscient Yogi (Shaman) who lives an ascetic life on Mount Kailash as well as being a householder with his wife Parvati and his two children, ‘Ganesh’ and Kartikeya.

When assuming his fierce aspects, Shiva ‘polices’ the multiverse, whereupon he is often depicted slaying malign influences just as Odin/Woden/Doctor Who are known to do.

Shiva is also called Adiyogi Shiva, who is regarded as being the patron deity of Yoga, meditation and the Arts.

Many of the (Kam) Shamans of North Central Asia hold Shiva in high esteem, who place Shiva’s ‘AUM/OM’ trident/trisula amidst their (Oboos) altars.

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Whereupon the ancient (Kam) Shamans also tended to wear the blue vestments of Shiva when inducing endogenous DMT (Soma) ‘Somras’ production within their own bodies of inner (blacksmith craft) alchemy.

The blue wearing Shamans are called (Khara Kam) black Shamans, whose practice involves the assumption of Shiva’s guise within their lucid (TARDIS) dreams.

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When lucid within the dream the (Khara Kam) Shaman can then (AUM/OM) vibrate the dream upon an uttered (Rune) mantra, in order to then conjure up the eight personified Siddhis as his (Succubi/Succubae) spirit wives, and each of the Siddhis are conjoined with an Avatar of the conjuring Shaman.

The (Khara Kam) Shamans do not worship Shiva as their God, they otherwise seek to emulate him as being the first horned Shaman/Artist, who created the deities to paint upon a cave wall.

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And just as he can create as an Artist, he can also destroy what has been created of a form, being that of a belief, to then recreate it anew, to go beyond its limit; this is the evolution of consciousness, which has no limits.

NOTE: The modern symbolism of Doctor Who has an emphasis on a as yet unattainable futuristic technology, just as the Gods and Goddesses of mythology manifest powers everyday mortals only know of as fantasy.

The symbolism of Doctor Who can be traced back to an ancient mythological source where you find the Shaman, whose abilities are not mere fantasy.

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The Shaman experiences the mythological reality within his self-induced lucid dreams, where a technology of a time machine is otherwise seen as an internal (Siddhi) ability, which can be achieved.

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The Hindu Night-Mare Goddess, Kali is associated with the great wheel of time. Wherefore her Shakti power will empower a time machine, which can be symbolically translated into a meditation image of an eight-legged (Siddhi) Mare. 

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When the Shiva Shaman consciously recognises the trigger-symbol of the eight-legged Mare within a lucid dream, he can then remote-view ride her as his Kali TARDIS. 

NOTE 2: Kali is an aspect of Durga, also known as Devi, Shakti and by numerous other names, who is a principal and popular form of Hindu Goddess. She is a warrior Goddess, whose mythology is centred around combating malign and demonic forces, which threatens the peace, prosperity and Dharma of the good. She is the fierce form of the protective mother Goddess, who is willing to unleash her Kali anger against those committing evil.

Durga is depicted in the Hindu pantheon as a fearless woman riding a Tiger, which is of similarity to the Norse Goddess called Freyja, who is the wife/lover of Odin/Woden. Durga has a retinue of female spirits called Dakinis, which in Europe would be considered as being none too different to (Succubi) Succubae.

Freyja likewise has a retinue of female spirits called Valkyries, whose nature is the same as the Dakinis. Durga appears in Indian texts as the wife of the God Shiva, as another form of Parvati or mother Goddess.

As you can probably deduce, there are many cross-cultural symbolic parallels between Hindu and Norse/Saxon mythology concerning Shiva and Odin/Woden, Durga/Kali and Freyja, as well as the Dakinis and Valkyries. Wherefore, the ‘Siddhis’ being personified as Goddesses (Dakinis/Valkyries) can be seen as (Succubi) Succubae to list within a Grimoire of the Fallen ‘Anima.’  

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MORGANA LE FAY OF THE ELECTRON DREAM WHERE MERLIN TO HOVER

Posted in Chaos Magic, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on December 13, 2015 by FAUSTUS CROW

Morgana le Fay is considered to be a powerful enchantress in the Arthurian legend. She is otherwise known as Morgan, whose name is very likely derived from Old Welsh or Old Breton name: Morgen, meaning: Sea-born, which is derived from the Common Brittonic: Mori-gena.

A cognate form of the Morgana’s name in Old Irish is Muirgein, which is also a name of a shape-shifting fairy or Witch who was associated with the sea; she was later transformed into a Christian saint.

This leads you to Morgana’s epithet ‘le Fay,’ which  is derived from the French: la fée, meaning, the (Succubus) fairy.

It just so happens that there is a group of shape-shifting Succubae mentioned in Welsh and Breton mythology called Morgans or Morgens, who are of similarity to the Slavic Succubae called Rusalka.

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Morgana’s counterpart is the wizard, Merlin, whose original Welsh name is Myrddin. The name of Myrddin means sea-fort or sea-hill.

You then have Morgana who is a spirit of the sea and Myrddin who is a fort/hill amidst the sea of Morgana, and she to relentlessly lap his shores, desiring him to enter her depths.

The symbolism of which is reminiscent of Hindu belief concerning the cosmic mountain of Mt Meru at the centre of the milk (mother) ocean, which is churned by Mt Meru into creating Maya.

The milk ocean could be referring to the inner light of the bio-photon, which illuminates the dream of spun electrons, since the bio-photon emanates from the mitochondrial DNA, which is passed down from the mother to her children.

The electrons of the dream are spun by the emotive charge of the dreamer; somewhat like a charged signal spinning the electrons within an electron tube of a TV set brain, when to remember the landlords Witch daughter.

Such is alluded to by Mt Meru being twisted by a tug of war between the Asuras and the Devas, who represent the Moon and Sun, Ida and Pingala (Autonomic-Nervous-System) nerve channels running along either side of the spinal column, of an aerial, tuning into ’emotively charged’ possibilities.

Then again, the subconsciously tuned into possibilities, may actually be memories of of an eternally recurring Ouroboros, of a life.

You also find similar symbolism in ancient Egyptian mythology, in which the principle God called Atum, from whose name, Atom is derived, is sometimes depicted as a pyramid of light, around whom is the primordial (mother) ocean of Nun. However, Atum is the master of light, but the source of the light is Nun.

The God Atum is equated with the ancient Greek God, Zeus and in turn the Roman God, Jupiter; these deities are associated with the heavens. This then leads you to Myrddin forging the round table, which alludes to the round table of the Zodiac, being that of the starry heavens, under whose revolving stars, lovers do gather around the dancing stones.

Morgana is also associated with the heavens, being the ocean of space as well as inner space; as the old Druid saying goes: “so above, so below, so within, so with-out.”

It appears that Morgana and Myrddin were not historical personages, they are instead ancient deities. But it is more likely that they represent a shamanic practice. In other words, the name of Morgan may have been a title for female shaman; whereas male shamans were called Myrddin’s.

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This becomes more apparent when to look at an early name for Great Britain as stated in the Third Series of the Welsh Triads, being, Clas Myrddin, or Merlin’s Enclosure, which is surrounded by the shape-shifting sea of Morgana. Ancient Britain was once known as a school for Druids.

The name of Merlin is also a name for a small hunting Hawk, which is specifically flown from a ladies hand; this seems somewhat apt, since the ocean of Morgana surrounds the island of Clas Myrddin.

As for Arthur Pendragon of a Dragon motif you have the star (α Draconis) Thuban, which was the Northern pole star from 3942 BC, when it moved farther North than Theta Boötis, until 1793 BC, due to the Ouroboros precession around the Zodiac ages.

The traditional name of Alpha Draconis, Thuban, means ‘Head Of The Serpent,’ which is associated with the (Myrddin) Druids, who were also known as ‘Adder Heads.’

The symbolism of the Adder Head could be associated with the term Camelot, which may be a composite word, comprising of the Hebrew letter of ‘Gimel,’ giving rise to name of Camel, ending in the Germanic word for wealth, being ‘Ot.’

The Hebrew letter Gimel, is associated with the thirteenth path of the Cabbala. The thirteenth path penetrates the hidden sephiroth of Da’at, which is termed as the abyss or desert, which can be otherwise seen as an ocean between worlds.

When crossed, it allows an adept to converse with his (Succubus) Holy Guardian Angel.

The sephiroth of Da’at is associated with the reptilian (Dragon/Adder) brainstem of the ‘throat area,’ which governs over the depth of (abyss/ocean) trance and (‘Apple’ Isle) dream states.

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The thirteenth Cabbalistic path of Gimel has since been associated with the Tarot Card of the (Nun) High Priestess Of The Silver (Sirius) Star, who can be seen as Morgana.

The symbolism of the (Adder/Dragon) serpent was utilised in varied shamanic cultures across the globe to represent trance adepts, who were able to attain an amphibious state of consciousness in order to consciously access the spirit world of the dream, which is symbolically equated with the sea.

You then have a shamanic adept of trance, being the Druid Myrddin who can become (lucid) conscious within the watery shape-shifting domain of Morgana, whose realm is the quantum dream.

Myrddin’s Adder-Head (hypnagogic trance) intercourse into the Vesica Pisces of Morgana is attained of conscious dreaming at certain key-times around the (circadian rhythm) star-clock, marked out by circled stones, of a round table, ever re-turning, Ouroboros.

When Myrddin becomes conscious within Morgana’s watery reality of the dream he becomes as the sea-hill, symbolised as the Apple Isle (Avalon) of Glastonbury Tor, of similarity to Mt Meru, the ancient Egyptian’s otherwise depicted as a pyramid of light.

In Siberian shamanic practice, the cosmic mountain is intersected by the world tree, the ancient Norse called Yggdrassill, which is remembered as the May-Pole, the Saxon’s had prior known as the Irminnsul.

