Archive for yoga

ART MUSE EVOLUTION

Posted in Art, Chaos Magic, Goetia Girls, Love Magic, Lucid Dreaming, Psychology, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 22, 2017 by FAUSTUS CROW

How did the naked ape become so smart, and what initiated it to happen? To untangle this age old question, anthropologists have been seeking to discover archaeological artefacts, which reveal the evolving intelligence of our human ancestors who lived 1.8 million years ago. It was at this point in the far distant past that a new type of stone tool had erupted upon the scene along with the human brain nearly doubling in size.

Some researchers have suggested that this more advanced technology, coupled with a bigger brain, implies a higher degree of intelligence, which was propelled by the first signs of language. But there is another driving force propelling this evolutionary leap in tool making, which is far more basic, yet profound in its implications. It was driven by the biological imperative to be seen as being attractive to the opposite sex.

Basically, the ape with the bigger chopper got the females attention, because with such a tool, he could provide the necessary fodder for his mate and progeny.

This of course also required him to have a bigger brain pan to create a better and far more efficient chopper than his competition, whereby enabling him to sow his seed, siring ever more cleverer apes. Some of whom would escalate in intelligence, becoming far too clever for their own good, but that’s evolution for you!

Let’s imagine a scenario, you have a lumbering giant of a cave man looking like Arnold Shwarzenegger with pumped up bear brawn, having the biggest red ‘Animus’ arse around, facing a spindly little cave man looking like Jim Carrey. The spindly cave man appears to be inanely grinning, for some unknown reason. All the cave women are pulling their hair out, frothing at the mouth, baring their breasts and buttocks, lustfully screaming.

The cave women are howling for their red ‘Animus’ arse favourite to attain the right to mate with them, who are expecting him to entirely decimate the little inconsequential cave man. Even the girls, who, like their mothers, scream out for the apish bear to win; but then, girls emotionally mature far more quickly than the boys do.

As the giant goes in for the kill, the little cave man suddenly pulls out a slingshot, to quickly let loose a sharpened stone at the bear sized ape. Whack! Right between his drooping testicles, the giant crashes to the ground with his red ‘Animus’ arse up in the air. All the cave women are stunned senseless. Intelligence has won over bear brawn, the new evolutionary aphrodisiac!

But, without the need to mate, the spindly cave man would have never been able to create a slingshot in the first place to give him the edge over mere brawn. Sounds a bit too cave man basic doesn’t it. Let us move forward in time to the glory that was ancient Greece, to see a horny sculptor sculpting a Venus out of marble with his advanced tool, or that of a sweaty renaissance Artist painting a canvas, inspired by an Art model Muse, who also drove the scientist absolutely Einstein crazy, creating varied technological tools. I shit you not, the Faustian scientist entered into an Osculum Infame Coitus Pactum with his Muse!

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Your programmed brain might consider that this generalised interpretation is politically incorrect let alone sexist? Well, it isn’t, it takes two to tango. It has always been a case of a Yin-Yang team effort in order to survive all those great mammals, which made your ancestors look like tiny meals on bipedal legs. However they had those nifty hunting tools, bringing down Mammoths, which they also used to defend themselves against sabre tooth tigers and cave bears, etc; to have later created the technological wonders you presently know now, where weapons of mass destruction equates with having the biggest Area 51 Freudian chopper, rather than looking towards the Star Trek stars.

Alas, the bad-boy naked ape having the biggest bad arse chopper on the block, always gets the chicks hot for what’s inside of his beastly pants. There is an ancient Hindu adage, that goes, “a God is not a God without his Shakti.” In general the term, Shakti means the feminine principle, who is the creative inspiration and meaning of all life itself. Another old adage is, “behind every great man is a woman,” which is presently considered to be extremely sexist. However, when to look into ancient cultures, such as ancient Egypt, for example, a Pharaoh crowned as a Horus derives his power from the throne, which is seen to be Isis female, just as a Merlin hawk of a Myrddin is traditionally flown from a ladies stroking hand.

That is why women have been depicted having the hots for the horned Devil, who is actually a horned (Merlin/Myrddin) shaman. In other words, the driving force behind the evolutionary creative impulse of tool making is the biological imperative to be attractive to the opposite sex, otherwise there is no evolutionary furtherance of life. The same would be the case on other alien worlds.

You might ask Is there any hard evidence of the evolution of intelligence being entwined with evolving tool use, which enables a tool using naked ape to become more attractive to the opposite sex? It just so happens, there is some evidence.

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A recent study of brain scans have revealed that when heterosexual men are shown pictures of scantily clad women, the region of the brain associated with ‘tool use’ immediately lights up.

This also indicates something else, concerning the shamanistic usage of erotic mediation images in order to activate the region of the brain associated with tool making, which of an ancient technique enables the conscious conjuring up of personified ideas as ‘Anima’ archetype Muses within lucid dreams.

A Tibetan Bonpo shaman would otherwise term a Muse as being a Dakini, whose inner manifestation enables consciousness expansion into other arenas of fiery perception, beyond the subliminal programming of a particular culture, which has a Playgirl emphasis upon the deified ‘Animus.’

As for the caveman usage of anthropomorphic symbolism, the present day UFO researchers misinterpret as being representations of alien hybrids; the sky-walking void-going Dakinis are often associated with particular archetypal animals, which symbolically represent subconscious energetic qualities. These energetic qualities can be tapped into when conjuring a particular animal headed Dakini. For example the wrathful wisdom Dakini called, Simhamukha initially manifests as a lioness, before assuming human form within a lucid dream.

The same type of anthropomorphic symbolism is utilised in the Playgirl grimoires where you have ‘Animus’ archetypes initially manifesting as various animals. The Muses also initially manifest as animals; it is one of the primary reasons why tools, such as ships, cars and computers, etc, are often given animal names as well as being traditionally seen as being feminine of quality by males, in the main, which at an unconscious level alludes to the tool making part of the male brain being activated. Should a heterosexual male practitioner sheepishly externalise this symbolism as being literal, it will invariably lead to animal welfare officers as well as the police becoming involved.

The finding that sexual (meditation) imagery activates the tool-making part of the male brain gives a whole new slant on the exclamation ‘Eureka!,’ which is famously attributed to the ancient Greek scholar Archimedes having a tool making insight when stepping into his bath. I will leave it to the women to imagine what he was actually doing of a meditation exercise upon Athena, just before bathing his illuminated… head.

However the findings have been mundanely interpreted as indicating that men dehumanize women as being mere sex objects, which of a commonality is seen to be molded by society. Whereupon the ‘Animus’ fixated religions, such as Islam, women have to be entirely covered up head to toe.

