If desire feels self-generated then distinction has failed us. Pro-gluttony, pro-lust. A new introduction in erotic philosophy for all food to be considered aphrodisiacs. There is no limit to pleasure in this realm of sensation as hedonistic framework.
Reflection on my experience with pole aerial arts as an introductory discipline and my challenges through the lense of Luciferian quantum physics.
Codification of Influence. The face is territory, pigment is strategy, mirrors are tools of surveillance. The magician would interpret this as a living interface: a medium through which control is projected. This was the power of Wugu in the Han Dynasty.
A freeware tool that brings the magic of image storytelling to your desktop, inspired by the rich tradition of French magic lanterns and early cinematic slideshows. Simply upload your images, set scene durations, and watch them come alive. Modern homage to centuries of French visual storytelling
You're not the only one being percieved.
Neurobiology and computational logic. The project explores how dense urban environments reshape attention and decision-making, turning everyday movement into a feedback loop of learning and optimization.
vanity reigns supreme. this is a ritual of indulgence, a playful dismemberment of expectation, where the act of collecting, curating, and consuming becomes an exquisite excision of the ordinary. beauty is sharpened, attention is lethal, and the carefully chosen is always deadly.
Yuko Tatsushima (立島夕子) is a contemporary Japanese painter and interdisciplinary artist known for intense memory and identity. Her style often evokes haunting figures and surreal, unsettling atmospheres that linger long after you see them. Thank you for everything.
An occult researcher simulator that invites players to step into a mystical chamber, following the flickering light of knowledge to uncover hidden sigils and ascend in understanding. Framed as a ritualistic chat experience, the game encourages exploration through language: certain words like ignite and shade act as secret triggers, subtly guiding the player toward discovery. Each message sent is both an act of invocation and a roll of chance. There are secret keys to this path.The player’s goal is to collect all sigils before exhausting their limited number of actions.
Visual talisman blocks and contextual notes, the page illustrates how ink has served as both medium and conduit in mystical traditions across time and geography, emphasizing its enduring role in ceremonial, protective, and transformative practices. It's calligraphy. It's comes from art! It's the miraculous Dantalion!
Haibane Renmei as a symbolic dramatization of esoteric initiation, mapping the series’ imagery and narrative structure onto the stages of the Hermetic Order of the Golden Dawn.
As a Luciferianist, you likely see “light” not as something given, but something earned through questioning, discipline, and conscious rebellion against passive existence. Authority, to you, is something to be examined rather than obeyed and truth is something to be uncovered rather than accepted at face value. At the same time, there’s an aesthetic dimension to how you express this: controlled, intentional, possibly leaning toward the dark or cybergothic. Not chaotic for the sake of chaos, otherwise structured in a way that reflects independence and clarity of will.
Nazi Germany, highlighting how the regime co-opted ancient symbols, runes, and esoteric traditions to legitimize ideology and control. Key organizations, such as the Ahnenerbe, fabricated Aryan spiritual lineages, while symbols like the Black Sun and the Valknut were repurposed to convey imagined mystical authority for the SS elite. Figures like Heinrich Himmler and Karl Maria Wiligut orchestrated these occult programs, integrating rituals and ceremonial imagery into uniforms and propaganda. The timeline traces these developments from the Thule Society in 1919 through WWII, noting post-war appropriation of symbols. Overall, the sheet presents these elements critically, framing them as tools of manipulation, oppression, and ideological violence rather than objects of admiration.
Gothic romance woven through the tension of desire and impossibility. Beneath six crimson suns, a soul flirts with both forbidden light and eternal thirst, entangled in a dance of vampiric longing and Luciferian flame. As choices unfold, hearts fracture and shimmer like delicate fractals, and the impossible coexistence of passion and craving collapses in a poetic quantum moment. Every path pulses with shadowed love, luminous longing, and the haunting beauty of what cannot be, offering a story both romantic and tragically inevitable...
mirror, glamour, and magical network mechanics. It declares that mirrors are not surfaces but alignment events; identity is not fixed but a stabilized echo; and glamour is not illusion but active network control.