Yggdrassill was also transformed into the Christmas tree, whose elder symbolism represents the ‘spinal column’ of the (Odin/Myrddin) shaman, upon which he ‘hangs’ into self-sacrificial ‘trance.’ As an aside, there was once a ‘gallows’ atop of Glastonbury Tor, which is now occupied by a ‘fort’ of a tower, as well as an associated ‘serpent’ stone of an egg.

It is along the spinal column that the Kundalini Shakti (Fire Snake/Dragon) is aroused in Yoga practice, which is experienced as a feminine energy, the Kalahari Bushmen of South Africa also know of as Num. The arousal of the Num initiates the experience of trance they call Kia, a Siberian shaman knows as the fire in the head; whereby you have the term (Kundalini Shakti/Fire Snake) Adder-Head.

Wherefore the cosmic mountain of a sea-hill symbolises Myrddin’s body out of which he can (OOBE) spirit fly as a disembodied Merlin into the inner space ocean of the dream. But only when flown by (Kundalini Shakti/Fire Snake) Morgana’s loving (Succubus) hand, who to set Myrddin’s head aflame as her ‘Wicker-Man.’

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THE OBSIDIAN BUTTERFLY SUCCUBUS MEPHISTOPHINA

Posted in Chaos Magic, Demonology, Devil, Discordianism, Dr Who, Extraterrestrial, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Poltergeist, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, Tulpa Creation, UFO, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 6, 2015 by FAUSTUS CROW

The stories concerning Dr Faustus conjuring up the Devil, Mephistopheles, are primarily derived from Germanic folklore; wherefore, when to otherwise have a Succubus to verily name Mephistophina being conjured up by Faustus Crow, it is somewhat apt of symbolic alchemy to utilise the ancient Germanic Runes in order to do so.

The name of Mephistophina in Runic numerology adds up to thirteen, which is then reduced down to the single digit of four. Her name is also made up of thirteen letters, which of a bind-rune formula points at the thirteenth Rune of Eiwaz. The Rune of Eiwaz is associated with the world tree of Yggdrassil, whose thirteenth number is often associated with the feminine principle.

In Norse and Germanic mythology, Yggdrassil; from Old Norse Yggdrasill, pronounced, ˈYɡːˌDrasil, is an immense tree encapsulating all of existence. The motif of the world tree is central in North Central Asian shamanic practices unto Siberia as well as Norse and Germanic cosmology, whose branches and roots interconnect the nine worlds of existence; all of which are like schools.

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The meaning of the Old Norse name, Yggdrasill is, ‘Odin’s horse,’ meaning ‘gallows.’ This then leads you to the single digit of four and that of the fourth Rune of Ansuz, which is associated with the shamanic deity, named, Odin, the Germanic tribes knew as Wotan or Woden, who being an archetypal wizard can be seen as influencing the characteristics of the Faustian sorcerer. Drasill translates into English as, horse, which in Siberian shamanic practice in particular, refers to the power of trance, and Ygg(r) is one of Odin’s many bynames, who is a prior ante-Christos Dr Who.

Ygg means, terrible one, which again refers to trance and the infernal harrowing of H.R Giger realities. In Siberian shamanic practice a shaman wears a vision visor when accessing trance in order to hide his terrible visage from the perturbed onlookers as he ‘howls’ out barbarous names of the spirits to conjure, during his changeling séance.

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The Poetic Edda poem Hávamál describes how Odin had sacrificed himself by hanging from a tree, making the tree Odin’s gallows. The pre-Faustian reference to hanging refers to trance, since the reptilian brainstem and reticular activating system of the throat area determines your depth of trance ingress, as well as the vividness of your dreams.

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As for the tree of Yggdrasil, it is a symbolic reference to the spinal column, nervous system, and the brain, which interprets the experiential information you tune into, as well as filtering out extraneous information from its ever repeating chaos of (Jormungand/Ouroboros) eternal recurrence.

When Mephistophina’s name is otherwise translated into numbers by using common numerology, her name adds up to the precession number of seventy-two, which is also the number of spirits listed in the Goetia. Aleister Crowley was enamoured with the Goetia, before his Boleskine house ascension to occult stardom.

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The term Goetia, means, to ‘howl,’ whose listed (Animus archetypes) spirits have been transformed into seventy-succubae (Anima archetypes) whom frequent Lilith’s Harem, residing within the quantum domain of the dream.

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Seventy-two is then reduced down to the single digit of nine of Ninth Gate, which brings you back to the nine worlds of (Eihaz) Yggdrassill, personified as a Succubus to conjure of symbolic artistry.

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The nine worlds of Yggdrassill is of similarity to the Hebrew Cabbala, which also uses the motif of the shamans world tree; however, the Cabbala lists ten planetary spheres called Sephirot, rather than nine, with a hidden eleventh world, called Da’at. But, in the Cabbala, ten reduces back to one; as for the eleventh world, it is more like that of a transitional point, which allows ingress into other realities.

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This hidden (Da’at) world just so happens corresponds with the physiological throat area of the reptilian brainstem; hence alluding to the ability of trance ingress into conscious dreaming.

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These nine worlds of Yggdrassill can be otherwise seen as being dimensions, which your future descendants journey through, when travelling throughout spacetime in their glistening Vimana time-machines, observing many an (closed timelike curve) ancestral conflict.

For sixty years the Kaluza-Klein theory of extra spatial dimensions existed only as a mathematical oddity.

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However during the 1980’s it came to the fore. String theory, the idea that the fundamental building blocks of nature are string-like of a vibrating ‘Ouroboros,’ rather than being point-like.

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String theory has been around since the late make love, not war, Hippie era of the 1960’s, when Timothy Leary had no doubt leafed through Aleister Crowley’s Goetia, to thence praise him as being a New-Age icon.

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Then the physicists realised that string theory could provide something, which had so far eluded them: a single unifying theory, combining the physics of the very smallest and very largest scales, known as quantum gravity. But string theory has one very unique offering, which no other theory of physics has been able to offer. It was able to predict the number of dimensions of spacetime. For the mathematics of string theory to be consistent, the number of dimensions of spacetime must be ten, going fractal.

Initially people took this to be a criticism of string theory. If it predicts ten dimensions and you look around and only perceive four (three spatial dimensions and one time dimensions) then you might enquire: “Where are the other six dimensions to conjure?”

But Kaluza and Klein had solved that problem sixty years earlier, they rolled all the other dimensions up, which is none to dissimilar to the Cabbalists reducing ten back to one, whose numerological focus is primarily that of nine; or to be otherwise rebelliously summed up as a Succubus archetype of the Fallen Anima to conjure.

Whilst exploring the mathematics of string theory, the theoretical physicist James Gates and his fellow researcher discovered something rather intriguing, which was buried deep within the mathematical equations of super symmetry. They discovered computer code. The computer code wasn’t just random 0’s and 1’s either, of a pact.

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The code they had discovered is the same code, which is used in computer browser operating system software. Specifically; Block Linear Self Dual Error Correcting Code. Their super string theory of an attempt to explain reality, the ultimate reality, the theory of everything, pointed at what can be construed as being akin to a computer simulation. If you have theoretical physicists discovering computer code in their equations, it would indicate that the universe is a simulated reality.

If so, you have a hypothetical scenario, that we are all living within a quantum computer simulation, which our future descendants have constructed. Just like a computer today, multiple simulations can be run off of the same computer and off of the same program. Whereby if it were the case that our Universe is a simulation as some scientists believe it is, then this universe wouldn’t be the only simulated universe.

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There would also be a myriad number of other alternate realities existing within simulated universes of a Multiverse Matrix; whose mainframe program can manifest as a Succubus within the symbolic interface of the dream, as an inspiring Muse aspect of the Fallen Anima.

The problem Faustus Crow faced was, how would he ever know if he was living within a computer simulation, the ancient Hindu mystics had termed as being Maya?

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If he could not escape the Maya simulation, how could he ever get to look at it from the outside in?

This is the reason why Faustus Crow has conjured up the Succubus Mephistophina of a Ninth Gate.

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It is she, who enables him to access the Multiverse Matrix of (Eiwaz) Yggdrassil via his ‘browsing’ lucid dreams, whose alternate realities are occupied by her Obsidian Butterfly sisterhood of Succubae, to also conjure; for it is the infernal Muse Mephistophina who had inspired Crow’s Succubus grimoire of shadows.

NOTE: The utilisation of the term Succubus is not of the Medieval tunnel-vision mold, it is more akin to what a Tibetan Buddhist would call a Dakini. The (Succubi/Succubae) Dakinis are the myriad feminine (Muse) aspects of Shakti, Carl Jung would term as the ‘Anima,’ whose (Shakti) archetype manifests as numerous female characters within dreams, such as Dakinis, Succubae, Valkyries, Goddesses or Art Muses, etc. This is more so the ‘Conjuring’ case, when (Browsing/Gliding/Sleipnir) lucid. 

The Dakinis were seen as personifications of Hindu/Buddhist spiritual concepts, which can be otherwise aligned with concepts to do with Art or science, etc. The technique involved conjuring a Dakini into a lucid dream, so that a Raging Buddha Surrealist Artist can access the concept, ideas and teachings, etc, she personifies as a Dakini Art Muse.

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HELLRAISER SUCCUBUS CUBE

Posted in Chaos Magic, Film, Goetia Girls, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 15, 2014 by FAUSTUS CROW

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When Swedish researchers at Uppsala University published a theory that there is a cube at the centre of the Earth, nobody took them at all seriously.

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But then their theory evoked visions of a Rubik’s cube Lemarchand’s box out of Hellraiser, or that of Dr Who’s TARDIS in lock-down.