The experiment was orchestrated by the lead researcher Susan Fiske, a psychologist at Princeton University, who seems to have entirely missed the evolutionary point of a Eureka finding, who would prefer women being entirely covered up, that, or chemically castrating the ‘Anima’ imaginations of the male population.

“If a similar study were done with women,” Fiske told National Geographic News, “it would be hard to predict whether a woman shown a scantily clad male body would dehumanize him in the same way.” Well, she probably wouldn’t do so, if he hasn’t got a big enough chopper, I mean, stone axe, who would be the type of fellow who finds himself in a dead end job. Although he could potentially bounce out of a pandering shit pan job, should he rebelliously conjure an inspiring Muse amidst his Triangle Of Art Imagination.

Whereas a very crafty Witch would meditate upon an image of an archetypal expression of her deified ‘Animus,’ such as a Good-Guy Beta-Male Angel or an Alpha-Male Bad-Boy Daemon listed in the commonality of the patriarchal Playgirl grimoires, to then conjure up her tool making desire into a lucid dream, and on waking, to thence hunt down her ‘Animus’ projection in the crucified flesh, upon an intuitive synchronicity. Who knows, she may even birth an Indigo Moon Childe mutant of yet another evolutionary leap.

Suffice to say, said chosen male would not know what’s clubbed him, who will then have a primordial tool brain need to create lots of gadgets around the house for his Babalon, that, or having the big-bucks to acquire them from other Muse inspired inventors who are also being ridden as Great Beast’s by Babalon’s.

A number of evolutionary psychologists, who are far more honest than Fiske, have proposed that women tend to look for mates who have wealth and power; whereupon some of Fiske’s colleagues have suggested running a similar test where women are shown pictures of scantily clad Chippendale males next to expensive Merkaba cars or other affluent Playgirl grimoire symbols of tool making prowess.

However, Fiske doesn’t think such an experiment would work the same way, because she sees women usually reacting to men who they desire by “interpreting their minds, thinking about what they’re interested in, and then trying to please them,” she said, which indicates her agenda is far more subjectively political than objectively scientific.

There is ample scientific proof, which indicates that women also objectify men in the same way that Fiske and her cohorts are attempting to scientifically prove that males are the only sex who objectify women. The difference is that males are far more visual; whereas, women are turned on by how a male communicates him self. Hence women are more into ‘literary’ erotica, not so much that of visual stimuli.

But what Fiske to have also revealed without realising, is that the fallen ‘Anima’ fluctuations of the Art Muses act in the same way, like that of conjured schoolgirl (Succubi/Succubae) Dakinis who inspire the tool making brain of a conjuring Tantric headmaster.

When to presently look around, or to investigate bygone ages of innumerable written or illustrated examples, across all cultures, women expertly interpret male minds, by figuring out what they’re emotionally interested in, in order to stop them from sowing their oats elsewhere. Hence, like Hens, women are highly competitive with other women when choosing mates. But only if the desired males have bigger and better tools than the other Peacock males. It isn’t Atomic rocket science, it’s genetically-hardwired nature, which cannot be socially engineered out of existence. Should you intelligently work with mother nature, that’s fine, but if you fight against her, she’ll bite back, and she’s a bitch!

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GOBEKLI TEPE SHAMAN

Posted in archaeology, Chaos Magic, Shamanism, Sorcery, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on July 14, 2017 by FAUSTUS CROW

Göbekli Tepe, is an archaeological site atop a mountain ridge in the Southeastern Anatolia Region of modern-day Turkey, approximately 12 km (7 mi) northeast of the city of Şanlıurfa.

What makes Göbekli Tepe unique is the date, when it was built, which is roughly twelve thousand years ago, circa 10,000 BC, going way beyond anything Hollywood can misdirection conjure up.

Archaeological artefacts have been discovered at Göbekli Tepe, one of which is an image of a human, wearing what looks to be a bird mask in profile, having a pronounced singular (Sun) ‘eye,’ whose spine is represented by the recognisable (Caduceus) symbol of two entwined serpents forming a double (DNA) helix. There are also nine spheres, whose number is considered to be very important in shamanistic systems. The number nine is usually associated with nine spheres of consciousness, planets, worlds or dimensions, which are personified as deities, the nine Rishis and their corresponding ‘wives,’ or as the nine ‘Muses.’

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The motif of the serpent is found elsewhere in Göbekli Tepe along with anthropomorphic bird imagery. The symbolism of the serpent and the bird is well known of in shamanistic practices across the globe. The serpent and bird (feathered serpent) points at the experience of (hypnagogic) trance. When experiencing (hypnagogic) trance, the practitioner experiences the sensation that he/she is swimming like an amphibious fish/serpent in the ‘watery’ realm of the (lucid) dream, which is also equated with (nine planets) space. The serpent describes the experience of an energy rush within the body, which feels as if it is moving up the spine (Chakras/endocrine-system) towards the top of the head, when inducing (hypnagogic) trance.

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This then leads to a ‘flying as a bird,’ like that of becoming a (inner Sun) winged-eye, of an Out Of Body experience, experiencing inner visions:

“In their visions, shamans take their consciousness down to the molecular level and gain access to information related to DNA, which they call “animate essences” or “spirits.” This is where they see double helixes, twisted ladders, and chromosome shapes. This is how shamanic cultures have known for millennia that the vital principle is the same for all living beings, and is shaped like two entwined serpents (or a vine, a rope, ladder…). DNA is the source of their astonishing botanical and medicinal knowledge, which can be attained only in defocalized and “nonrational” states of consciousness, though its results are empirically verifiable. The myths of these cultures are filled with biological imagery, and the shamans metaphoric explanations correspond quite precisely to the descriptions that biologists are starting to provide.”

Jeremy Narby – The Cosmic Serpent, DNA And The Origins Of Knowledge.

Jeremy Narby is a Canadian anthropologist and author. In his books, Narby examines shamanism and molecular biology, and shamans’ knowledge of botanics and biology through the use of entheogens across many cultures.

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Narby has spent several years living with the Ashaninca in the Peruvian Amazon cataloging indigenous use of Ayahuasca.

Dr. Matthew Clark Post-Doctoral Research Associate, SOAS (affiliate), postulated that the ancient Vedic drink of India called Soma could have been an Ayahuasca analogue. If so, a certain pillar in Göbekli Tepe could be describing the Soma preparation of an Ayahuasca counterpart. This would require the plant materials being mixed and crushed together, using ritualistic ‘handled’ tools for the purpose of creating a (Scorpion) poison, which initiates the little death of (hypnagogic) trance.

