MODERN GOETIA OF THE SUCCUBUS MOST SURREAL

AUSTIN OSMAN SPARE REBELLIOUS SURREALIST SORCERER

Austin Osman Spare (A.O.S) was very much a Sorcerer Artist who was born on the 30th December 1886 to thence pass away on the 15th May 1956. Spare was an English Artist who developed idiosyncratic Magickal techniques including Automatic Writing, Automatic Drawing and Sigilization, which was based on his theories of the relationship between the Conscious and Unconscious Self. His Artistic work is usually characterized by a highly skilled draughtsmanship, which exhibits a complete mastery of the use of line, whose subject matter usually employed the Erotic Symbolism of Occult Sexuality.

THE MAGE WHO COULDN'T BE PIGEONHOLED INTO A NICHE

During his lifetime, Spare usually bemused his numerous critics who were unable to place his work comfortably into any pigeonhole. Ithell Colquhoun supported Spare's claim to have been a proto-Surrealist who posthumously described as such, while the critic Mario Amaya made the case that Spare was a Pop Artist. However, he was both, yet neither. Spare was a superb figurative Artist of the mystical tradition, who can be regarded as being one of the last English Symbolists, following closely of influence that of George Frederick Watts. The recurrent motifs of Androgyny, Death, Masks, Dreams, Vampires, Satyrs and Religious themes, which is typical of the French and Belgian Symbolists, finds full expression in Spare's early work, along with a desire to totally shock the bourgeois.

THE PRIMITIVE WOMAN LYING ON THE PARAPET OF FOREVER

One could easily see the Sorcerer Artist Spare as being a Faustian character who was a contemporary of Aleister Crowley. Spare did not toe the line with the Esoteric and Artistic fraternity of his day whose orientation was primarily Shamanic of perspective. Over time his Artistry of a Sorcerer influenced the inauguration of the Chaos-Magick movement; however he did not live long enough to see it apart from in Spirit. The Magickal philosophy of Spare had made a big impression upon Sigmund Freud who no doubt was aware that Spare’s underlying focus throughout his work was that of the Feminine principle, which Spare named as the ‘Primitive Woman lying upon the parapet of forever.’ Hence Spare's work tended to be quite erotic, which caused quite a bit of a stir amongst those of a strait laced sweet-box perception concerning the Arts; while the so called Occult fraternity didn’t like his Rebellious attitude, since he didn’t ascribe to their Gnostic Christian focus upon the Scarlet Whore of Babalon riding the Great Beast Aleister Crowley.

WITHOUT A DEVIL THERE BE NO GOD FOR A POPE TO BE WEDDED TO

Some would say that Spare was just jealous; however, one would be entirely missing the point if one does so; Spare was very much aware that the vast majority of individuals around him were totally and utterly brainwashed due to their indoctrinated focus on certain Symbolic stimuli of a Religious theme, whereupon one will not find any direct references to Christian themes in his work, whether it be of Art or writing; hence Crowley’s supposed Rebellion against the establishment didn’t quite ring true to Spare who saw Crowley as merely assuming a role, which in its self validated the established Symbolic focus; for without a Devil there be no God and vice versa, upon whose Anti-Thesis and Thesis conflict a dualistic Religion thrives of controlled Synthesis controlling Minds. But alas, it was not quite the time for an all out Rebellion, which Spare found out to his cost; an Artist requires an Audience and should the Artist Rebel too much against the indoctrinated perception of the Audience their mob mind tends to react by merely ignoring what the Artist has to say.

THE GREAT BEAST OF A THESPIAN ACTOR ACTING OF PERFORMANCE ART REVELATIONS

Crowley’s success lay in the fact that he assumed a role to act out of an established Religious script whose Artistry was that of a flamboyant Actor whom shocked and hypnotised his Audience by stirring their indoctrinated mythic focus whereby his very image has now become nigh iconic of a Magician. But was he actually the Great Beast whom was prophesied to bring down the walls of Rome; not quite; his assumed Anti-Thesis merely validated the great play dancing around a Thesis Pope. But it is all part of the process, while the Brainwash continues of continuance, which adds more mind bricks to the New-World-Order walls of Christian Rome whose foundation stone is that of the ancient city of Ur in Iraq from whence came Abraham’s Eye siring Judaism, which thence led to Islam of an Illuminati Triad. As for Spare his Spirit is no doubt laughing at the Surreal Circus, which rings the world of a glamour where Magicians strut their Cabbalistic stuff chanting Enochian spells of Enoch, while fawning over Medieval manuscripts of Solomon’s Grimoires selling their wares; whereupon one can have an alternate of an introduction to the Grimoire of the Goetia made Modern of Back-Story hue when to utilise A.O.S as a character of an Art-Mage; of course one could name him otherwise as Faustus Crow.