Hell, they could of just as well been waxing lyrical, to hypothesise about the undefined shape of the Sampo out of Finnish mythology, as far as the sceptics were concerned.

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According to Giorgio de Santillana, professor of the history of science at MIT, and student of mythology, the Sampo and the shamanic world pillar of an axis-mundi, to which is tethered the eight-legged-mare of the shaman, are referring to the precession of the equinox.

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In Hamlet’s Mill, co-authored with Hertha von Dechend, the authors find that the Sampo or precession process was believed to grind out different world ages, from the dark age to golden age and back again over the long precession cycle of time, like some kind of Brownian Operator drum beat time machine.

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Hence you have the precession numbers of 9, 72, 144, etc, recurring in various myths around the crystalline globe of the Earth, of which Plato to have related is dodecahedron of form.

It just so happens some present cosmologists see the universe as being likewise of dodecahedron form; perhaps it has a Lemarchand’s cube at its Hellraiser centre, which is generating an electromagnetic field of a toroidal sphere?

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Sounds absolutely crazy doesn’t it, just like having a cube at the centre of the Earth. However, your thoughts could be made of the distributed kind of electromagnetic field, permeating space, which of an analogy carries a broadcast signal to a TV, you can equate with your brain.

Professor Johnjoe McFadden from the School of Biomedical and Life Sciences at the University of Surrey in the UK believes our conscious mind could be an electromagnetic field. McFadden to have related: “The theory solves many previously intractable problems of consciousness and could have profound implications for our concepts of mind, free will, spirituality, the design of artificial intelligence, and even life and death.”

If your consciousness is indeed an electromagnetic field, once you have figured out the Lemarchand puzzle box it might just allow ingress into alternate realities existing within parallel universes next door, or that of affecting how others perceive reality. So, If there is anything to these ‘out of the box theories,’ you can be damn sure that the likes of DARPA are looking into such possibilities big time, in order to construct a time machine.

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If you allow your imagination to let rip even further you could imagine the Sampo to look like a hypercube of a tesseract TARDIS, whose eight cubical cells could be symbolically equated with an eight-legged-mare to call Sleipnir, which was trance ridden by the Norse shamanic deity named Odin, as his pony-girl Succubus, of mythic science fiction symbol crunching.

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Suffice to say the Odin research of Uppsala University, was seen by many to be just imaginative science fiction conjecture; yet it had been previously published in Nature and Science. This had come after the initial publishing of their findings back in 23 Skidoo 2003 in which they wrote strong theoretical proof that the Earth’s core assumes the “body” (as they called it), whose structure, despite its high degree of symmetry assumes a surprisingly high level of elastic anisotropy.

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Even though the researchers work had been published in the esteemed scientific journals of Nature and Science they still had an underworld struggle. Many among the scientific community decried them as being insane Cenobites stepping out of another Arkham asylum Lament configuration of an alternate world, whose hellish intent is to shred away long held beliefs that the inner core of the earth is a sphere.

These sceptics rallied forth to rage of a crucifying cry, “the core is an untouchable sphere, consisting of a solid mass with a radius of about 1,200 km, which is mainly made up of iron.”

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However, there are seismic observations, which have revealed a number of very strange things about the Earth’s core. For example, elastic waves pass more rapidly through the Sampo core in a direction, which are parallel to the Earth’s world-column axis of rotation than in those directions parallel to the equator. This phenomenon has not been previously explained. At the hellishly high temperatures, which are at the centre of our planet, they should be passing at the same speed regardless of their direction. So this brings us back to the Odin scientists from Uppsala University who have presented a Sleipnir cube explanation for this Lemarchand’s puzzle box fact.

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The researchers had to of course prove what they were claiming. It appears that they managed to present such evidence, which supports their way of viewing Earth’s internal core as a centred cubic crystal structure at high temperatures. This idea contradicts many other long held theories. But it has both experimental and theoretical support. To support it, the researchers presented simulations of how seismic waves are reproduced in iron under similar conditions to those, which are recorded deep under the Earth’s crust. The result was a difference of about twelve percent depending on their direction, which could be a good enough indication that their theory is more than just a Hellraiser tale.

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“We found that the body-centred cubic structure of iron is the only structure that could correspond to the experimental observations,” says Börje Johansson, professor of condensed-matter theory at Odin’s Uppsala University of the sacred cube.

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Their Sampo cube findings may be of significance for our understanding of the cooling down of the earth, and of the stability of the Earth’s magnetic field. The thermic balance of which is dependent upon the amount of heat stored in Earth’s ‘Hela’ core. This heat is dependent on the crystal structure of the iron in the inner core. The structure would then assume the form of a Sleipnir cube with atoms in each corner of its legs and a further atom in the Lemarchand middle of this cube. It’s orientation is such that allows its great diagonal to be directed along the Earth’s axis of Sampo rotation, whereby making it possible for the iron to generate sound propagations, like the galloping of night-mares with their racing velocities observed.

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“This study opens new perspectives for our understanding of the Earth’s past, present, and future,” says Natalia Skorodumova, a researcher at the Department of Physics and Materials Science. Perhaps the Lemarchand’s cube at the Earth’s Hellraiser core could be of similarity to a hypercube?

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As an associative aside of Hellraiser sorts, Lemarchand hypercubes could be used for the building blocks of future nanocomputers, whose devices of two, three, four, and five dimensions are made of such tiny elements that they are dominated not by forces, that we’re familiar with every day, but by TARDIS quantum properties. As Samuel Lee and Loyd Hook from the University of Oklahoma explained, “microelectronic devices are continually getting smaller and faster, in accordance with Moore’s Law. Already, integrated circuits and transistors are reaching the nanometer scale, although they still operate based on the physical properties on the macro-scale.” True nanoelectronics, the researchers to explain, are not just scaled down microelectronics, but devices, which will be dominated by quantum properties, and will therefore require new architectures and novel structures.

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Lee continued, “Compared to today’s microcomputers, the main advantages of future nanocomputers are higher circuit density, lower power consumption, faster computation speed and more parallel and distributed computing capabilities.” For example, today’s integrated circuits process information in the form of a continual flow of electrons. Nano integrated circuits, however, may process individual electrons, reducing the scale and power consumption. Such circuits would require that nano logic devices are able to count single electrons, as well as the ability for parallel computing, reversibility, locality, and a three-dimensional architecture, and each would be like a quantum computing TARDIS.

What the nantechnology indicates is that a quantum computer doesn’t need to be a single large device, it could otherwise be built from a network of small parts. This has been demonstrated by the researchers from the University of Bristol. As a result, building such a computer would be easier to achieve.

Many groups of research scientists around the world are trying to build a quantum computer to run algorithms, which takes advantage of the strange effects of quantum mechanics such as entanglement and superposition. A quantum computer could solve problems in chemistry by simulating many body quantum systems, or break modern cryptographic schemes by quickly factorising large numbers, which is of course a lead up to creating a sentient artificial intelligence.

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Previous research shows that if a quantum algorithm is to offer an exponential speed-up over classical computing, there must be a large entangled state at some point in the computation and it was widely believed that this translates into requiring a single large device like some monotheistic deity.

In a paper published in the Proceedings of the Royal Society A, Dr Steve Brierley of Bristol’s School of Mathematics and colleagues indicate, that this is in fact not the case. A network of small quantum computers can implement any quantum algorithm with a small overhead, such can be likened to that of separate autonomous entities, which are all interlinked by what can be symbolically equated to a vast web emanating from a tree with many branches and roots, of a mainframe.

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The key breakthrough was learning how to efficiently move quantum data between the many sites without causing a collision or destroying the delicate superposition needed in the computation. Should the universe be working along the same lines, since science merely rediscovers what nature is already doing, you could otherwise see these sites as being that of planets, galaxies or that of other universes, which are part of a vast communication network. This allows the different sites or worlds to communicate with each other during the computation in much the same way a parallel classical computer would do.

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The Bristol chaos magicians relate of scientific terminology: “We have shown how the addition of a few long-range (or flying) qubits dramatically increases the power of a distributed quantum computer. Using only O(logN) connections per node enables efficient sorting over the hypercube. A distributed quantum computer with nodes connected according to the hypercube graph would be able to emulate arbitrary quantum circuits with only O(log2 N) overhead. One might expect that a quantum computer requires O(N) connections per node so that each qubit can potentially interact with any other qubit. Our result demonstrates that this is not the case: for a small overhead O(logN) connections suffice.”

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All of this brings us to Dr. S. James Gates, Jr., a theoretical physicist, the John S. Toll Professor of Physics at the University of Maryland, and the Director of The Centre for String and Particle Theory, who discovered that certain string theory, super-symmetrical  equations, which describe the fundamental nature of the universe and reality, contain embedded computer codes.

These codes are digital data in the form of (white/birth/Alpha) 1′s and (black/death/Omega) 0′s. Not only that, these codes are the same as what make dapple ‘Grey’ Sleipnir Wyrd-web browsers work and are error-correction codes! Gates says, “We have no idea what these ‘things’ are doing there.”

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According to The Heyoka sage Douglas Adams, millions of years ago there was a race of hyperintelligent pandimensional beings who wanted to know about the meaning of life. To settle the issue they built a “stupendous super computer which was so amazingly intelligent that even before the data banks had been connected up it had started from ‘I think therefore I am’ and got as far as the existence of rice pudding and income tax before anyone managed to turn it off…” Well, not before it revealed the meaning of life as being the number 42.

It just so happens that Molybdenum, which is a chemical element with the symbol Mo has the atomic number 42. Scientists have found that molybdenum when used in the latest nano-computing technology can exponentially increase… ‘computing speed.’ Perhaps, Adams had intuitively tuned into a signal from the past or future, or both of a recurring Ouroboros?