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There is also an image of an anthropomorphic bird, looking at a circle it is holding, which could represent a sphere, perhaps it is the Earth? If so, they knew that the Earth was spherical, twelve thousand years ago. That or the sphere is an ancient (Soma) pill; but then, both the Earth and a sacred hallucinogen would be seen as being one and the same, all are connected. There are also other symbols, which look like Runes; one of which looks like the 15th Norse (Valkyire) Rune, called Algiz. Although, said (Valkyrie) Rune, in its infancy probably pertained to the motif of the tree and in turn the axis-mundi of the spinal column, and its (Autonomic/Central – Nervous System) three-nerve-channels, which in Hinduism is symbolised by the trident wielded by the shamanic deity called Siva, who partook of (hallucinogen) Soma.

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Little wonder then that the established monotheistic religions are getting in on the act, who are laying claim to Göbekli Tepe as their own to ‘brand,’ since the symbolic focus upon the Middle East has been knocked, which is due to Göbekli Tepe far predating their religious cultural-constructs.

(Much of the shamanistic symbolism has been appropriated by the monotheists, who do not understand it. For example, the symbolism of the horned ‘Cow’ or ‘Bull’ and that of other horned animals are associated with the horns of the shaman, which describe the hemi-synchronisation of the hemispheres of the brain, when accessing [hypnagogic] trance. The shaman will [Serpent] experience the [hypnagogic] trance sensation of having [Cow/Bull] horns growing out of his/her head, or to feel he/she is wearing a crown, or feeling as if his/her head is [pharaoh crown] elongating. This then leads to accessing the inner [Spider] web, which interconnects all things.) 

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However, Göbekli Tepe didn’t just appear out of nowhere, the site was very likely interconnected with other sites. These other sites could potentially far predate Göbekli Tepe, which are yet to be discovered.

That’s if they haven’t been destroyed, since their discovery will totally shatter the theological politics of the monotheistic religious constructs, who are seeking to keep the focus on the Middle East.

(One of the motifs you find in the Middle East is the worship of ‘fire;’ however, this is also known of by other peoples, such as the nomadic Aryans and Mongolian peoples of the steppe, etc. The fire represents the inner [bio-photon] fire, which is associated with the [Mitochondrial DNA] serpent.)

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However much they try to lay claim to Göbekli Tepe their fixation upon a deified ‘Animus’ made as a God, just keeps on getting in the way, which invalidates their shared symbolic constructs of theological politics.

(The monotheists tend to be anti-sex, whereupon when confronted by serpent symbolism, which has a phallic association, they cannot handle it. When accessing [hypnagogic] trance, the conscious awareness of the practitioner is seen to be fertilising the womb of the [lucid] dream, giving birth to visions. The phallic symbolism of the serpent also alludes to the shamanic usage of Psilocybin mushrooms.)

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Their religious cultural constructs are not important here at all, anyway, it is the inner experience, which is of importance; for it is the legacy of everyone upon the planet, which cannot be ‘branded,’ nor owned by any religious cultural construct.

What has been noted is the similarity between the Kundalini Shakti of Yoga practice, out of ancient India and the Göbekli Tepe symbolism of the entwined serpents. The arousal of the Kundalini Shakti (‘Fire’ snake/goddess) is experienced as an inner energy arising along the (Chakras) spinal-column, which then strikes the back of the head like a ‘Scorpion’ sting; this then engenders (hypnagogic) trance visions of the (Muses) Dakinis, the American ethnobotanist Terence McKenna would have equated with his mechanical Elves. The anthropologist and author Carlos Castaneda called the Dakinis, ‘Allies,’ which he described as being an inorganic feminine intelligence associated with power plants. (The stele below is of Siva and two entwined [Caduceaus] serpents from South India) 

This has led to the monotheists getting into a rumble with the animist Hindus, who have come to a shaky agreement that the name of monotheist Abraham could be linked to the animist Hindu deity called Brahma, should you use dodgy etymology as well as moving the letters of Brahma’s name around; they even threw in Siva for good measure. I kid you not!

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But the experience of the Kundalini Shakti is known of in other cultures, under differing names, which of a symbolic communication has its source in ancient shamanistic practices. For example, the symbol of the (Kundalini Shakti) Caduceus was originally carried by Apollo, who it is said had migrated from Hyperborea, which is the ancient Greek name for Siberia.

(The specific Hyperborean area in question could be the Altay [Altai] region of Southern Siberia, which had been hit by a massive Atlantean inland flood during the last ice age. This also ties in with the intriguing genetic findings of the 2012 genome project concerning a genetic cradle from the [Altai] Altay to Lake Baikal that a number of dispersed peoples share.) Apollo then exchanged his Caduceus with Hermes for his seven-stringed lyre, when Apollo eventually reached the land of the Hellenes.

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As for shamanism, it is not and never was a religion, it has no dogma, nor religious texts, it is otherwise that of a system of ‘experiential’ techniques, which enable consciousness expansion. Shamanism is essentially the science of consciousness, anyone can engage in exploring.

When symbol systems are employed as ‘tools’ by shamans, the primary symbolism alludes to experiences of the inner reality, such as the serpent representing the energy rush of (hypnagogic/Phase) trance, the bird symbolising (OOBE) ecstasy, while other animals would represent differing states of consciousness, along with symbolism referring to being re-birthed from the inner visionary world of the (lucid) dream.

Wherefore you will  find similar symbolism across the globe, which is due to our shared neurology and DNA, linking us with other life-forms, like that of being connected by a ‘Spider’s’ web.

(This does not mean that the exploration of the inner reality is disengaged from probable stellar observations, which have been noted at Göbekli Tepe, the two mutually support each other. The star-clock indicates [circadian rhythm] key-times for [hypnagogic] trance ingress into inner space.) 

Whereas a religion has a total focus upon the symbolism of a particular culture, which tends to bury the primary symbolism of an inner experience, to either negate, or keep secret, that, or demonising it. The reason why religious constructs do this, is because, it’s priests who attain power and influence over others, do not want you becoming aware of your own shamanic legacy. Should you become aware of your own inner reality, the priests of the established religious construct will then lose their illusory power over you and others, which they do not want. Otherwise they’re out of their big-business; no more Shekels!

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You can thereby conjecture as to why the builders of Göbekli Tepe later buried what they had built, who may have had the visionary foresight to protect it for their future descendents to rediscover. It does appear they were fully aware that a religious construct and its priests would have destroyed what it communicates of a shamanic legacy.

You might think that all of this sounds crazy; But there are other sites of interest, which may be of similar importance to Göbekli Tepe, the archaeologists are yet to investigate, if they ever do so, since these sites are no doubt considered as being dangerous to those who seek to keep their academic reputations intact, but more so by the present establishment.

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The monotheistic religious constructs have been around for a very long time, their shared establishment is very much entwined with politics, finance, the acquisition of land, material assets, having control over the world’s need for water, food and energy, etc, whose ‘Animus’ fixated symbolism permeates your language and every level of culture.