GOETIC AVADHUTA MONTY PYTHON SURREALIST SORCERER OF A DISCORDIAN HEYOKA

"These are the 72 Mighty Whore Queens and Harlot Princesses all Succubae, which the Sorcerer Artist Faustus Crow commanded into a Vessel of Brass filled to brim with his serpent ejaculations, together with their Wild and most wanton Legions; of whom BELIALA, ASMODAYA, and GAAPA, were Chief Succubae. And it is to be noted that Crow did this because of their Great Power, for he never declared other reason why he thus bound them. And when he had thus bound them up and sealed the Vessel with his spittle, he by Divine Power did chase them all into the depths of the oily river Thames snaking through the labyrinthine City of smoggy London peppered with gnarled Art galleries from high to low. And they of London, those dark Artists versed in the arcane, Surrealists all, wondering to see such a thing did then go wholly into the black River of Chronos Time Father Thames, to break the Vessel open, expecting to find great store of Treasure and potent drugs therein. But when they had broken it open, out flew the Chief Succubae immediately upon a gushing tide of Serpent bile, with their Salacious Legions following them all in tow; and they were all restored to their former places except BELIALA, who entered into a certain image, and thence gave answers unto the ‘Kaos-Unitarian-Nuns-Templar’ who did offer Sacrifices unto her, and did worship the Image as their rebellious Vulcan Goddess of Feminism at Avebury near unto Zodiac encircled Glastonbury Tor, etc."

VAGINAL STARGATE MANDALA PAINTINGS INTO OTHER WOMB REALMS OTHERWORLDLY

Spare was able to induce a state of Trance, which enabled him to create Automatic Paintings in rapid succession in order to externalise his otherworldly visions; one could conjecture that Salvador Dali's 'Critical Paranoia Technique' is of similarity to Spare's utilisation of Trance. Spare's visionary paintings can be seen as Mandala’s, which allowed his consciousness to gain ingress into other realms of reality beyond ones own like that of wrought Star-gates via which his consciousness slid through as a Wise Serpent to thereby know of those worlds that the Great-Old-Ones emanate from whom be all as salacious and most wanton Succubae. Spare also created sculptures made of everyday objects such as gutted out TV sets over which he drew his Sigils of Desire. Perhaps Spare could have gone Hans Bellmer Surreal if not further in his Sorcerers explorations to Sculpt Spirit Dolls.

LITTLE GIRL ENTARTETE KUNST DOLLS OF HANS BELLMER

As for Hans Bellmer he was born on the 13th of March 1902 in Katowice, Silesia; he passed away on the 23rd February 1975 while in Paris, France; he was an Artist who was best known for the shocking life-sized pubescent Female Dolls, which he produced during the mid-1930s. Historians of Art and photography also consider him to be a Surrealist Photographer. Since 1926 he had been working as a draftsman for his own advertising company. He initiated his Doll project in opposition to the Entartete Kunst Fascism of the Nazi Party by declaring that he would make no work that would support the new German state whose Religious orientation was Christian. Many have made out that the Nazi regime was influenced by Pagan ideals due to their use of the Runes and that Hitler was into the Occult, which isn't true; all one has to do in order to find out the truth is to look at History rather than reading the often than not biased conspiracy theories written by Christian's whom perpetuate the Vatican sponsored myth who had previously created their own Doll of a Judas to thence torture and burn throughout the Middle Ages up to the present.

THE CULT OF THE PERFECT FEMALE BODY POLITIC

The usage of the Runes in Germany were in essence part of their popular folk culture long before the Nazi's turned up on the scene, which the Nazi's utilised for their own political benefit; while most Pagan and Occult groups were banned in Germany after the Nazis attained power, which had the support of the Christian Church. The Christian Church did not like the Modern Art movement at the time, which was seen to be morally corrupt of a nigh Pagan infatuation with Sex, whereupon Bellmer's Doll's were represented by mutated forms and unconventional poses, which were specifically directed at the cult of the perfect Aryan Female body. The Nazi cult of the perfect Aryan body was depicted along the lines of classical Art, which the Christian Church considered to be far more acceptable for public viewing, whereby becoming the prominent Art form in Germany. Those Artists who did not comply to the New German State's 'Politically Correct' Christian moralism were banned, exiled or sent to the concentration camps. As for Bellmer's rebellious Artistic orientation it was influenced when he had read the published letters of Oskar Kokoschka (Der Fetisch, 1925).