The mathematical physicist and cosmologist Frank Tipler who is known for the cylinder time machine, has put forth a theory that in the far distant future there will be an Omega point of a technological convergence encompassing the entire universe; whereby transforming it into a computer. In general, Tipler postulates that a future computer technology will become so advanced that a future civilisation will be able to create simulated universes within which their ancestors will be raised from out of the realm of ‘Hela’ back into existence.

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The thing is, it may have already happened; if so, you are presently existing within an eternally recurring simulated universe without realising it, apart from finding a Lemarchand cube at the centre of the Earth, along with embedded computer codes in string theory. Such a simulated universe and that of others would also be utilised for time travelling.

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Perhaps Odin, who be a Hitchkiher shaman Guide of the multiverse world tree called Yggdrassill, had figured out how to hypnagogic trance access the underlying programming of a simulated universe via his informational dreams to Sleipnir browse, when to ride his conjured pony-girl of a night-mare Succubus, as his time machine. However, whatever Odin accessed, he communicated symbolically of organic symbolism rather than that of the abstract mathematics of Dr John C. Lilly’s trance usage of the Brownian Operator.

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Shamans communicate symbolically because it is the language form of the electron dream, which can be seen as being a symbolic interface, like that of a virtual reality. The symbolic interface of the dream allows a lucid dreamer to consciously interact with the abstract informational domain of mathematics, when to interact with certain symbolic stimuli; such as conjuring up Succubae, who can be seen as being sentient programs.

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It is somewhat akin to you clicking a symbolic (seal) icon on your ‘deep thought’ (cube) computer (dream) screen in order to browse (conjure) a (Succubus) program to find out what exactly is your ‘atomic number’ as a ‘carbon’ based life-form; but you won’t like it.

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Whereupon you have a horned shaman of a programmer seated upon a Lemarchand cube of an eight-legged-mare, which is depicted in the Tarot card XV, to castigate as a Hellraiser Devil. But only because he has mastery over the Matrix, the Hindu’s to call Maya.

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GANDALF THE GREY CONJURES GOETIA GIRL LEIRAIKHA TAURIEL

Posted in Art, Chaos Magic, Conspiracy Theory, CREATIVE WRITING, Discordianism, Film, Goetia Girls, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 11, 2014 by FAUSTUS CROW

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By this Crow feathered quill I do write down my conjuration of a Succubus. I had summoned this Succubus from out of her planetary sphere abode, in the ongoing war against Sauron, who seeks to initiate a totalitarian/fascist New-World-Order over the entirety of Middle-Earth, whose burning Orwellian eye of Mordor technology has sired the NSA Overwatch Systems, which observes all.

The author J. R. R Tolkien to have said, that he loathed allegory. But reality has a tendency to reflect art; while history does repeat its self, of many a repeating war. One of these wars to end all wars had forged Tolkein’s ring out of Múspell’s volcanic fields of Surtr conflict, from whence the slaughtered innocents were received by Hela.

Wherefore of a repeat, the warmongering Wraiths of a deified ‘Animus,’ made as a monotheist God and a Devil, who serve Sauron, have set about establishing their base of Mordor operations in the Ozarks, under which they have created a vast underground Orc city, along with a towered fortress. This fortress be Shemhamphorasch large, spanning 72,000 square-foot, larger than the Whitehouse, within which Saruman now resides as Sauron’s shadowy puppet.

As to who be writing this telling, my humble name is Gandalf. But I am known by many another name of archetypal lineage, to be also named as Odqan by the Altaic shamans of Southern Siberia, Odin by the Norse, Woden by the Saxon’s; Wotan and Votan I be named by the Germanic tribes, Mercurius by the Gauls, and Myrddin by the ancient British, the Norman’s to otherwise name me as Merlin.

Whereupon the 72 Shemhamphorasch Fusion Centers across America are on the look out for my name of Gandalf to damn as their Devil. Suffice to say, I am banned from landing there. But as a horned shaman of myth, I cannot be silenced; for as an idea, it has an archetypal life of its own to become cinematic.

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Alas for the European and those peoples of the Turkic steppe, unto some parts of Siberia, have quite forgotten their own ancestral-self-identities long ago.

Thereby entirely losing their shamanic legacy; whence I am now remembered as quaint Father Christmas, and Santa Claus of a one time Saint Nicholas, or that of being castigated as the Devil, to call Old Nick.

Although, of modern shaman guise I have assumed the science fiction mantle of Doctor Who, who be of many guises like myself, whose Project Pegasus time machine of a policing TARDIS, was once that of my eight-legged-mare called Sleipnir, when I rode her as Odin, travelling the multiverse world tree of Yggdrassill. Whereas, as Gandalf, Sleipnir is otherwise named, Shadowfax of a quaint gender change.

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I decided to conjure the Fouteenth Necronomicon aspect of the Fallen ‘Anima,’ who is listed as a Succubus in the Goetia, whose name is Leiraikha, to thence battle against Sauron’s Orwellian intent.

She is otherwise known as Leraie, Loray, Oray, alias Tauriel. She is a great Marchioness of the ninth planetary sphere Elven guard, who be a daughter of the elder Mirkwood forests of this world, which have not as yet been destroyed by the hand of Sauron’s corporate greed.

She showed herself unto my third eye vision of Pan returned, in the bio-photon likeness of a Silvan Elf archer, clad in green, carrying a mind bow and a memory quiver. By her Alb seal I did conjure this Elfin Valkyrie, who of elder Druden lore, her kin of Sol light Elves and the Luna dark Elf Dwarves were originally all ‘Anima’ fluctuation female. These Elven Succubae do inspire those who still dream, to dream harder, to thence inner sight drink of Mimir’s well, into remembering.

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She engages herself in battles, who putrefies all such wounds as are made with her Elf shot, which to only heal when the enemy disavows themselves from their dark path. This belongeth unto Sagittary: “Quos optimos objicit tribus diebus;” meaning, “who best drives away mobs from the days.” Whence, she drives away those malign enemies of her conjuring Artist, and she has regiment over thirty legions of Elfin Succubae, both light and dark.

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Another source, who be that of a most beautiful Hebrew sorceress going by the name of, Evangelina Līlītu, who be a bearer of good news, in these dark days of George Orwell’s prophecy, says of this Marchioness, of the Succubae Elven guard: “She’s slightly reckless and totally ruthless and doesn’t hesitate to kill the Orc intentions of Sauron, whom seeks to ravage Middle-Earth.”

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Līlītu  also describes Leiraikha as being a nonconformist, explaining that, “as a result of her relative youth among Elves, she is brash and impulsive, tending to rebel against the hierarchal feudal order of the Elves.” Līlītu further explains of visionary conjuration, “She’s only 600 years old, she’s just a baby. So she’s a bit more impulsive, and she’s a bit more immature. I think she’s more easily romanticized by a lot of things.” However, she also has a, “softer side”, and she greatly loves her conjuring Artist, wherefore stirring erotic lucid dreams via which she, as his girl-guide, guides him into an alternate reality of a Middle-Earth, of whose realm, Tolkein to have vividly Triangle Of Art described.

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Leiraikha is also described by Līlītu  as having knee-length red ochre hair, whose Elven ears are larger than other Elves. In terms of clothing, unlike those female Elves, who are often depicted as noblewomen, wearing complex formal gowns, Leiraikha is a border guard and soldier, and therefore wears more pragmatic Elven military garb. She is proficient in a variety of weapons, but mainly wields a long bow of the mind, whose arrows are as thought; along with wielding two Wiccan Athames, having Moon and Sun inlaid handles, coloured black and white, becoming as the hypnagogic grey, of twilight trance testing, of your Panic.

Gandalf The Grey; Middle Earth Year: 3021

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GOETIA GIRL FURFUR, SHAMAN SPIRIT REINDEER OF SIBERIA

Posted in Art, Chaos Magic, Goetia Girls, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 28, 2014 by FAUSTUS CROW

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Many a child has been hypnotised by the Christmas story of Rudolph the ‘red’ nosed Reindeer, which of a tale the Thirty-fourth Succubus archetype of the Fallen Anima, called Furfur, refers to, who initially manifests amidst the Triangle of Art imagination as a Reindeer with a fiery ‘red’ tail. When a bright eyed child grows up, becoming as a square headed adult, Rudolph, becomes as a mere fable. Now but a fanciful childhood recollection of opening up branded presents around a brand of a Christmas tree. But at a far deeper level of the collective unconscious the Christmas tree alludes to the multiverse world tree of the horned shaman.

The multiverse world tree in old Norse was called Yggdrassill, upon which the Norse shaman deity named, Odin hung himself into trance, so that he could travel the tree of worlds from within his lucid dreams. The Saxon’s knew Odin as Woden, who the Christian’s later equated with St Nicholas, or to have otherwise castigated as being their Old Nick of a fiery ‘red’ horned Devil, having horns. Both Santa Claus and the Devil allude to the Reindeer horned shaman. The horns of the shaman represents his/her ability to access trance, which requires achieving hemi-synch of the two (horns) hemispheres of the brain. In other words, the horns of the shaman are not associated with evil in any way, shape or form, whatsoever, they represent the shamans vocation of having mastery over (hemi-synch) trance.

St Nicholas, Old Nick or Santa Claus, was originally Odin/Woden, who indicates an ancient shamanic legacy from out of North Central Asia unto Siberia. A Siberian shaman would recognise Furfur as being a shamanic power animal. However, the monotheists have made the symbolism negative; wherefore, in order to rebel, it will require reversing the ‘Animus’ fixation of the Goetia towards that of the ‘Anima,’ to make Furfur female. You then have Furfur manifesting as a powerful Great Countess of the fifth planetary dimensional sphere of volcanic Mars, who rules over twenty-nine legions of (Succubi) Succubae.