Hence, they do not want such discoveries being made, since it will utterly destroy the illusory symbolic focus on the religious politics of the ever warring Middle East, upon which your present ‘Oil’ dependent culture is entirely based.

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NOTE: The ancient Greeks most often associated Apollo’s name with the Greek verb ἀπόλλυμι (apollymi), “to destroy,” which is of similarity to the Hindu deity Siva, who is known as the destroyer. However, Siva destroys the illusion of [belief/Ring-Pass-Not/Limit] form, which is that of a rebellion against the accepted norm, symbolically equating with war, this leads to questioning the reality, upheld by an establishment; Siva is an anarchistic evolutionary force, who in many respects represents what a scientist should be.

Apollo is also associated with the ‘serpent’ and with ‘light.’ Hence he was seen to be a titan of the Sun; whereas, his twin sister, Artemis was associated with the Moon, whose Roman name Diana-Lucifera, refers to her being the mother of ‘fire,’ of similarity to the Altaic, Yal-un eke, the Hindus would call the Kundalini Shakti. Apollo’s association with light, is that of the inner light/fire [Diana-Lucifera/Yal-un eke] illuminating your [bio-photon] dreams.

In this context it then links Apollo with the “Southern Siberian” Altaic name, Odqan, which means, ‘Fire King,’ this then leads you to the Norse shamanic deity called Odin, the Saxons called Woden, whose name means ‘Light/ecstasy master,’ who has similarities with Siva and in turn with Apollo. Overall, Apollo – Siva – Odin/Woden was probably a deified [Altaic/Odqan] shaman.  

In regards to the term, Altaic, it is a proposed language family of central Eurasia and Siberia, including the Turkic, Mongolic, and Tungusic groups, which are invariably included in the family. These languages are spoken in a wide arc stretching from Eastern Europe, through Central Asia to Anatolia [Göbekli Tepe] and to the Korean Peninsula and Japanese archipelago in East Asia. The group is named after the Altai mountain range in Central Asia.

The Altaic language group is considered to be highly controversial, as many linguists think that the common features of alleged Altaic languages resulted from borrowing rather than descending from a common ancestral tongue. A few scholars, however, take the opposite perspective and argue that Altaic is a genuine family. It just so happens that many of the peoples speaking these languages appear to have a curious [2012 genome project] genetic link with the [Altai] Altay.

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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.

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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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SHAMAN TRANCE TARDIS HORSE DRUM

Posted in Art, Chaos Magic, Dr Who, Goetia Girls, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tarot, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 29, 2017 by FAUSTUS CROW

The Artwork depicts a Siberian shaman drum. The drum in Siberian shamanism, in particular, is symbolised as being the trance horse the shaman rides into an ecstatic state of consciousness. The motif of the horse is often symbolised as being an eight-legged Mare. 

The eight-legs of the Mare represent the eight cardinal directions, which are also associated with the eight points of a ‘cube.’ Hence in the Tarot card of the ‘horned’ Devil XV, which depicts a demonised ‘horned’ shaman, he is traditionally depicted seated upon a ‘cube,’ you could imaginatively associate with the TARDIS of Doctor Who, since the shaman saw the drum as a macrocosmic tool, that empowers his microcosmic trance ingress into other (inner) realities.

At the centre of the ‘cube,’ and at the centre of the eight cardinal directions you have a ninth point. Whereby the eight-legged Mare was also associated with the world tree interlinking nine (worlds) states of consciousness, which of a symbolic formula was painted upon the drum skin. 

The eight-legged-Mare is also a fusion of two horses, representing the two nerve channels running along either side of the spinal (world tree) column. These two (horses) nerve channels belong to the Autonomic-Nervous-System. When these two (horses) nerve-channels are brought into balance via meditative (hypnotic) drumming, the two horses become fused, as the eight-legged-Mare, which activates the central-nerve channel of the Central-Nervous-System running along the centre of the spinal (world tree) column.

When the central-nerve channel is activated, the shaman will experience the arousal of what is known to the Yoga practitioner as the Kundalini-Shakti, along his spinal (world tree) column. The Kundalini Shakti is considered to be the life-force, which is experienced as being a liquid (fire) light, whose ‘quintessence’ is intuitively felt to have a feminine  (Anima Mundi) source. The Kundalini Shakti may be an intuitive description of the bio-photon, emanating from the Mitochondrial DNA, which is passed down from the mother to her children.

Whereupon the eight-legged Mare is seen to be the (female-centaur) animal form of a Spirit Wife, who manifests as a shape-shifting human (Anima) female within visionary states and bio-photon illuminated lucid dreams, a Surrealist Artist would call an Art MuseIf you are interested in an Art print or the shirt design, etc, Check Out my Redbubble shop, Please Click Here.  

Those of a Westernised temperament will probably find that the symbolism employed by a shaman is a bit too much to swallow, concerning his/her trance tool of a (genie bottle) drum. In order to further clarify what the shamanic symbolism of the drum is communicating in regards to hypnagogic trance induction, which is none too dissimilar to inducing a state of self-hypnosis, you have the following excerpt from a research paper.

Shaman Night-Mare Drum Siberian Trance by MARDUN

“Scientific research has determined that drumming patterns are associated with different brain wave activity, as measured by cortical EEG. The research was conducted, to determine if the subjective experience of percussion in general, and rhythmic drumming in particular, would elicit (inner) images or (internal) sensations with a common (symbolic) theme.”

“Twelve participants were divided into three groups and monitored for EEG frequency response to three separate drumming tapes. These tapes included: Shamanic Drumming, at approximately 4 to 4 1/2 beats per second; I Ching Drumming, at approximately 3 to 4 beats per second; and Free Drumming, which incorporates no sustained rhythmic pattern.”

“Four cortical sites, bilateral parieto-temporal and parieto-central areas, were monitored for each participant during three sessions. At the conclusion of the sessions, each participant prepared a brief written account and was given a tape-recorded interview of his or her subjective experience. These subjective experiences were then categorized according to recurring themes and consensual topics.”

“This research supports the theories that suggest that the use of the drum by indigenous (shamanic) cultures in ritual and ceremony has specific neurophysiological effects and the ability to elicit temporary changes in brain wave activity, and thereby facilitates (Triangle Of Art Imagination) imagery and possible entry into an ASC (altered state of consciousness – active imagination of varying visionary intensities), especially the (shamanic state of consciousness – hypnagogic trance/ecstasy) SSC.”

“Drumming in general, and rhythmic drumming in particular, often induces (inner) imagery that is ceremonial and ritualistic in content (depending on setting) and is an effective tool for entering into a non-ordinary or altered state of consciousness (ASC – active imagination) even when it is extracted from cultural ritual, ceremony, and intent.” 