MIND DOLL OF A SUCCUBUS TUPLA AUTOMATON

Bellmer's Doll project is also said to have been catalysed by a series of events in his personal life, such as meeting a beautiful teenage cousin of his in 1932 and perhaps other unattainable beauties he to have thereby met whom became as his many inspiring Muses all as Succubae; he also attended a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an Automaton one can otherwise see as a Mind Doll Succubus of a Tulpa); and receiving a box of his old toys. After these events he began to actually construct his first Doll. In his works, Bellmer explicitly Sexualized the Doll as a young Girl in order to aggravate the Christian morality of the Entartete Kunst Fascists. On the other hand, the Doll incorporated the principle of 'ball joint,' which was inspired by a pair of sixteenth-century articulated wooden Dolls in the Kaiser Friedrich Museum.

TABLEAUX VIVANTS OF THE SUCCUBUS DOLL PARISIAN

Bellmer's 1934 anonymous book The Doll (Die Puppe), produced and published privately in Germany, contains ten black-and-white photographs of Bellmer's first Doll, which was arranged into a series of "Tableaux Vivants" (living pictures). However, the book was not credited to him; Bellmer primarily worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared 'Degenerate.' by the Nazi Party, whereupon he was forced to flee Germany, to go to France in 1938. His work was welcomed in the Parisian Art culture of the time, especially the Surrealists under André Breton, because of the references to female beauty and the Sexualization of the youthful form. His photographs were published in the Surrealist journal Minotaure. Bellmer aided the French Resistance during the war, making fake passports; he was eventually caught and imprisoned in the Camp des Milles prison at Aix-en-Provence for most of World War II. In many respects Spare and Bellmer were Artistic Rebels; both of whom did not toe the line; however, many books on Surrealism make scant references to Spare, while Bellmer is often mentioned, which is no doubt due to the fact that it is very difficult to pigeonhole Spare’s work; for his Art doesn’t fit into any accepted Artistic niche, which was also considered to be 'Degenerate' by his Entartete Kunst critics; as the saying goes, "a Prophet is never recognised in his homeland;" perhaps Spare should have gone to France. However, Spare loved smoggy London as his Primitive Woman whose Whores of Scarlet Muse he sketched in many an inn to liberally fill of brass womb vessel.

ANIMA BIMBO BARBIE SUCCUBUS MIND DOLLS ANIMATED

Another difference between Spare’s Art and that of Bellmer’s, apart from subject matter and technique is that Spare sought to unify his Art with his internal reality of a Sorcerers practice. In other words, Spare’s externalised Artistic expression was that of an internal exploration of visions and Dreams, which were in turn stirred by his Art; in essence, Spare was programming his Dreams through his Art, and such Dreams were no doubt Lucid of vivid quality whose visionary vistas inspired further Artworks to be created. One can engage ones self with Spare’s work, but as to the reality behind their creations one has to delve into Sorcery practice in order to understand further. It is very likely that Spare had learnt a technique, which enabled him to experience vivid Lucid Dreams via which he could thence dally with many a Succubus as an experiential reality, which was prior programmed via his Artistic focus and in turn inspired further works of Art. The technique its self has been utilised by Shamanic practitioners for many thousands of years, which often utilises external forms of a Symbolic focus such as Idols, Statuettes, Fetishes and Dolls for example.

SORCERY IDOLS OF SUCCUBUS REPOSITORIES VAGINAL

An Idol or that of some image which is utilised for Religious purposes is very different to the usage of such items in Magickal practice. The Religious employment of an Idol or an image is usually fixed of worship, which expresses a nigh unchangeable belief that is passed down the generations, while the Magical utlisation of Idols and Images are not fixed of belief nor are these items worshipped; for they are more fluid of evolution and that of a tool, whose forms change and transform in accordance with the internal changes of consciousness within the practitioner, which the Idols and Images aid, empower and reflect back of an Artistic expression representing the practitioners experiences.