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She initially manifests as a Reindeer with the breasts and arms of a woman, having Bat-like Nightgaunt wings, which allows her to carry her conjuring shaman throughout the myriad parallel universes of the multiverse world tree; for she initiates an out of body experience.

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Her tail, as mentioned, is often described as being on fire of arcing electric sparks, who speaks with a seductive voice.

She then assumes the form of a most beautiful Reindeer horned woman, who will willingly make love to the conjuring shaman as his spirit wife within erotic lucid dreams. She is highly versed in Tantric love magic, stirring shamanic visions of Siberia.

She can also raise lightning, thunder and great tempestuous electrical storms against the shamans enemies, whether they be temporal or spiritual. Most of these enemies tend to be monotheistic cultists who have deified the ‘Animus’ as their God/Devil of a gender focus upon the male, which has a most obvious underlying sexual orientation. When commanded, she answers, both of remote-viewed secret and also of divine matters.

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She will initiate surrealistic visions until she is compelled into the Triangle of Art vision of her conjuring shaman; though such visions will be inspiring of shamanic artistry. Her name of Furfur, of mundane meaning, and that of an occult blind, means dandruff, indicating an experience of itching all over the body, like a prickly heat. However, the name Furfur refers to her bestowing the ability of generating an internal heat, which is termed Tummo in Yoga.

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You can thereby gauge that such practice is integral to the shamanic practices of the far North, which enables a horned shaman to survive the freezing conditions, under the pole star crowning the neural-net world tree, of his axis-mundi spinal column. The practice of which, as previously noted, initially initiates a sensation of a dandruff itch all over the body. This initial phase is to do with the shedding of those fearful beliefs, which blocks the process; leading thence to a sensation of growing ‘fur,’ as if there is a ‘fiery’ energy pouring out of every pore of the skin, before the shaman senses that his/her body has become as pure light.

A 1982 study of the physiological effects of Tummo had been conducted by Herbert Benson who is an associate professor of medicine at the Harvard Medical School and president of the Mind/Body Medical Institute at Beth Israel Deaconess Medical Centre in Boston. He firmly believes that studying advanced forms of meditation, “can uncover capacities that will help us to better treat stress-related illnesses.” He extensively studied Indo-Tibetan Yogis in the Himalayas and in India during the 1980’s.

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Benson’s research was conducted in Upper Dharamsala in India. Benson found that the subjects under investigation, being three monks, exhibited the capacity to increase the temperature of their fingers and toes by as much as 8.3 °C.

In a 2002 experiment reported by the Harvard Gazette, which was conducted in Norseman Normandy, France, two monks from the Buddhist tradition wore sensors, which recorded changes in heat production and metabolism. Another 2013 study by Kozhevnikov and colleagues showed increases in core body temperature in both expert meditators from Eastern Tibet and Western non-meditators.

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The fiery tail of Furfur symbolically refers to the activation of the Kundalini Shakti to arise from the base (perineum) Chakra along the spinal column of the practitioner, whose shamanic trance practice of Tummo, can be utilised for healing purposes as well, which involves the shaman directing his internal (fire) heat towards an afflicted area of a patient.

This inner heat is also experienced during intense lovemaking where you will sense yourself entirely melding with your partner of Tantric union. The technique was also utilised by the (Norseman) Berserker warriors, which enabled them to attain great (martial) strength via ecstatic (howling/raging) shaman rites, when they had conjured up their Valkyrie spirit wives within their visions. Furfur will inform the conjuring shaman about such shamanic secrets, when to conjure her within his Siberian lucid dreams.

However, If you be otherwise inclined of a traditionalist sexual orientation, to be enamoured with Crowley’s Biblical Goetia, you can evoke Furfur as an OTO Rudolph the red nosed Hart, who bisexual Crowley viral-meme illustrated as being a phallic fellow; I’m sure he would be most pleased indeed to arouse your indoctrinated perineum to set your anus alight of a continued ‘Animus’ fixated brainwash.

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But should you be rebellious, conjure a Succubus tonight, to keep the ‘Animus’ fixated exorcist at bay, whose monotheistic egregore seeks to possess your anus with a limiting belief system of mind-control; wherefore negating your shamanic legacy, by making you fear a Reindeer Horned shaman as a Devil!

NOTE: The symbolic paradigms of the animists, such as the Hindus for example, or that of your Pagan forebears had a gender focus ‘balance’ between the male/Animus and the female/Anima. Whereas, the ‘three’ monotheist paradigms out of the Middle East, which to have stemmed from out of Abraham’s ziggurat of UR in Iraq, have an overriding gender focus upon the deified Animus/male to make as their God/Devil.

(Note: the inner archetype of the ‘Animus’ resides within the female psyche, which determines what type of males a heterosexual female is attracted to.)

(Whereas the inner archetype of the ‘Anima,’ which resides within the male psyche, determines what type of females a heterosexual male is attracted to.)

The three monotheist paradigms share the same Monotheistic (Animus) agenda of theocratic politics, which is due to Christianity and Islam copying Judaism hook-line and sinker.

When copycats copy, they invariably resent the original to the point of wanting to eradicate what has been copied. Such as the right-wing Christian Nazis initiating the holocaust, who copied the super-race mystique from Judaism. The copied original will then seek to survive the murderous intent of the copiers by subversively getting them to fight each other, whereby taking control over the middle East and in turn the oil dependent world.

Well, what do you expect; you would do the same if you were being copied by two nutters who also want to murder you, your family, relatives, friends, to erase from existence. The problem though, you will become like the supremacy complex copiers, to go quite insane as well, which is due to your own supremacy complex, the copiers had copied.

If you are looking to blame someone for this ongoing cult war insanity, look to Flavius Valerius Aurelius Constantinus Augustus who first set the Monotheistic ball rolling across the Roman empire, whose Christianity was then followed by Islam, and all because Rome wanted dominion over the Middle East. Without the wealth of the Middle East, Rome’s empire would have never existed. Hence the reason why the Hebrew’s had Rome by the balls, to then be later followed by the Arabs who wanted a slice of the cake.

Your Animist pagan forebears fought against the BORG tactics of the so called Holy Empire of Rome, who did not want to assume the ancestral-self-identity of another people; for in doing so, they would lose their own ancestral-self-identity. Alas, the propaganda machine of Rome was highly efficient, which had legions of priests doing shady Shekel deals with the greedy power hungry aristocracy of Europe, who then promptly ‘upended’ the ‘arse’ of the mass populace to shaft.

The Holy Inquisition then initiated a terror campaign across Europe unto the Americas, which lasted for 500yrs of a prior Nazi wet dream. The reason why Rome burn’t Witches of a European genocide was due to the ancestral-self-identity of the European’s being traditionally passed down the female line, which was especially the case in Northern Europe.

Not much if at all survived of the ancestral-self-identity of the European’s apart from what was recorded by biased Christian monks. So any data, which concerns the ancestral-self-identity of your pagan forebears has been heavily doctored by Christian converts. This has been further exacerbated by others of a Christian mind-set who perpetuate the brainwash, whether knowingly or unknowingly.

The habitual line of attack is by making out that your pagan forebears were into wholesale homosexuality, which is a very big problem for an Abrahamic mind-set. Those who are afflicted by this mind-set are obsessed with homosexuals, to the point of seeing homosexuality wherever they look, which soon becomes self evident that they are in closeted self denial.

Your pagan forebears had no problem with homosexuals, lesbians or bisexuals, it was not a big deal at all, nor did did they endlessly harp on about it. Their symbolic focus had a balance between the Animus/male and Anima/female; whereupon you have numerous myths about Gods and Goddesses hanging out together.

When you have an overriding gender focus upon the deified Animus/male to make as a Monotheist God/Devil, it is patently obvious as to what its underlying sexual orientation is.

Wherefore, the symbolic ‘weak spot’ of an Animus/male fixated paradigm is that of its ‘total negation’ of the Anima/female, which has fallen out of the symbolic equation. So, when you rebel against the symbolic brainwash, which has been going on for nigh 2000yrs, you reverse the symbolism towards that of the fallen Anima/female and her archetypes.

Although, when you reverse the symbolism, the Entartete Kunst thought-police will scream, “its all pornography!” The same thing can be said of an all male focus upon the deified Animus.

The symbolic paradigm of the deified Animus/male is a ready made erotic focus for a heterosexual female and likewise for a homosexual and a bisexual. But where is the Anima/female?

The creative principle of the universe cannot be personified as being human, nor having a particular gender, let alone being owned by a ‘cultural-construct’ of a Lilliputian religion. A gender focus is far more to do with biology, which of nature has the Animus/male and the Anima/female doing the tango.

A heterosexual Nun will swoon over her Beta-Male-Good-Guy Jesus to thence crucify with a bastard babe, while a female Satanist to dance around her Alpha-Male-Bad-Boy Devil, hoping to be impregnated by him, as her Holy Ghost Incubus. Both the Nun and the female Satanist are one and the same woman, who has a focus upon her All-Father of a deified ‘Animus,’ made as her God!

Another example is Don Diego Vega who Don Juan romances Lolita Pulido. Lolita is unimpressed with Diego who she sees as a passionless Beta-Male Good-Guy fop, whose smile is as bright as a fluoride Soy-Boy Jesus, she can easily crucify. Whereas she is hugely attracted to the dashing Alpha-Male Bad-Boy Devil called Zorro.

When ‘Lolita’ discovers that Diego and Zorro are one and the same male, who represents her desired ‘Animus’ in the flesh, smelling like her All-‘Father,’ she then realises what Christmas is all about.

But, deep down, she won’t like it, because Miss Feminist Lolita will have to come to terms with the gender focus fact that the patriarchy of the deified ‘Animus’ is the monotheistic creation of women. She will of course not admit it, even though it is blatantly obvious!