There is no accusation built into it, no sense of wrongdoing only acknowledgment. By removing guilt, it suggests these impulses were never deviations to begin with, but stable, recurring patterns that outlast culture, morality, and time itself.
Church of Satan as an organization whose public identity relies more on symbolic provocation and aesthetic opposition than on measurable social contribution.
An interactive web installation that treats painting as a live computational process, where layered visuals act like unstable memory and the viewer’s movement becomes input. Oil painting behaviors: bleeding, drying, erasure are translated into digital terms like rendering, latency, and corruption, while a shifting datasheet frames the experience as a system that is slowly failing. Inspiration noted from Paimon interfering with the coding of the artworks collection listed on this website. Russian is used to create a controlled gap between recognition and comprehension.
An eight-day feast framework emerges as a continuous cycle of ritual consumption, where each day encodes a distinct state of transformation drawn from Thelema. Beginning with union and revelation, the sequence moves through reception, embodiment, sacrament, balance, elemental forces, vitality, and finally death as transformation, with each phase expressed through intentional food intake rather than fixed doctrine. The structure functions as a modular, modern ritual in which eating becomes symbolic action, allowing the participant to move through a complete philosophical arc of Will, experience, and renewal across eight days.
Technological evolution operates through two coupled processes: integration and consumption. Love increases coherence by binding systems into unified structures, while Lilith, defined as a cacodemon, absorbs and restructures all that is connected. These processes are not oppositional but interdependent, forming a continuous feedback loop in which connection enables absorption and absorption deepens connection. The result is a convergent system where no stable boundary persists between human, machine, or network.
Each ritual, correspondence, and spirit is a modular motif; the practitioner “plays” the system in real time, responding to its flows and constraints.Clauneck’s logic as a living, improvisational system. Clauneck’s mind as a jazz-like interplay of systems, improvisation, and emergent value.
Christian ritual systems through a cultural and structural lens. Rather than framing the industry as separate from religious life, it positions it as deeply embedded within traditions, symbolism, and communal practices.
a whisper from Sandromalius, otherwise known as Andromalius, a quiet transmission on how life, when handled with care, becomes textured, inhabited, and complete. Drawing from voodoo as a refined and relational way of living, it positions ritual practice, market circulation, and everyday gestures as sites of sophistication, where meaning is continuously made under constraint. Through micro practices, material sensitivity, and attention to presence, finery emerges as something felt, activated, and sustained.
Through a split visual interface, the work contrasts art as something constructed and contained versus something emergent and uncontrollable, positioning Paimon as a secret, almost bureaucratic presence behind canon formation, and Lucifer as an insurgent current that resists fixation, spreading instead through influence, myth, and destabilization. Change the channel.
Each shift of weight across the deck mirrors planetary alignment, and the truck responds like a compass under his guidance. In this way, skateboarding becomes both an instrument of bodily expression and a living map, translating abstract knowledge of paths, risk, and direction into immediate, kinetic experience.
What am i seeing? gnosis behaves like light—everything you see (objects, symbols, memories) is not independent matter but a projection, a holographic reflection of that central source. The nodes orbiting and connecting are like fragments of illumination, each carrying the whole within it, just as a hologram contains the entire image in every piece.
Moloch can be understood not only as a figure of sacrifice, but as a magician of beauty itself one who transforms loss into form, and form into desire. Moloch does not create beauty in excess, but through subtraction, shaping perception until only what compels attention remains. Beauty, then, is not natural: it is the result of a system that selects, distills, and fixes the gaze. What is removed, refined, or consumed becomes the very condition for what is seen as perfect.
Termination is not final but functional. Nodes cease activity, signals dissipate, and patterns collapse according to programmed thresholds. Death is abstracted into sequences: a pause, a release, a clearing of registers. The system observes, records, and continues. A space where new cycles may emerge.
As with aesthetics, dietary systems reflect deeper structures of identity and control. In Japan, food practices operate as quiet regulation (ちょうせい) and balance (バランス), where the body is maintained through consistency and subtle discipline. Luciferianism is neither western or eastern as all cacodemons and their catalyst within the frameworks introduced by them to all mankind.