THE SORCERY OF ART BECOMING MAGICK

One will also find in ancient times there was a belief that languge was in fact Magickal, where words encapsulated the very essence of a thing, but only because a word of sound Evoked an associated Symbol within ones Mind, but more so within ones Dreams; the Evoked Symbol of a thing, such as a Tree, House, Mountain, Landscape, Animal or a Person etc was that of their Spirit, which one was then in contact with to even have control of to thereby manipulate. As for The written word of a Symbol it was seen as that of an Art, where a letter initially represented the very thing one desired to conjure, whereupon one had letters such as Hieroglyphs, which later became more abstract of form. In other words, the power of Language and that of the written word of Symbol, was seen to be that of Magick, and only known of to a few long ago, which was especially the case when it came to writing whose early beginnings of letters were of similarity to those animals and other Symbols one to find painted on Cave walls, which later became ones Hieroglyphs and eventual abstract letters. The combination of Language of a Mantra and writing of a Spell as well as that of creating an Artistic image such as an Idol was not seen as being just a thing seperate from the object of ones represented desire but the very thing its self. However, such Magick only works if one enters into a certain state of Mind when creating ones Art; whereupon Spare was in a self induced Trance while creating his Artwork.

THE MIND STATE OF ART AND SORCERY

As mentioned before, Spare's Trance explorations were no doubt of similarity to that of Dali's Critical Paranoia Technique, which enables Trance induction; while the experience of Trance is the same as the Hypnagogic state whose brainwave is that of Theta. The influence of Hypnosis induces the Hypnagogic state, whereby when creating a piece of Art one can induce Auto-Hypnosis, which will then enable one to consciously engineer ones Dreams to become Lucid of Awareness.

ARTISTIC CREATION OF A SUCCUBUS AUTOMATON TULPA

The Spirit Doll of a particular Succubus, which a Sorcerer seeks to contact via an engineered Lucid Dream can take many a form from that of a painting, drawing or even an adapted photograph of hewn photomontage but usually that of a sculpture. The sculpture of a Doll can be ready made such as an actual Doll, which can then be adapted for ones purpose like that of some Anime model of a plastic kit; its size is unimportant, but as to its artistry, this will be of importance since it will become as the Spirit-Repository of a chosen Succubus upon which, one to focus. While to make ones Doll its innards to contain rolled up parchment upon which Sigils of desire are wrote or that of constructing a Doll out of Paper-Mache and such paper used one to have written Spell Formulae along its width and breadth while intoning associated Mantras so as to direct the Prima-Materia of ones Emotively Charged ejaculations; one is in essence creating a Golem of a surreal Hans Bellmer Doll whether through a Sculpture or via Image. Such creations can be created so as to capture a ‘Surrealist’ realism or to be purely abstract of expression.

EVOCATION OF A LOVE SLAVE SUCCUBUS WITHIN A LUCID DREAM

The Sorcerers trick is to then attain a Lucid Dream, which will be stirred into activation by ones focus upon ones Artistic creation of a Doll via the utilisation of Meditation. One will also find that ones focus upon the distinct qualities of ones Artistic endeavour will program ones Dreams to express themselves in a particular way. After a time one will probably find ones Doll manifesting as a Symbolic trigger within ones Dreams, which will enable one to wake up within the Dream when one recognises ones creation in order to attain Lucidity. Once one has attained a Lucid Dream one then calls out the prior chosen name of a Mantra belonging to ones Succubus in order to Evoke her into manifestation; one can then ask ones Succubus to take up residence within ones Artistic creation of a Doll as her abode, which she usually complies with. Once ones Succubus enters into ones Artistic creation of a Doll within ones Lucid Dream, the physical Artwork of ones Doll becomes something other of a Spirit-Repository and that of a Power-Object, which becomes as an interface between ones waking reality and the Spirit world of the Dream. One then has a fusion between Spare’s Art and that of Bellmer’s, by utilising an ancient Shamanic technique in creating Spirit-Repositories; however, one should not engage ones self too lightly in this practice; for it could lead to Synchronistic situations occurring as well as possible Poltergeist phenomena manifesting. Should one find that ones Succubus is getting really out of hand whom is becoming a very naughty little girl one may need to give her Spirit Seal a good whipping with ones scourge, which will thence necessitate the creation of another piece of Art.  