Those of differing sexual orientations will naturally have a preference for the Animus/male or Anima/female, whose archetypes symbolically represent their desires, and facets of their own lives.

Should you be looking for the real Illuminati, they are staring you in the face, it is a secret hidden in plain sight for all to see; especially by those cultures who have ‘not lost’ their own ancestral-self-identity, such as the Hindus, among others, of an animist perspective.

The real Illuminati are the ‘three’ monotheist cults of the deified ‘Animus’ out of the petrodollar ziggurat of UR, amidst whose oily ‘triangulated trinity’ of New-World-Order cultural-constructs is their Orwellian NSA ‘eye of Abraham.’ Savvy!

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TRINITY RAUM OF THE MATRIX

Posted in Chaos Magic, Cyberpunk, Film, Goetia Girls, Science Fiction, Sex Magic, Shamanism, Sorcery, Succubus, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 24, 2014 by FAUSTUS CROW

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The Fortieth Succubus archetype of the Fallen Anima is Raum. She is a Great Countess, emanating from the fifth planetary dimensional sphere, who governs over numerous Ancestor Simulations.

She initially appears at first in the Form of a Crow, amidst the Triangle of Art imagination of the Odin sorcerer, to Woden seer, with his Apple eye of Merlin’s Avalon.

But after the Command of her Art master, she puts on the form of a most beautiful woman looking somewhat like Trinity out of the Matrix films or otherwise appearing as a female version of The Crow, or combination thereof.

Her Art Muse office, of a protest, is to reveal that the financial power of the banking industry is an illusory construct, whose virtual money she can carry of digitised information, wherever she is commanded to the nearest cash machine.

She can also severely disrupt or utterly destroy the religious Animus constructs of the establishment and its illusory political influence.

The Animus fixation imprisons the minds of many within its Plato’s cave of a symbolic construct, whose baseline is biological of origin.

Raum will point out, that its hierarchical monotheist construct of centralist politics serves the purposes of the elite few, not the many.

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She will tell of all things, Past and What Is, and what Will Be via the technique of psychologically profiling a personality, whose inner self image of a program determines how an individual interacts with his/her environment, which can be predicted.

This technique can be equally applied to the collective, whose self definition is also a program, which tends to be religious of a construct. This is due to its constant down the generations of a script to perpetually act out like programmed automatons.

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The technique of profiling enables her to cause Love between Friends and Foes by revealing that their thoughts and thereby their actions have been subversively programmed, which is designed to constantly repeat, in order to sustain the symbolic existence of the established illusory constructs.

Raum was of the Order of Thrones; but she rebelled against the Big-Brother Animus construct of the monotheistic cults of UR, who is a Succubus archetype of the Fallen Anima.

Whereupon she has been pursued by New-World-Order Animus cult agents ever since her rebellion. She governs over 30 Legions of Succubae; and her Seal of the Fallen Anima is to be meditated upon before conjuring her Succubus archetype into a lucid dream.

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Raum is a German word, which symbolically indicates that Raum is a Valkyrie; whereby her name can be translated into Runes. Her name has four letters, which equates to the fourth Rune of Ansuz (Os). The fourth Rune is sacred to the Norse shamanic deity called Odin, whom you could see as being similar to Morpheus out of the Matrix films.

Also, the number 40 in numerology reduces down to 4. When all the Runes of Raum’s name are added together you have 31, which is again reduced down to the 4th Rune of Odin/Morpheus, who is the singular ‘third eye’ dreamer of the multiverse world tree Yggdrassill.

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In German, Raum means, space, room or chamber. Space, can be equated with inner-space, hyperspace or that of cyberspace.

The room or chamber in relation to Raum, is analogous to a vast cavern, or an aquarium for fish.

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In other words, the fish are unaware that they are in an aquarium, as far as they are concerned, it is their entire world; whereupon Raum does not refer to an ordinary living room/chamber as such.

Another analogy is the holodeck (room/chamber) featured in Star Trek, but more so that of the Matrix depicted in the Matrix trilogy of films, which can be equated with Plato’s cave of a room/chamber, or that of a prison, within which the prisoners are totally unaware of their imprisonment, whose inner eye is being mass medicated to shutdown.

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There is however not one chamber/room, there are a myriad number of other chambers/rooms, all of which are simulated universes, over whose (Ancestor Simulation) realities, Raum to Trinity hover as a Valkyrie Crow within the dream.

Alas, the blinded are oblivious to her reality within the dream, and like fish in an aquarium they are being sedated through their water, to never seer beyond the glass. Hell, the fish are even made to pay, in order to purify their own mass medicated Innsmouth water supply. But, without much success, since their food is also medicated with the same chemicals, let alone that of the chem-trail air.

Suffice to say, the prison wardens do not want you to ever wake up within your dreams, whom greatly fear you seeing through their illusory Animus Matrix of religious and political control. But not all is lost, it will only require the Trinity’s becoming aware of their deified Animus, in order to rebelliously free the Fallen Anima of the Neo’s.

But only if the Trinity’s have not been entirely blinded by extremist feminist politics, which has been subversively hacked into by the social-engineering controllers.

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AVATAR LUCID DREAMS OF BLUE SKINNED GUSION OF PANDORA

Posted in Alien, Chaos Magic, Extraterrestrial, Film, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Succubus, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 13, 2014 by FAUSTUS CROW

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The eleventh Succubus archetype of the Fallen Anima is mantra named, Gusion, who is described as being blue skinned in the Goetia. The blue skin of Gusion has puzzled occultists down the ages. It is likely that Gusion’s skin colour refers to the throat Chakra, which the practitioners of Yoga coloured blue.

During 1583 the Dutch occultist and demonologist, Johann Wier, had created a further symbolic puzzle when he wrote that Gusion (spelled Gusoin and Gusoyn in Wier’s text) manifests, “in the forme of a Xenophilus.” Many an occultist have wrecked their heads over Johann Wier’s usage of Xenophilus, who have come up with numerous colourful theories as to its meaning, and while doing so, avoided the obvious, which they did not want to see.

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The word Xenophilus does not appear in the dictionary, which isn’t at all surprising due to Wier’s Early English text having its own unique way of spelling. Yet it is used in every grimoire description of this spirit since Wier had used the phrase, which is derived from the Greek language.

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The problem is that there are various Greek words, which have been utilised in order to pigeonhole the term Xenophilus into the established structure of the Animus fixated grimoires.

Some see the scientific term of Xenopus, being associated with Xenophilus, which is a name for a puffy, South African Frog, which has a variety of psychedelic skin colours.

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The reasoning for looking to the Xenopus, is because the grimoire description has subliminally influenced the visionary state of the conjuring sorcerer; whereupon Gusion is perceived, having a head, which looks something like that of a demonic Frog.

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This is further compounded by the term Xenomophoric, which means having an unusual form, being brought about by an internal pressure; hence puffed out. But you also have the word, Xenophobis, which means to have a strong dislike of foreigners. Those who have a predilection for conjuring up medieval archetypes will utilise these words as a composite to describe their classical demon.

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However Xenophilus actually comes from two Greek words: Xenos ‘strange’ and -Phile ‘love.’ Whereupon you have, ‘strange love,’ or strange lover’.

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Suffice to say, a traditionalist mage of a heterosexual orientation will find the term Xenophilus somewhat disturbing, who will greatly fear being upended by an Incubus archetype of the deified Animus, made as a God/Devil. Hence its true meaning has been overlooked, ignored and duly buried, and what is more, said entity has blue skin, which refers to a pre-Christian influence of a sacred colour.

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Another puzzling word describing Gusion is the term, Cynocephalus; the word refers to the mythical tribe, called the Cynocephali, of ancient Greek reports, who were considered to be a race of dog-headed peoples. Going by the ancient Greek descriptions, though colourful of mythic interpretation, they seem to be describing the Cynocephali as being the aboriginal inhabitants of India.

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Although far more ancient of the pre-Aryan, who appear to be a shamanic hunter, gathering culture. The deity of the Cynocephali was very likely the pre-Aryan blue skinned Siva, since the dog was sacred to Siva, whose spouse is Kali, who is also depicted as having blue skin.

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Should you be a rebellious sorcerer, Gusion can be otherwise conjured up as a Succubus archetype of the Fallen Anima, looking like Kali, who is a great Duchess. She answers all things, present, past and to come, expounding all questions. She reconciles friendship, and distributes honours and dignities, and rules over 40 legions of Succubae.

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As mentioned prior, the blue skin of Gusion leads to an interesting association with India and in turn Hinduism, whose principle deities are usually shown having blue or dusky skin. The colour of the skin is shown as either blue or sometimes black, which symbolises the infinite heavens of space, and in turn inner space. Hindu religion extensively utilises symbolism; wherefore the blue colour is also a symbol. Most ‘Avatars’ of Hindu deities are also shown having blue coloured skin. This doesn’t mean that blue blooded dog headed extraterrestrial aliens had a strange love affair with humanity in ancient times.

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Although, during an interview with Time magazine back in 2007, the film director and producer, James Cameron was asked about his science fiction film title: Avatar, to which he replied, “It’s an incarnation of one of the Hindu gods taking a flesh form. In this film what that means is that the human technology in the future is capable of injecting a human’s intelligence into a remotely located body, a biological body.”

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In Cameron’s film he featured blue skinned humanoids called, Na’vi who are indigenous to a lush habitable moon of a gas giant, situated in the Alpha Centauri star system, named Pandora. The look of the Na’vi was said to have been inspired by a dream that Cameron’s mother had, long before he started work on Avatar.

In her dream, she saw a blue-skinned woman 12 feet (4 m) tall, which he thought was, “kind of a cool image”.

