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― Plato, Phaedo








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Posted in Art, Chaos Magic, CREATIVE WRITING, Goetia Girls, Lucid Dreaming, Occultism, Science Fiction, Shamanism, Sorcery, Steampunk, Succubus, Surrealism, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 8, 2016 by FAUSTUS CROW

Mephistophina enthroned betwixt the pylons of sleeping and waking as the Sirius Star Girl Guide into Lilith’s Harem of the dream, where unto Faustus Crow to trance slide serpentine, when to have penetrated Mephistophina’s Ninth Gate of a moist, dimension.

Crow to have utilised one of his paintings as a trance gate into dreaming, by assuming the Avatar guise of an alternate self, to become of a horned shaman mask.

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The dream slid into, of an alternate reality, being that of a steampunk world of Oz, where the sorcerer artist Austin Osman Spare had escaped to Salem, with others of arcane kindred, who were fleeing being persecuted by the fascist forces of the Holy Inquisition.

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After varying surreal adventures of harrowing, it came to pass that Crow was crowned the sorcerer of OZ; it was now just a question of how to return back to a world left behind of waking.


Then again, is he dead, yet alive, simultaneous, like Schrodinger’s Cat, or to actually want to return from the Multiverse realm of dream worlds governed over by the Night-Mare Succubae, which be Lilith’s Harem.

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Though, when to eventually return upon a dream slide; Kwisatz Haderach slider Crow to find that Londinium is no longer his born to Kansas anymore, but that of an alternate London; it being just one of a myriad number of copies, occupying innumerable parallel universes, within which there be other versions of Crow to slide into.

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Little wonder then that Crow went Ninth Gate mad, who to question, “which me, is the real me? They are all as numerous as uncountable grains of sand, outnumbering the spiraling stars.”

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Mephistophina to answer, “they are all aspects of your Tulku self, and you, being an aspect of them, dreaming each other into reality, which be all as Maya. It being the very nature of consciousness. As for grains of sand, I am as the astral desert between the oasis worlds, illuminated by the fallen bio-photon star of Diana-Lucifera; my dearest Faustus.”





























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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.


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.


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.


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.


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.


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


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.


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.


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.


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.


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.


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.”


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”.


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.


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


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.






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.






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





















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.




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








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.







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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.



















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.


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


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.








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