THE HELLRAISER TESSERACT TORTURE BOX OF LABYRINTHINE SACRED-HYPERCUBE PUZZLE

When ones Succubus of a bad girl plays up to go Poltergeist, whom is not doing her chores at all properly one will have to create the Sado-Masochistic ‘Torture-Box’ into which is placed ones Bondage Doll of a disobedient Succubus. The Box can be constructed from out of Metal such as Lead or that of being crafted out of a substance, which is unaffected by heat should one place a fire underneath it of Artistic ceremony to film. If it be otherwise used to just imprison a Doll or to hold a bound up Seal, such a Torture-Box of a room can be intricately wrought like that of something inspired by the artist H.R Giger so as to indicate its dark purpose of a nightmare 'Art Installation' amidst ones Art gallery. The psychological reasoning for the initial Artistry imbued into a Doll’s construction is that one does not want to destroy her unless pushed to do so wherefore to make ones Conscious intention far more serious of extreme importance so as to impact the Psychic powerhouse of ones Subconscious Mind in order to force ones Succubus to work as ones Love Slave of a bound Genie. 

THE CONSTRAINT AND CURSE TO BIND A SUCCUBUS ALL CHAINED UP AND BOUND

One says the below of Constraint and Curse at least Thirteen times and as one does so become melodramatic to howl out ones words to rage ecstatic; perhaps one can dress up for the part to look like a Priestly Cenobite Monk wearing a crown of Thorns while conducting ones torture; although said in jest, I am being serious at the same time simultaneous. The Symbolism one will be employing in such a ceremony of 'Performance Art' will affect ones Subconscious mind to thereby stir into being activated.

BIND HER UP TIE HER DOWN ALL SERVILE AS ONES SUCCUBUS LOVE SLAVE GENIE GIRL

“If you are not for me Succubus, you are against me, most wretched vermin, and if you do not immediately comply with my wishes I will bind your Doll (Image) in chains, rope and barbed wire to gag thy mouth to tear, stop thy ears to deafen, block thy nose to suffocate, blind thy eyes to blind, and through thy Seal wrote upon its Repository of form made for thee, I will whip thy soft body into shredding pain unending, and then to cut thee with dagger, to tear up thy silken skin to lacerate thy Seal into shreds, to break apart thy limbs to rip asunder before burning thy Doll (Image) to ashes; wherefore to remove thee forever from my universe.”

RITUAL MAGICK SADOMASOCHISTIC TORTURE AND SLAVERY MOST KINKY

The technique described above one will no doubt consider to be rather perverse of Sadomasochism, Torture and Slavery; however it is none too different to those methods one to find being employed in the Western Occultist practice of Ritual Magick; however, the Spirits, which one to find usually Conjured, Evoked or otherwise Invoked are primarily of the butch Machismo type whom are described as being all Male, whether they be Genies, Daemons or Angels; one will not find any any mention of Female Spirits being listed in the Grimoires; whereby, when one reverses the Symbolism to thereby Conjure, Evoke or Invoke all Female Spirits to experience as Genies, Daemons or Angels of a Succubus nature one gains an insight into what is actually going on in regards to the traditional all Male focus of Western Occultism, which is informed by its Mind Construct of a Patriarchal Religious system whose orientation is that of an all Male paradigm. One could thereby reverse the Symbolic paradigm via the practice of 'Performance Art' for ones attentive audience whose captured Emotive state of reactive shock can thence empower ones Ritual of an Evocation of a Succubus.

JOSEPH BEUYS SHAMANISTIC RITUALS OF PERFORMANCE ART EVOCATIONS

The Art work of Joseph Beuys may lend inspiration to ones 'Performance Art' of any Ritualistic Ceremony conducted to take somewhere quite other. Beuys (May 12, 1921, Krefeld, January 23, 1986, Düsseldorf) was a German Performance Artist, Sculptor, Installation Artist, Graphic Artist, Art Theorist and Pedagogue of Art. His extensive work is heavily grounded in concepts of Humanism, Social Philosophy and Anthroposophy, which culminates in his "extended definition of Art" and the idea of a Social Sculpture (like that of a Hyper-Sigil) as a Gesamtkunstwerk, for which he claimed a creative, participatory role in shaping Society and Politics. Beauys could be argued as being Shamanistic of orientation whose career was characterized by passionate, even acrimonious public debate of a reaction; however he is now regarded as one of the most influential Artists of the 20th century.