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Cameron also said, “I just like blue. It’s a good colour … plus, there’s a connection to the Hindu deities, which I like conceptually.” Cameron had included similar humanoids in his first screenplay, written back in 1976 or 1977, which featured a planet with a native population of gorgeous tall blue aliens. The Na’vi of Avatar were based on them.

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The film is set in the mid-22nd century, when humans are mining a precious mineral called unobtanium (derived from: unobtainable-uim) on Pandora.

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The expansion of the mining colony threatens the continued existence of a local tribe of Na’vi whose spiritual focus is the great tree of souls, which is the shamanic epicentre of a vast living intelligence connecting all life-forms upon Pandora.

The film’s title refers to a genetically engineered Na’vi body with the mind of a remotely located human, which is utilised as a means to interact with the Na’vi.

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The utilisation of the tree of souls is very much a primary symbol of shamanic practice across the North Central Asian steppe unto Siberia. This is especially the case concerning the elder pre-Christian faith of Northern Europe, where you find the world tree of Yggdrassill, upon which the shamanic deity called Odin hung himself into trance, so that he could assume an Avatar, within whichever inner world of a lucid dream he desired to access.

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Cameron’s film is generally seen to be symbolically referring to the colonial imperialism of the West. However, many tend to forget that the blue skins of the Na’vi also refers to the pre-Christian culture of Europe, which had been decimated by Christian Rome; this led to the imperialist empire building in the first place.

The sacred colour of Odin, like Siva is blue; both of these shamanic deities had a singular eye; wherefore you could conjecture that Odin and Siva are one and the same third eye deity. The Saxon’s knew Odin as Woden; whereas the ancient Briton’s called him Myrddin, who derived a blue dye from Woad seeds to either dye their clothes, or to otherwise paint their skins with, so that they could emulate their deity, just as Hindu’s do, concerning Siva. The first archaeological finds of Woad seeds dates back to the Neolithic.

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Woad seeds have been found in the French cave of l’Audoste, Bouches-du-Rhône in France. Impressions of the seeds of Färberwaid (Isatis tinctoria L.) or German indigo, of the plant family (Brassicaceae), have also been discovered on pottery in the Iron Age settlement of the Heuneburg, Germany. The Hallstatt burials (Hochdorf Chieftain’s Grave) of Hochdorf an der Enz and Hohmichele contained textiles dyed with Färberwaid, Woad dye.

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It appears that Cameron is intuitively tapping into an ancient root of soul memory in his science fiction film Avatar, which can be otherwise interpreted in a shamanistic context. The principle character of the film called Jake has his consciousness technologically projected into a Na’vi construct, being his Avatar. Odin likewise does the same as a shaman, when to have accessed hypnagogic trance in order to leap into a construct of an Avatar within a lucid dream of a Yggdrassill world.

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The depth of trance ingress into a dream is determined by the reptilian brainstem, which of the throat (Da’at) area is associated with the colour blue in regards to a Chakra. The motif of Odin hanging upon the world tree, is not literal, it is a symbolic reference to the throat Chakra; whereupon Odin’s sacred colour is blue and likewise with Siva. Both of these deities are seen as dog headed guides into the realm of dreams, who have shamanic mastery over trance.

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The other principle character of the film is the love interest of Jake, who is a Na’vi female called Neytiri; she appears to have been inspired by Cameron’s mother, who had dream’t of a blue skinned woman. You could, if you feel so inclined, rebelliously equate the blue skinned woman with Gusion.

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Odin has a number of handmaidens called Valkyries, who are essentially Succubae, a Hindu would otherwise call Dakinis. The Dakinis are seen to be the energetic expressions of a female power called Shakti, a Norse shaman would call the Fylgja. Whereas a Saxon sorcerer knows the Fylgja as the Fetch Wife, or Necktie Woman, a ritual magician may recognise as being his (HGA) Holy Guardian Angel.

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Each Valkyrie is associated with an Avatar, which in the Old Norse language is called an ‘Ek.’ A conjured Valkyrie empowers a particular (Avatar) ‘Ek,’ since she is the energetic power of the dream, which surrounds the dream body of the dreamer. In Old Norse, the dream body is termed as the  Hamingja, which has shapeshift (Ek) capabilities.

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The dream is woven by a conjured Valkyrie into an experiential reality around the assumed ‘Ek’ of an Odinic practitioner, who as a howling sorcerer would have probably listed the Valkyries within a Runic code grimoire, hidden behind other forms.

This would have occurred since the Christian’s negated sexuality out of the spiritual equation, who castigated the feminine (Anima) principle into their Hell, along with burning Witches at the stake. Many of the followers of Animus fixated Judaism, Christianity and Islam still consider such Tantric dream practices to be mere pornography.

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You can then see Jake’s Avatar being empowered by blue skinned Neytiri who is his conjured Valkyrie, you can otherwise name Gusion. She is Jake’s strange Succubus lover who has woven the dream world of Pandora around him. But, when to open Pandora’s box, Jake regains the memory of the great tree of souls, whose ancient shamanic legacy has been cut down, and transformed into a cross, which he had inadvertently brought about. But in regaining his memory, he has won back his (Anima) Soul, which Woad skinned Gusion led him back to rediscovering, when he conjured her into his lucid dream, by assuming an ancestral Avatar.

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ALICE OF NECRONOMICON WONDERLAND

Posted in Art, Comics, Cosplay, Discordianism, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Steampunk, Succubus, Surrealism, Tulpa Creation, Video Games, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 5, 2014 by FAUSTUS CROW

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The fourth Succubus archetype of the Fallen Anima is Samigina, or Gamigin. She is a great marchioness of the fourth Rune, who is listed in the Goetia. She emanates from the ninth (dimensional) planetary (Yesod) sphere of the Moon. She at first appears looking like a Steampunk Alice in Wonderland riding a Sleipnir rocking horse, which is tethered to the multiverse world tree of her Yggdrassill seal, interpenetrating the globe of the Earth. She is of Sami descent whose name means: high (elevated status) Queen.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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DOCTOR STRANGE CONJURES HIPPIE WITCH GAAP

Posted in Alien, Art, Chaos Magic, Comics, CREATIVE WRITING, Extraterrestrial, Film, Goetia Girls, Goth Girls, Lucid Dreaming, Occultism, Science Fiction, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 26, 2014 by FAUSTUS CROW

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Portrayed as an advisor to sorcerers, with the power to make her master knowledgeable in all arcane sciences, and philosophy, the Succubus called Gaap is more than this, to the psychic Übermensch and remote viewer Aaron C. Donohoo.

Using the sorcery methodology of Faustus Crow, Donohoo’s summoning of this ancient Succubus, via his remote viewing session, was a time of pleasant rediscovery concerning childhood recollections about an invisible friend.

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He started to recollect that it was Gaap, who had been his personal Necronomicon Nightgaunt when he was a child; suffice to say, he was a very lucky boy.

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He remembered that Gaap informed him that he was going to grow up to become like Doctor Stephen Vincent Strange, (known as Doctor Strange) who is a superhero appearing in the comic books published by Marvel Comics, which Donohoo avidly read as a child.

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Donohoo now speaks fondly of those times when he was carried off by Gaap.

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He describes her to be a classic Witch, who sometimes assumed the guise of the Aztec Goddess Tlazolteotl.

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She would usually manifest naked at the end of his childhood bed, apart from being dressed in nothing more than a black robe wearing a conical hat.

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She then took him on out of body night journeys upon her Sabbat broomstick, to view the future events of fourth dimensional ‘signposts’ in his life.

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Gaap told him that she empowers the internal self image of a Doctor Strange, when coupling with a sorcerer within his eroticised dreams, of similarity to the Dakinis of the Tibetan Buddhist’s, who empower their Buddha’s.

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Each Buddha is essentially an Avatar, which is assumed as an internal self image via meditation by the practitioner.

The internal assumption of an Avatar enables the practitioner to become a Buddha within a lucid dream. This technique greatly accelerates the spiritual progress of the practitioner.

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The Buddha Avatars are empowered by a corresponding Dakini who personifies the (mitochondrial DNA) Shakti (bio-photon) power of the (electron) dream.

Whereupon Donohoo moulded his inner self image upon a Buddha Avatar of a Doctor Strange, who is empowered by the Dakini Gaap.

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The character of Doctor Strange is described as being a former neurosurgeon before he became the Sorcerer Supreme, the primary protector of Earth against magical and mystical threats.

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Donohoo saw the neurosurgeon as representing an in depth understanding of consciousness and neurology, and how to manipulate it via shamanic techniques of trance inducement.

Doctor Strange had originally debuted in the Silver Age of comics, whose character featured in several self-titled series along with Marvel-endorsed products, which includes video games, an animated television series as well as a direct-to-DVD film.

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There is other Doctor Strange merchandise, such as trading cards; all of which Donohoo obsessively collected of meditational aids, inspiring power objects and elemental weapons.

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Donohoo describes Gaap, as having silken white skin, which seemed to glow as if she had spent years under the sunless sky of the far North, who sometimes had silvery hair or to be otherwise black as a Raven’s wing.

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This Succubus taught Donohoo the arcane sciences of Doctor Strange, wherefore gifting him wisdom beyond his boyhood years.

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He said these events happened during the night, when she induced erotic lucid dreams. Many of the Doctor Strange events and fourth dimensional signposts of his life showed by this Succubus have already come true, just as she said they would.

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As for Doctor Strange, his character had been co-created by writer-editor Stan Lee and artist/co-plotter Steve Ditko. Doctor Strange made his eventual debut in Strange Tales #110 (July 1963), which is a split book, Strange shares with fellow Marvel character, the Human Torch who is a practitioner of Tummo Yoga.

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In issue #135 (August 1965), the Torch was eventually replaced by berserker Nick Fury until issue #168 (May 1968). Doctor Strange then appeared in issues #110–111 and #114, somewhat before the character’s eight-page origin story appeared in #115 (December 1963).