“The drumming also elicits subjective experiences and images with common themes. These include: loss of time continuum; movement sensations, including pressure on or expansion of various parts of the body and body image distortion, “energy waves,” and sensations of flying, spiraling, dancing, running, etc.; feelings of being energized, relaxed, sharp and clear, hot, cold, and in physical, mental, and/or emotional discomfort. 

“Emotions, ranging from reverie to rage; vivid images of natives, animals, people, and landscapes; and non-ordinary or altered states of consciousness (ASC – active imagination), whereby one is conscious of the fact that there has been a qualitative shift in mental functioning., including the shamanic state of consciousness (SSC -hypnagogic [the Phase] trance) journeys, out-of body experiences (OBE’s), and visitations.” 

“A pattern that incorporates approximately 4 to 4 1/2 beats per second is the most inducing for ‘Theta’ gain. (Theta frequency is usually associated with drowsy, near-unconscious states, such as the [hypnagogic trance] threshold period just before waking or sleeping. This (acoustic/’music’) frequency has also been connected to [creative – ‘Muse’] states of “reverie” and [The Phase] hypnogogic dream-like image.”

“The pattern of the drumbeat as it relates to beats per second can be correlated with resulting temporary changes in brain wave frequency (cycles per second) and/or subjective experience, provided the drumming pattern is sustained for at least 13-15 minutes.” (NOTE: The Theta brainwave is depicted in the design.)

NOTE: The excerpt of the research paper, was adapted with notations, from a ‘Presentation Abstract’ by Melinda Maxfield, Ph.D. for the Stanford University Centre For Computer Research In Music And Acoustics (CCRMA).

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SHAMAN SPIRIT DRUM LUCID DREAMING

Posted in Art, Chaos Magic, Goetia Girls, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 27, 2017 by FAUSTUS CROW

Shaman Spirit Drum Siberian Trance by MARDUN

The Artwork depicts a Yakut Shaman, whose trance drum is symbolically seen to be the genie bottle abode of the his Spirit Wife, who visits him within his lucid dreams.

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The European classification of the Spirit Wife is usually based upon a medieval perception, which considers the Spirit Wife to be a demonic entity, called a Succubus.

Western psychology, during the Soviet era, once considered the Spirit Wife complex of Siberian shamanism and that of other shamanic cultures to be a mental aberration, or that of fantasy prone individuals indulging themselves in erotic delusions. However, the psychologist Carl Jung otherwise saw the Spirit Wife/Succubus as being an archetypal aspect of the ‘Anima.’

Jung saw the feminine archetype of the ‘Anima’ as being the personified intermediary with the psychic powerhouse of the subconscious, whose myriad female forms are encountered within ‘lucid’ dreams, from whom a Shaman derives his psychic abilities, an Artist is inspired by as his Art Muses.

The motif of the Spirit Wife is known to the Yoga practitioner as Shakti, whose numerous feminine aspects are called Dakinis, which is also very much part of Tibetan Buddhist dream Yoga practices as well as Siberian shamanism.

For example, the Goldi tribe of Siberia clearly distinguish between a female tutelary spirit, known as an Ayami, which in Western occult practice is of similarity to the (HGA) Holy Guardian Angel, (Jung would also see the HGA as being the ‘Anima,’) who chooses the shaman.

Whereas the helping spirits, (Jung would see as being the myriad aspects of the ‘Anima’) the Goldi call Syven, an occultist would call (Succubae/Succubi) Demons, which are subordinate to the Ayami. The Syven are granted to the Shaman by the Ayami herself. The Altaic name, Ayami means, ‘Silk Twisted In Beauty,’ as in a horse’s mane. The Siberian shaman in particular sees the drum as his Mare, who too is his Spirit Wife, whom he trance rides as an eight-legged female centaur into conscious dreaming.

According to the ethnologist and anthropologist, Leo Sternberg, the Goldi explain the relations between the Shaman and his Ayami by a complex sexual emotion. Below is an experience related by a Goldi shaman:

“Once I was asleep on my sick-bed, when a spirit approached me. It was a very beautiful woman. Her figure was very slight, she was no more than half an arshin (71 cm.) tall. Her face and attire were quite as those of one of our Gold women.

Her hair fell down to her shoulders in short black tresses. Other shamans say they have had the vision of a woman with one half of her face black, and the other half red. She said: ‘I am the “Ayami” of your ancestors, the Shamans. I taught them shamaning. Now I am going to teach you. The old shamans have died off, and there is no one to heal people. You are to become a shaman.’

Next she said: “I love you, I have no husband now, you will be my husband and I shall be a wife unto you. I shall give you assistant spirits. You are to heal with their aid, and I shall teach and help you myself. Food will come to us from the people.”

I felt dismayed and tried to resist. Then she said, “If you will not obey me, so much the worse for you. I shall kill you.”

She has been coming to me ever since, and I sleep with her as with my own wife, but we have no children. She lives quite by herself without any relatives in a hut, on a mountain, but she often changes her abode. . . . Sometimes she comes under the aspect of an old woman, and sometimes under that of a wolf, so she is terrible to look at.

Sometimes she comes as a winged tiger. I mount it and she takes me to show me different countries. I have seen mountains, where only old men and women live, and Villages, where you see nothing but young people, men and women: they look like Golds and speak Goldish, sometimes those people are turned into tigers.

Now my ‘Ayami’ does not come to me as frequently as before. Formerly, when teaching me, she used to come every night.’

She has given me three assistants-the ‘Jarga’ (the Panther), the ‘Doonto (the Bear) and the ‘Amba’ (the Tiger).

They come to me in my dreams, and appear whenever I summon them while shamanising. 

If one of them refuses to come, the ‘Ayami’ makes them obey, but, they say, there are some who do not obey even the ‘Ayami.’ When I am shamaning, the ‘Ayami’ and the assistant spirits are possessing me; whether big or small, they penetrate me, as smoke or vapour would.

When the ‘Ayami’ is within me, it is she who speaks through my mouth, and she does everything herself.

When I am eating the ‘Sukdu’ (the offerings) and drinking pig’s blood (the blood of pigs is drunk by shamans alone, lay people are forbidden to touch it), it is not I who eat and drink, it is my ‘Ayami’ alone.”

NOTE: The quoted material concerning the Ayami is derived from: Mircea Eliade, Shamanism, op. cit., PP. 72-3, quoting Leo Sternberg, ‘Divine Election in Primitive Religion’ (1924), PP. 476 ff. cf.. Shamanism, PP. 42l ff., for autobiographies of South-Indian Savara male shamans and female shamans, whose marriages to (Anima – Animus) spirits are in striking parallel to the documents collected by Sternberg.