HOW TO EXPLAIN PICTURES TO A DEAD HARE WITHIN THE MOON CEREBELLUM

Beuys's first solo exhibition was conducted in a private gallery, which opened on November 26, 1965 with one of the Artist’s most famous and compelling performances: How to Explain Pictures to a Dead Hare. Beuy’s could be observed through the glass of the gallery’s window where one perceived Beuy’s face covered in honey and gold leaf, an iron slab was attached to his boot. Beuys cradled a dead hare in his arms, into whose pricked up ear he mumbled muffled noises as well as relating explanations of his drawings, which lined the walls. The materials and actions, which Beuys utilised in his Art had specific symbolic value for him; for example, Honey is the product of Bees, which for Beuys (inspired by the works of Rudolf Steiner), Bees represented an ideal Society of warmth and Brotherhood, which is also the Symbol of Freemasonry. Gold had its importance within the realm of Alchemical enquiry; while Iron, the Metal of Mars, stood for the Masculine principle of strength and connection to the Earth. A photograph from the performance, in which Beuy’s is sitting with the Hare, had been described "by some critics as a new Mona Lisa of the 20th century," though Beuys disagreed with the description; although, the Hare has Symbolic associations with Paganism where the Hare is often equated with the Feminine principle, but then one could argue the Hare represents Christ while the reference to Mona Lisa masks the Virgin Mary of a Mona Lisa Queen Bee.

AN OBSERVED PICTURE CAN TELL MANY A STORY OF ASSOCIATIVE CORRESPONDENCES

Beuys explained his performance: "In putting Honey on my head I am clearly doing something that has to do with thinking. Human ability is not to produce Honey, but to think, to produce ideas. In this way the deathlike character of thinking becomes lifelike again. For Honey is undoubtedly a living substance. Human thinking can be lively too. But it can also be intellectualized to a deadly degree, and remain dead, and express its deadliness in, say, the Political or Pedagogic fields. “Gold and Honey indicate a transformation of the head, and therefore, naturally and logically, the brain and our understanding of thought, consciousness and all the other levels necessary to explain pictures to a Hare: the warm stool insulated with felt…and the iron sole with the magnet. I had to walk on this sole when I carried the Hare round from picture to picture, so along with the strange limp came the clank of iron on the hard stone floor—that was all that broke the silence, since my explanations were mute…"

"This seems to have been the action that most captured people’s imaginations. On one level this must be because everyone consciously or unconsciously recognizes the problem of explaining things, particularly where Art and creative work are concerned, or anything that involves a certain mystery or question. The idea of explaining to an animal conveys a sense of the secrecy of the world and of existence that appeals to the imagination. Then, as I said, even a dead animal preserves more powers of Intuition than some human beings with their stubborn rationality. “The problem lies in the word ‘understanding’ and its many levels which cannot be restricted to rational analysis. Imagination, inspiration, and longing all lead people to sense that these other levels also play a part in understanding. This must be the root of reactions to this action, and is why my technique has been to try and seek out the energy points in the human power field, rather than demanding specific knowledge or reactions on then part of the public. I try to bring to light the complexity of creative areas."

POLITICAL PERFORMANCE ART OF THE PROFANE MADE SACRED OF EVOCATION

Beuys was adept at creating spectacular, Ritualistic performances, which empowered him to assume a compelling persona whose role was that of a Shamanistic practice, to thereby enable passage between different Physical and Spiritual states via his Art. Further examples of such performances include: ‘EURASIA’ (1965), ‘Celtic (Kinloch Rannoch) Scottish Symphony’ (1970), and ‘I Like America and America Likes Me’ (1974). As for the Hare and that of its Pagan associations with the Cult of the Goddess it is very much Symbolically bound up with Feminine Sexuality as well as that of ones instinctual Intutive Subconscious mind where the Animal within one seeks to be heard, which connects one with all Creatures.