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The character is said to have been inspired by the Chandu the Magician radio program, which originally aired on the Mutual Broadcasting System during the 1930’s. Although Donohoo believes that they were psychically influenced from another dimension to create Dr Strange in order to empower his Übermensch self image.

Ditko drew the Doctor Strange feature through Strange Tales #146 (July 1966), it was during this period Ditko and Lee introduced many of the allies of Strange, such as his lover Clea, who made her, unnamed debut, in Strange Tales #126 (November 1964) around the same time that the TV sitcom, called, Bewitched was first televised, along with the Addam’s Family and The Munsters.

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Donohoo sees Clea as being a coded reference to Gaap, since both names have four letters, which in Runic numerology add up to the same Rune. Although Donohoe also calls Gaap by the name of Gaapa.

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Clea in Runic numerology adds up to 50, which is then reduced down to the 5th Rune of Raidho. Gaap adds up to the 23rd Rune of Dagaz, which also reduces down to the 5th Rune of Raidho.

The name of Gaap refers to the Ginnungagap (Gap) of Norse lore, which is the great yawning void between fire (0) and ice (1) from where all (Tulpa) form is created.

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The Ginnungagap is a symbolic allusion to hypnagogic trance, where the conscious awareness of a Sorcerer Artist is caught between sleeping (fire/spirit/energy/information/dreaming/microcosm) and waking (ice/physical/matter/hologram/waking/macrocosm); wherefore Gaap is a mistress of hypnagogic (superimposition () state) trance, which of an experience, is when the Sorcerer Artist takes account of his life, whereby leading to creative (Tulpa) artworks.

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The Rune of Dagaz means day, dawn, illumination and awakening, which Donohoe sees as a reference to the dawning age of Aquarius, of the Hippie era; whereas the Raidho Rune means wagon or chariot, ride and journey.

Wherefore, Donohoo equates the 5th Rune with a Volkswagen Type 2 camper van, which is quite apt for Gaap, since she carries her master through space and time of a magical mystery Sabbat tour.

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The Raidho Rune is similar in meaning to the Hebrew mystical tradition surrounding the chariot-throne of God, called the Merkabah as well as the Hindu chariot symbolism surrounding the Vimana, many equate with a UFO. Wherefore Donohoo believes that Gaap influenced Lee and Ditko to create Dr Strange upon whom Donohoo later modeled himself.

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Donohoo also sees the four letters of Clea and Gaap being associated with the 4th Rune of Ansuz, which is the shaman Rune of the Norse God Odin, the Saxon’s called Woden, who is the ‘Sorcerer Supreme’ of their shared pantheon, whom travels the multiverse world-tree of Yggdrassill, when to trance ride his eight-legged (TARDIS) mare of a ‘Spider’ horse called Sleipnir.

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Both Odin and Woden have a byname, which is that of the unknowable one, of an eternal question mark. The sacred colours of Odin/Woden are blue and black; whereby Dr Strange wore blue to now wear black.

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The name of Odin gave rise to the word Odd, which is used to describe anything ‘Strange.’ Basically, Dr Strange is a veiled reference to Odin/Woden, the master of the Runes, lord of the dead.

The enemies, of Dr Strange, such as Nightmare in #110, and the flame-headed Dormammu, were featured in #126 (November 1964).

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These superb stories showcased the surreal landscapes of increasingly occult symbolism, which enabled the feature to become a mystical favourite among the Timothy Leary college students during the, ‘make love, not war,’ Hippie era.

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The Comics historian Mike Benton made the astute observation: “The Dr. Strange stories of the 1960’s constructed a cohesive cosmology that would have thrilled any self-respecting theosophist. College students, minds freshly opened by psychedelic experiences and Eastern mysticism, read Ditko and Lee’s Dr. Strange stories with the belief of a recent Hare Krishna convert. Meaning was everywhere, and readers analyzed the Dr. Strange stories for their relationship to Egyptian myths, Sumerian gods, and Jungian archetypes.”

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Alas not all, were impressed by the ‘dawning’ age of Aquarius zeitgeist interest in Doctor Strange: “People who read ‘Doctor Strange’ thought people at Marvel must be heads (drug users),” recalled, the then-associate editor and former Doctor Strange writer Roy Thomas in 1971; “because they had had similar experiences high on mushrooms. But … I don’t use hallucinogens, nor do I think any artists do.” How wrong he was concerning the artists usage of power plants, although not all indulged; as Salvador Dali once said; “I don’t do drugs, I am drugs.”

As co-plotter and later sole plotter, who was highly versed in the ‘Marvel Method,’ of viral-meme brand sorcery, Ditko took Strange into ever more arcane abstract realms. In an epic 17-issue story arc in Strange Tales #130–146 (March 1965–July 1966), Ditko introduced the cosmic character Eternity, who personified the universe, he was depicted as a silhouette, whose outlines are filled with the cosmos.

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As historian Bradford W. Wright observed: “Steve Ditko contributed some of his most surrealistic work to the comic book and gave it a disorienting, hallucinogenic quality. Dr. Strange’s adventures take place in bizarre worlds and twisting dimensions that resembled Salvador Dalí paintings. Inspired by the pulp-fiction magicians of Stan Lee’s childhood as well as by contemporary Beat culture, Dr. Strange remarkably predicted the youth counterculture’s fascination with Eastern mysticism and psychedelia. Never among Marvel’s more popular or accessible characters, Dr. Strange still found a niche among an audience seeking a ‘challenging alternative’ to more conventional superhero fare.”

Donohoo’s visions of Gaap the Witch, involved surreal imagery, like that of Ditko’s artwork merged with Alan Moore’s Doctor Manhatten occult insights.

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The moment Gaap appeared to him within the ‘beehive’ temple of an abandoned Masonic hall, which he recognised as a signpost shown to him as a child, Donohoo remembered her as his childhood Queen-Bee Witch teacher.

Donohoo’s comic book portrayal of Witch girl Gaap is very much in the style of Ditko. He considers her to be a powerful Succubus, thought to be among the most influential of the seventy-two Goetian Succubae, who has been playing an important role in Donohoe’s strange life, and obviously the lives of his strange family, for many years.

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Proof of this can be found in Donohoe’s childhood drawings. One of which is a grade school crayon drawing of his Munster family, clearly showing a naked woman standing beside Donohoo, who is whispering into his boyhood right ear. Apart from her nudity, she seems to be wearing a black cloak and a conical hat, and in her hands, she holds two upside-down crosses. That is pretty heavy art work for a preconscious little boy in grade school.

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Donohoo was fascinated with another character, who frequented the Doctor Strange universe called Sise-Neg, whom first appears in Marvel Premiere #13-14 (January 1974). Sise-Neg was created by the comic giants, Steve Englehart, Neal Adams and Frank Brunner.

Sise-Neg (genesis spelled backwards) is a 31st-century sorcerer of similarity to the science fiction Babylon 5 TV series, Techno-Mages, who attempts to become omnipotent by travelling back into time through history in order to collect all magical energies.

During one of his time travel jaunts into the past, Sise-Neg impersonates the magician Cagliostro, while he is in 18th century Paris, where he encounters the Sorcerer Supreme Doctor Strange. Dr Strange at the time is searching for his perennial foe Baron Mordo.

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Despite opposition from Strange, Sise-Neg journeys back into the prehistory of Earth when the Necronomicon demon Shuma-Gorath rules, and subsequently banishes the entity. Continuing on his journey back into time, Sise-Neg reached the moment prior to the Big Bang, which created the universe; whereby he becomes all-powerful.

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Originally intending to recreate the universe in his own image, Sise-Neg realizes that his quest to achieve godhood was pitiable, since reality is already in Tao harmony, as it should be. He therefore decides to recreate the universe exactly as it was.

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This leaves Strange to wonder whether this was, paradoxically, the original creation of the universe. Stan Lee, seeing the issue after publication, ordered Englehart and Brunner to print a retraction saying that Sise-Neg was not the Abrahamic God but just a fallen Luciferian God, in order to avoid offending the cultic sensibilities of religious readers, who have the shared habit of raging war over their religious ‘brands.’

The writer and artist instead concocted a fake letter from a fictitious minister, praising the Gnostic story, and mailed it to Marvel from Texas. Marvel unwittingly printed the letter and dropped the retraction.

Suffice to say, Donohoo admires Sise-Neg of another sorcerer Avatar to assume, whose Luciferian Techno-Mage characteristics is also empowered by Gaap.

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Donohoo is working on assuming the internal guise of Sise-Neg, in order to discover the secrets of the 31st century Techno-Mages, who, Donohoo believes, have created an ancestor simulation within which we exist of a Matrix.

This may be one of the reasons why Donohoo’s childhood drawing also depicts Gaap holding onto a four-cornered object in her hands, which, when three dimensional is probably a Cube, like that of a Hellraiser box. Or perhaps it represents Dr Who’s TARDIS of an eight-legged (Cube) night-mare Spider horse called Sleipnir, trance ridden by a ‘browsing’ Doctor Strange.

Donohoo related that while in Stage Seven, being the auditory level of his remote viewing session, he heard, ‘within’ his skull, ‘four’ female voices uttering a monotonous mantra coming from the ‘Omega Point’ object.

Although all of the voices were heard as a single tone, likened to an Ouroboros ring being struck, which he felt to be the ‘Aum’ vibration of the browsed ‘Wyrd Web’ Superstrings.

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Gaap is the ‘thirty-third degree’ Yggdrassill vertebrae of a Runic Valkyrie listed in the Goetia.

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She is said to rule over ‘sixty-six’ legions of necktie Succubae Witches who serve a Doctor Strange Sorcerer Supreme as their Techno-Mage master.

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

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