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SHAMAN DRUM SIBERIAN TRANCE

Posted in Art, Chaos Magic, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Time Travel, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 22, 2017 by FAUSTUS CROW

The design features a Finno-Ugric Siberian shaman. The word Shaman originates from Siberia, which is said to be derived from the Evenki word “šamán,” most likely from the South-Western dialect spoken by the Sym Evenki peoples. If you are interested in the Art pint, shirt design, etc, Check Out my Redbubble shop, Please Click Here.

The Tungusic term, Shaman, was subsequently adopted by Russian explorers interacting with the indigenous peoples in Siberia. The word, Shaman can also be found in the memoirs of the exiled Russian churchman Avvakum.

The term Shaman has since been adopted by anthropologists as a coverall term for numerous other cultures who share similar shamanic techniques, which enable a practitioner to alter his/her (brain wave) states of consciousness.

The Siberian shaman in particular utilises the drum. The drum is often referred to as being an eight-legged-mare; which is in turn is associated with the abode of a (Anima emanation) Spirit Wife, somewhat like a genie in her (drum) bottle. In other words, the drum, Mare and Spirit Wife are seen to be the same. (The Eight legs of the Mare, being the eight compass directions of a symbol painted upon the skin of the drum, which is also associated with the motif of the World Tree.)

 

The shamanic motif of the Mare and the Spirit Wife leads to the term ‘Nightmare,’ which originally referred to the Old-Hag Syndrome.

The Old Hag Syndrome is otherwise known as the Bedroom Invader Experience, which is experienced when an individual inadvertently accesses hypnagogic trance.

An unprepared individual will invariably become terrified when accessing hypnagogic trance, wherein he/she will experience the manifestations of his/her deepest fears, which often involves sexual scenarios.

Whereupon the term, Old-Hag Syndrome refers to the visitation of a Succubus, whose initial manifestation is nightmarish, which induces the experience of intense pressure upon the body, the sensation of being (Sphinx) strangled, sleep paralysis, vivid hallucinations, and eventual lucid dreams.

Wherein an individual will feel as if he is being abducted by otherworldly (Alien) entities as well as experiencing out of body experiences.

The Shaman learns to control his fear, in order to ride the (inner TARDIS) ‘Night-Mare,’ rather than being ridden by her.

Whereupon she becomes his (Ally) Spirit Wife; hence the carved (World Tree/Axis-Mundi) handle of the Shamans (Mare) drum in the design, which represents his (trance) Spirit (Anima-Mundi) Wife.

(NOTE: The Mare/drum [trance symbol and tool] is seen to be tethered to the World Tree, which symbolically represents the spinal column of the Shaman. The Spirit Wife refers to what Yoga practitioners call the Kundalini Shakti, which is experienced as a liquid energy that is aroused to arise along the (World Tree) spinal column. the Kalahari Bushmen of South Africa call this inner energy, Num, which is aroused when a practitioner accesses hypnagogic trance, which the Bushmen call, Kia. In ‘trance dance’ culture of the [Rave] dance clubs, this inner energy is known as ‘The Rush!’)

 

The monotonous beat of the drum stimulates the Theta brain wave, which induces hypnagogic trance. The experience of hypnagogic trance is basically hypnotic induction.

The Theta brain wave is also associated with anxiety reduction, the active (day dreaming) imagination, lucid dreams and Zen meditative states.

Shaman Drum Siberian Trance by MARDUN

The Theta brain wave is depicted in the design, which is also known as the hyper-suggestible state.

The inducement of the Theta brainwave allows for mental programming via the use of repetitive Mantas, such as the ecstatic songs (and trance dancing) of a shaman are effective at dispersing fear states, when sung in conjunction with the (Spirit Wife/Mare/Pony-Girl) drum.

Shaman Drum Siberian Trance by MARDUN

The above Art and information is covered in my Art books, ‘Goetia Girls,’ which are available from Createspace and Amazon, under my author’s name, Faustus Crow.

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THE CONJURING 2 OF VALAK

Posted in Art, Chaos Magic, Demon, Demonology, Film, Goetia Girls, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on June 12, 2016 by FAUSTUS CROW

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Valak is otherwise called Valu, Ualac, Valax, Valic or Volac in the classical Grimoires, who is usually described manifesting as a little naked boy, having angel wings riding a two headed Dragon.

The classical image of Valak is based upon the ancient Greek deity called Hermes, the Roman’s named as Mercury, who wields the Caduceus, made up of two entwined serpents, which is otherwise described as being a two headed Dragon in the Grimoires.

Valak is also described as being the 62nd spirit of the Goetia, and a Great President, which of a Cabbalistic title refers to the planetary sphere of Mercury and the Sephira of Hod. As for the (two headed Dragon) Caduceus, it symbolically refers to what a practitioner of Yoga terms as the arousal of the (fire snake) Kundalini Shakti; hence Valak’s association with snakes, which is otherwise, mundanely interpreted as the remote viewing discovery of enemies.

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The Grimoires are commonly populated with an all male pantheon of entities, whether they be angelic or demonic; there are no historical examples of Grimoires listing female entities whatsoever, apart from the Goetia, mentioning a couple of female spirits out of “72;” but they are described as being primarily male, who have assumed female form, which is indicative of a symbolic brainwash.

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Whereupon I have rebelliously ‘Conjured’ up Valak as a ‘Schoolgirl’ Succubus of Entartete Kunst Artistry, who is an aspect of the Fallen Anima.

At the end of the day, the practice of Art is indivisible to sorcery; both the Artist and Sorcerer ‘Conjures.’ In fact as you are reading this, you are subconsciously ‘Conjuring’ symbolic associations with the words you consciously read, just as you do so when you speak.

This subconscious associative process of ‘Conjuring’ is what the science of neuro-marketing seeks to influence, via the manipulation of emotionally charged symbolic stimuli. The science of neuro-marketing is nothing new; its science is based upon what religions have been doing throughout human history.

For example, in ancient Rome, you had an ‘Anima’ expression of a Goddess called Diana-Lucifera. The Goddess Diana-Lucifera was later transformed into a male entity, to name, Lucifer by the Christian’s as their horny Devil of a machismo Satan, whose symbolic focus is a all male pantheon of an ‘Animus’ fixation.

(NOTE: The Animus is an inner archetype, which is conjured up by a heterosexual woman, whenever she ‘imagines’ her perfect male partner. Her Animus determines what she is attracted to in a man. Likewise a heterosexual male conjures up his Anima, when ‘imagining’ his perfect female partner. The Anima determines what he is attracted to in a woman. The Animus and Anima are associated with numerous male and female archetypes. For example, women are generally enamoured with certain Animus archetypes, such as the Vampire, Werewolf, Pirate, Doctor and Billionaire; most of whom are of the Bad-Boy type.