OCCULT SEXUALITY QUITE HIDDEN OF SYMBOLISM YET SO OBVIOUS OF POLITICS

There is an underlying Sexuality involved in the methodology of Western Occultism, which most practitioners will probably deny; however, the Sexual emphasis is quite self evident when one looks at the works of Crowley; this is especially the case concerning his Evocations of the Spirits listed in the Grimoire of the Goetia, which are described as being all Male, some of whom Crowley illustrated. Spare no doubt observed that there is an underlying Sexual focus upon the Masculine principle in Western Occult practice, which Crowley openly displayed; whereby Spare set about creating his own system whose emphasis was otherwise orientated towards the Feminine principle, which was overlooked by many due to their Patriarchal indoctrination; those few (such as the author Kenneth Grant) who did notice Spare's Artistic and Magickal focus upon conjuring up Female Spirits all as Succubae whom were his inspiring Muses of a 'Primitive Woman' believed him to be practicing a form of Witchcraft whose orientation tends to be more Matriarchal of Feminist inclination. However, Spare did not classify him self as being a Warlock nor that of pigeonholing his own work as being that of Witchcraft. Spare merely indicated that he was Rebelling against the established Symbolic paradigm of Religious indoctrination, which is the foundation stone of Western Occult practice whose focus is that of an all Male pantheon. This is the reason why Crowley made mention of Spare as being a 'Black Brother.'

I DREAM OF FUCKING A GENIE OF A SEXY JEANIE

Back in the late Sixties there was a popular TV series called 'I Dream of Jeanie' involving an Astronaut whom crash landed upon a beach to thereby discover a Genie's bottle whereupon after vigorously rubbing its feminine form out popped an orgasmic female Genie who became his personal Slave. One could conjecture that many a male as well as some women had a crush on Jeanie who likewise desired to find her bound up in a bottle; but such a desire is unrealistic, merely a fantasy; or is it. Some of the of turned on Audience no doubt wistfully wondered as to its possibility of a reality, who then set out on a quest to find out; although few of number, they invariably came across Genies being listed in arcane Grimoires whom can be evoked to fulfil ones Wishes; however, as mentioned earlier, the listed Genies are all Male, not a single Female among their myriad number, and those few that are said in passing whom manifest in Female form are duly described as actually being Male. Suffice to say, the desire of having ones own personal Female Genie of a Slave can be considered to be a very kinky unreal fantasy; but the actual situation of having a plethora of material, which purports to be Occult wisdom; whose works are poured over by Scholars and practitioners alike, whom buy said works with hard cash as well as authoring copy-cat versions to sell to the indoctrinated masses, is even crazier, since one has a continuance of an all Male focus, where one has Male Slave Genies of kinky kink servitude.

EYES TO SEE YET NO ONE SEES PREFERRING NOT TO KNOW

One would have expected that someone would have questioned the Symbolic orientation of the whole set up by now; but alas no one has; the reason why is because of cliques and politics in regards to a certain base perspective, which is, if one wants to get anywhere in life one has to follow the established cliques of a herd mentality otherwise one gets trampled by their Politics; hence one licks arse; whereupon one says and does what everyone else is saying and doing. This is especially the case concerning the Arts and more so that of Writing; for Publishers will only publish what the readership has been indoctrinated into reading, otherwise they won’t buy the product; as the saying goes. “when in Rome do as the Roman’s do;” whereupon, if one says something different one has to be very crafty of communicative craft; but alas it is all in the timing and what is more, it is not what one knows, but who one knows. One can thereby deduce that Spare was in the wrong place at the wrong time who didn’t know the right people, but only because most of the people upon the Western hemisphere face of the planet were totally Brainwashed, which is still very much the case.

SYMBOLIC BRAINWASH OF THE COLLECTIVE SUBCONSCIOUS MIND

One may ask, what right do I have to say that most people are Brainwashed as well as to perhaps enquire if I have any proof to offer that such is indeed the case; well, it is quite interesting how one can determine the very real reality of a Brainwash by merely observing the self evident lack of a particular Symbolic focus in the public domain, which is thence indicative of a self-wrought consensually agreed form of Mind Control; what is more, people see it as being of no consequence of a blind spot or too scared to question it or that of aggressively reacting by saying one is utterly mad or to be a perverse Pornographer, merely because one has an interest in depicting Spirits, Genies, Daemons and Angels as being all female Succubae by utilising the Symbolic structures of their cherished traditions to totally reverse tit over arse. One could say Spare did this to a degree, but he did not explicitly say so apart from focusing upon the Feminine principle in the main to thereby dally with Succubae all as female Genies.