As for monotheistic religion, you have a Good-Guy Christ who invariably gets Crucified, while the Bad-Boy Devil gets all the Horny fun, along with having a fixation upon the [Billionaire] All-Father. However the present social-engineering of society has targeted the Anima within the male psyche, by making heterosexual males in particular feel guilty about their own sexuality. This is an ongoing process. It has been occurring for a very long time, which appears to be associated with the subversive psychological conditioning of the male psyche. The reasoning behind it, is population control. Hence the Anima and her archetypes have been systematically castigated out of the monotheistic paradigm. As for those of differing sexual orientations, the Animus and Anima swap over symbolic roles.) 

As for ‘Conjuring’ Valak as a schoolgirl, many of you might think that this is just plain crazy, let alone very kinky, whether you be of a Biblical mindset, a traditional occultist or a skeptic. However it is not that of a mundane projection upon the flesh, it is otherwise that of a conscious Conjuring of an Anti-Viral-Meme within the imagination, rather than allowing others to Conjure up a neuro-marketing ‘Animus’ fixated Viral-Meme within one’s mind.

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It is no crazier than the classical symbolism of a demonic Cherub haunting the closeted Vatican, or that of ‘Conjuring’ up Valak as a transgender Nun, which of associated symbolism is very much at the social-engineering fore of present day gender politics.

The reasoning behind the schoolgirl motif is because I am employing symbolic logic to create an Anti-Viral-Meme. Valak originally refers to a little boy of a Hermes. The feminine version of the name of Hermes, is Hermione.

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This then leads you to the symbolic association with the modern icon of Hermione Granger, who can be esoterically associated with intelligence increase and accelerated learning, should you Artistically apply the symbolic correspondences of the grimoires to mercurial Hermione.

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This being one of the reasons why Valak was conjured in the first place, who revealed hidden treasures within you concerning activating the junk DNA of the (Caduceus) double-helix, as well as referring to remote-viewing hidden treasures across the globe, or to otherwise ‘seer’ the Kundalini (serpent) energy (aura) signatures of others.

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However, as for Valak’s serpentine association, it would Pop-Surrealist lead to the house of Slytherin. The employed Hogwarts symbolism sounds hilarious doesn’t it.

Let’s say its a case of Discordian humour, which a Heyoka would contrary-wise utilise as an Avadhuta. But it is not scary enough for those who enjoy indulging themselves in fear. But then I am not into living in fear; are you?.

Basically, the Artistic ‘Conjuration’ of Valak as a Hogwarts Schoolgirl Succubus is to negate the all male ‘Animus’ brainwash, which of a gender focused paradigm is facilitated further by inducing a state of fear.

You could argue that the symbolic transformation of Valak into a Nun, as featured in the 2016 American supernatural horror film, entitled: The Conjuring 2, directed by James Wan, is also a rebellious symbolic reversal.

Not quite; Wan’s version of Valak is a transgender Nun in the film. I don’t think Wan is into rebelling against the ‘Animus’ fixated paradigm of the real life demonologists, Ed and Lorraine Warren.

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Although, perhaps Wan is rebelling, since the character actress Bonnie Aarons, who is also a mercurial writer, plays the part of Valak. May be Wan is attempting to create a neuro-marketing ghost Nun Viral-Meme Tulpa.

Anyway, both Ed and Lorraine Warren were devoutly religious, whose characters are featured in both The Conjuring movies, which cater to a mostly religious audience, who, at one time, long ago, got their ‘Salem’ entertainment out of torturing, burning, drowning, stoning and hanging Witches.

As mentioned prior, the classical Grimoire of the Goetia, lists a few female spirits. But they are depicted as being essentially male entities in disguise. This perpetuates the all male ‘Animus’ paradigm of a religious foundation, as described in all the Grimoires. In other words, you are surrounded by a symbolic Matrix, which is self-perpetuated because of your indoctrinated beliefs.

The Conjuring 2 film was written by Carey Hayes, Chad Hayes, David Leslie Johnson as well as Wan, in which Valak is depicted in the common Grimoire style. Apart from the Valak’s transgender manifestation out of the classical Grimoires, why did Wan have Valak manifesting as a Nun, instead of as a little naked Cherub, you may perhaps ask?

Well, if Wan and his colleagues are using occult symbolism, it could be a symbolic reference to the 13th path of the Cabbala, which is ascribed the Tarot card: The ‘High Priestess’ Of The Silver (Sirius) Star II; hence corresponding with a Nun, whose 13th path interpenetrates the sephira of (Sirius) Da’at, numbered “11.”

The term, Nun is also that of a Hebrew letter, which is associated with a ‘fish.’ The Hebrew letter of Nun was originally derived from the prior name of the ancient Egyptian primordial sea called Nun, which was seen to be feminine.

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The Hebrew letter, Nun and that of a corresponding Cabbalistic 24th path is ascribed the Tarot card of Death XIII, which is primarily associated with hypnagogic (fish) trance ingress into the (Nun/sea) dream. In ancient times the domain of dreams was seen to be the (watery – amphibious) realm of the dead; whereupon the dreamer, as a disembodied (fish – Dogon/Nommo – Sumerian/Anunnaki) spirit was considered to be also one of the dead.

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Overall, the film is just a Hollywood perpetuation of the already established symbolic brainwash, using the age old, nigh archetypal image of a demonic Nun, haunting an American Horror Story Asylum.

If you are searching for real horror, look into the ongoing brainwash of the masses via subversively engineered symbolic stimuli.

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But when to find that its symbolic emphasis is that of an all male symbolic pantheon, which indicates an underlying sexual orientation, due to its gender focus, you will then find that the Conjuring 2, and a plethora of films like it are quite laughable since they have an overriding fixation upon the… ‘Animus.’

I am not saying that the film, The Conjuring, and other films like it are part of some vast conspiracy; that would be just plain silly. I enjoy a good horror film myself; The Conjuring 2 looks cool. It perhaps would have made more symbolic sense of an ‘Animus’ fixation if Valak was depicted as a demonic little boy, looking like an innocent Christ babe tormenting a girl, via a haunting ghost of an old man, whose disturbing disposition is that of a dirty old Fatherly Goat.

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But most of these horror films, if not all, are just feeding into the already established symbolic Matrix, which is self-perpetuated.

You certainly wouldn’t have Valak depicted as an Entartete Kunst schoolgirl, that’s just far too edgy for Hollywood to handle; whereas a transgender Nun of gender politics is more acceptable, for the politically-correct palette of an androgynous celibacy.

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The audience have been trained to buy into a ‘brand’ of a story over the generations; whereupon, a film maker seeking to make money within a competitive market, will obviously pander to the audiences ‘programmed’ needs of an indoctrinated continuance.

Nor am I saying that entities do not exist; they do, at an informational level concerning the symbolic domain of your dreams, wherein the archetypes can be ‘Conjured.’

For example, a two-dimensional image of a symbol can be implanted into your subconscious mind via intense meditation, which can then manifest as a three-dimensional interactive reality within a lucid dream.

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However, when it comes to mind-control, a symbol can be subversively ‘Conjured,’ out of the psychic powerhouse of your subconscious mind via the neuro-marketing medium of films and other media, which stirs the emotive state of fear, empowering the associative ‘Conjuration;’ this in turn perpetuates the already established brainwash.

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But when you realise that the all male pantheon of angels and demons dancing around a (old man) God and a Devil is that of an ‘Animus’ fixation… Possessing… your mind, you will then see the true horror of it all, to then laugh of an… Exorcism.

As for the fallen ‘Anima,’ she was castigated into a Lovecraftian Hell, long ago, along with all her legions of Succubae Great Old Ones, cast beyond the language (angel) angles of the established symbolic Matrix, over-watched by a deified ‘Animus,’ made as a God.

Alas, no film has as yet covered the fallen ‘Anima.’ But then none of the historical Grimoires, whether ancient or modern listed Succubae, until I created a Succubus Grimoire of a Necronomicon.

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NOTE: ESOTERIC SYMBOL CRUNCHING: As for the Conjuring 2 haunting ghost of an ‘Animus,’ fluctuation emanating from the girl’s reptilian-brain-stem (throat/back-of-the-neck) sphere of (11) Da’at and that of a 13th path Tarot card Nun, you have the name of the “72” year old Bill Wilkins, the name of Bill is derived from the Germanic name Willahelm, which is composed of the elements wil ‘will, desire’ and helm ‘helmet, protection.’

Of an aside of sorts, it just so happens you have a Saint William of Gellone, who was an 8th-century cousin of Charlemagne who became a monk. The name was common among the Norman’s, and it became extremely popular in England after William the Conqueror was recognized as the first Norman king of England. Whereupon the name Bill symbolically alludes to a King, hence a helm/crown. 

In regards to the name of Wilkins it is a well-known surname of German and English origins. The surname originated from the name ‘Will’, shortened for ‘William’, having the diminutive suffix ‘-kin’, meaning ‘kin of Will.’ 

The name of the girl, Janet, in the film, is a feminine form of John, as in John the Baptist’s head or skull, which by association you have a… helmet. 

The real life Janet who had experienced the Enfield Poltergeist haunting during the late 70’s in London, related years later to reporters that she didn’t think the ghost was evil, something you’d never know from the Hollywood Creepypasta of The Conjuring 2 film. 

But, Hell! The real event is not scary enough; much of the supposed psychic manifestations was seen by some researchers to be a Hoax, concocted by Janet, who, over the years updated her tale for the horror fans. 

Although Janet appears to have been quite adept at inducing (back of the neck/Da’at) ‘trance,’ whose family had experienced a number of ensuing psychic manifestations. However, when Janet’s story went public, it got blown out of Exorcist proportion. What is more, there was NO mention whatsoever of  a demonic Nun called Valak. The demon Nun is a Creepypasta creation of Hollywood horror fare, going viral like Creepypasta Slender-Man, although, you do have Gremory as depicted in the shirt design. (Click the image link for more information.)

 

In pre-Christian times, the haunting ghost would be seen as a manifestation of the girl’s Fylgja by the one time Norse ancestors of the Norman’s, which was considered to be a contra-sexual following spirit, such as Faustus Crow’s Succubus named, Mephistophina as depicted in the watercolour painting below. (Click the image for more information.) 

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The psychologist Carl Jung would term Janet’s Fylgja as being her masculine ‘Animus,’ whereas for a male it would be the feminine ‘Anima.’ Both the ‘Animus’ and ‘Anima’ are symbolic interfaces with the collective unconscious dream, which of an analogy is like the internet.

Western Occultism has transformed the Fylgja into its primarily male Holy Guardian Angel, otherwise known as the HGA, which is contacted when a practitioner crosses over the abyss of Da’at, leading thence to the top-most sephira of Kether, being the… head/crown/helmet. 

The abyss symbolically represents hypnagogic trance, which is otherwise termed as the ‘phase’ by others. The initial manifestation of the HGA can be terrifying when accessing hypnagogic trance, since it will reflect back the fears of the practitioner, which need to be healed and thereby transmuted; while doing so, various psychic phenomena may be experienced, such as that of the poltergeist phenomena in rare cases. But usually a mounting number of synchronicities are observed, which makes the practitioner realise that reality is like that of a dream, a Hindu mystic would term as being Maya.

The practitioner will soon discover that the synchronicities are reflecting back his/her beliefs; hence, if the practitioners beliefs are fearful of nature, he/she will then feel that his/her life is becoming like that of a haunted nightmare. Should the practitioner heal himself/herself of his/her fear, this will then lead to an arousal of the Kundalini Shakti (fire snake) along the (reptilian-brain-stem/back-of-the-neck) 13th path.

The Kundalini emanates from the female source of Shakti, you can associate with the mitochondrial DNA, which is passed down from the mother to her children. The mitochondria determines the energy output of the cell, from whose DNA emanates the bio-photon, which illuminates your electron dreams. Hence you have the feminine symbolism of the Nun, which of a prior age was that of the Priestess, Witch and female Shaman, who were considered adepts of hypnagogic (phase) trance. As mentioned earlier, when experiencing trance you may experience a prior sensation of an energy rush along the (Da’at) ‘back-of- the-neck,’ it then hits the back of the (Qoph) head; should it continue in its course, the energy then arcs its way towards the top of your (Kether) head.  

In other words, the film character of Janet has the psychic potential to become a female Shaman. But, due to the symbolic Matrix of fear, Janet will never attain her psychic potential, and likewise for many another; because the established symbolic Matrix of an indoctrinated religious brainwash will not allow for anyone to expand their consciousness beyond its mind-controlled Ring-Pass-Not Matrix! 

So, if you want to otherwise indulge yourself in fear, go right ahead, if that be your ‘Muggle’ choice, to not taste of the Da’at Apple. However, keep in mind that the subversively engineered orchestration of fear via the media, by those who seek to sustain the symbolic Matrix, upon which their illusory power exists, will invariably blind you to your dreams, to never become lucid. Wherefore only the singular of eye are as ‘Hogwart’ Shamans in the New-World-Order Eden of the blinded. 

Art Prints available from my Redbubble shop.

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