EVOKE A SUUCUBUS SEX SLAVE GENIE TODAY TO RIDE ALL NIGHT LONG AS ONES MARE    

Should one desire ones own Genie in a Lamp one can utilise the Doll technique of similarity; whereupon instead of utilising a Doll of a Spirit-Repository one acquires a Lamp of Brass like that of a Classic antique Genies Lamp into which one places the Seal of ones Succubus wrote upon small slivers of parchment (Drawings/Photographs upon which are written Sigils of Desire) tightly rolled and bound by corresponding planetary coloured thread or to be placed into an ornate bottle for the purpose, whose orifice to act as a Vagina for Masturbatory Meditation practices, just make sure that the vacuum doesn’t cause ones engorged member to get stuck otherwise you will have a lot of explaining to do to ones Nurse. However, it is best that one doesn’t indulge in jerking off; the Sorcerers trick is that of building up ones Sexual energy internally, which will then lead to one expressing ones Sexuality within a Lucid Dream, whereby one attains ones Sexual release. One will find that ones internalised Sexual tension will empower the Dream state to become far more intense of an experience with ones conjured Succubus of a Genie.

BONE DRUM OF THE ARCANE ART MUSE SUCCUBUS

If one follows the path of the Shaman one can hang small Talismans of ones collected Succubae within ones Drum of Spirit Harem, which one activates in the same way as the Doll technique previously described; although in this case ones Drum becomes the Spirit-Repository, housing all ones Succubae. The Drum is often utilised in this way by Siberian Shamans who have been documented as having Spirit-Wives via whom they derive their power and abilities to thereby conduct the Shamanic Art. The more Spirit-Wives a Shaman has, the more powerful he becomes, whereby he perceives him self as a Stag/Reindeer antlered Sultan over his Harem. The Talismans one could utilise could be that of figurines, which one to find upon necklaces or that of found items one has discovered under synchronistic conditions, which correspond with the ascribed qualities of ones Succubus. At the end of the day, one will be fusing ones Sorcery with ones Art but then both to be indivisible from the other; for the Eye of Seer to follow ones Hand of Pentagram and vice versa.

SUCCUBAE DOLL'S HOUSE OF WET DREAM BORDELLO HAREM

The Hmong Shaman has an elaborately carved tiered Dolls house of an Altar within his house from whence an intricate configuration of threaded weave of web links the Doll's house to his front door as well as that of an Indigo coloured Spirit Rope of twisted cloth, which is perceived as a Bridge of the Spirits. The Dolls residing within the Dolls house of the Shaman are all intricately carved as repositories of the Spirits, which are seen as his Spirit army and when out and about conducting healings he calls upon the Spirits to come forth to travel over the Bridge from out of the Dolls house to go where he wills them to go. The Hmong Shamans tools are simple such as a Veil, a Gong, his finger Ring-Bell, his Rattle-Sword, and Divinatory Blocks. People from the patient’s household prepare for him a very simple Altar where he can gather his 'Spirit Troops', providing him also with a wooden bench to mount as his Spirit Horse when he induces his Trance. One could construct such a Dolls house of an Alter for ones self, which can thence be utilised as a focus for ones Lucid Dreaming practice to enter into when to awaken within a Dream, whereby one finds ones self entering the house as an internal reality. However, if one doesn’t have the room for such an Altar one can utilise the same technique, which that the Sora of Orissa use whom live in India. The Sora of Orissa, create Sacred Art upon the walls of their houses using information obtained through Dreams called (Ittal/Idtal) Writing.; such Ittal's utilise the motif of the 'Spirit House', which one can construe as not being too dissimilar to the Buddhist Mandala that the Sora Shamans utilise in the same way as the Hmong Shaman, but in this case elaborate Drawings are used rather than a carved Dolls House of an Altar.

DESKTOP CYBER SUCCUBAE ART MUSES OF MOST SALACIOUS WANTON WILES

One could equate ones Dolls House with the Masonic Symbol od the 'Bee-Hive' where ones Succubus is the ‘Queen Bee,’ or to see ones Computer as a Spirit-Repository like that of a modern Genies Bottle to 'Rub' and 'Stroke', whose screen of Monitor is ones Mandala gateway into the realms of the 'Queen Bee' Succubae for each Succubus of a Spirit can be likened to a program within the Honeycombed Matrix. One can then fuse the Dolls house of the Hmong 'Altar' with the Sora Ittal/Idtal when to perceive ones Computer as an abode for ones Succubae; whereupon ones Computer takes on the guise of something quite other of Symbolic association within ones Lucid Dreams when transformed by such a perspective. This technique can then be enhanced by appropriate desktop themes of Symbolic focus whence ones Computer is transformed into a Harem of a Spirit-Repository for ones Cyber Succubae to dance and gyrate as Virtual-Girls becoming thence as ones Mandala of an Altar.