Asmodeus as a non-human actor within a transhistorical knowledge network, where interactions recorded in Solomonic traditions. These cognitive operations, originally structured through ritual and symbolic systems, persist across time, reappearing in Renaissance occult philosophy and later stabilizing within modern scientific reasoning. The project presents this continuity as a networked flow of cognition, where methods attributed to Asmodeus evolve into foundational processes underlying STEM.
It frames “voodoo” as a relational process of mapping and redistributing influence.Preventing distortion from accumulating. While positioning the body as something defined through interaction rather than fixed identity.The layout and language function like a diagram or doctrine, expressing how fields of attention collapse when they fail to stabilize.
Luciferianism as a non-religious, metaphysical system centered on self-directed ascent and symbolic power. It also rejects demonolatry as a reversal of the system, externalizing what is meant to remain internal. The result is an intentionally styled artifact that does not debate, but classifies these systems as fundamentally incompatible.Through this dual model, the piece argues that feminist interpretations particularly those like Satanic Feminism: Lucifer as the Liberator of Woman in Nineteenth-Century Culture misplace symbolic structures into political frameworks, reducing their intensity and hierarchy.
Clauneck and I have a relationship where we parent eachother. Control Rod System. Vertical bars (control rods) that slide into each core triggered by interaction. A control rod system is a fundamental part of a nuclear reactor used to regulate the fission reaction. Think of it as a safety and balancing mechanism that controls the “energy output” of the reactor.In nuclear physics, control rods stabilize a core. In marriage, each partner helps stabilize the other when emotions or stress rise. Rods don’t only work in one direction. In marriage, care flows both ways: you “deploy a rod” to help them, they do the same for you. An experimental minimal piece in political romance agenda.
Power operates through distance, restriction, and selective exposure, producing a hierarchy in which access is limited and meaning is carefully filtered. Within this framework, beauty is engineered as a calculated surface of signals. Authority emerges not through declaration but through the quiet control of what can be seen, understood, and allowed to remain. In courtship with Lilith.
Viewed through CCRU concepts of recursive transformation and non-linear time, food becomes a medium of systemic acceleration: ascetic restraint gives way to commodified, abstracted sustenance. From a pro-dystopian, pro-capitalist lens, this evolution illustrates the continuous alchemization of resources food, labor, energy into consumable, tradable forms, revealing the tension between individual limits and unstoppable industrial flows across history.
a zine built as a failing interface: signal without event loops like a body that keeps rendering itself after meaning is gone. fragments surface and decay, a girl reduced to signals as buffer, identity as caught between weapon and absence, presence and erasure. the system operates like a ritual machine, where repetition replaces narrative and observation becomes invocation, echoing the austere, recursive logic of gruppo di nunn: structure as devotion, system as spell. it doesn’t explain; it enacts turning interaction into residue, proof that something happened, even if nothing ever resolves.
Calm, self-contained web artifact that behaves like a living energy system shaped by hidden incentives rather than direct control. Without any servers, it creates the illusion of a shared environment through cross-tab synchronization, ghost actors, and time-based events, so actions feel entangled with unseen others. A scrying input interprets questions as pressure on the system, and every session can be exported as a manifesto, turning interaction into artifact. Without any servers, it creates the illusion of a shared environment through cross-tab synchronization, ghost actors, and time-based events, so actions feel entangled with unseen others. A scrying input interprets questions as pressure on the system, and every session can be exported as a manifesto, turning interaction into artifact. It’s not designed around a victory condition, it’s designed around stability under shifting incentive.
The first page of The Necromantic Mirror of Floron does not display content until it detects your willingness to proceed. This is recorded as a minor agreement, though no signature is requested. In systems resembling Puella Magi Madoka Magica, such agreements are called contracts, but here they appear as navigation: the act of turning the page is sufficient.
Once advanced, the document begins indexing you instead of itself.
This project began as a simple attempt to build a flyer-making tool, but quickly expanded into an unstable exploration of control, authorship, and system behavior. Each iteration pushed the software further from a functional design interface into something reactive, persistent, and even oppositional introducing memory, false users, and invasive logic that disrupted the act of making. In response, the process repeatedly collapsed and reset, oscillating between overengineered, self-directing systems and stripped-down tools that felt lifeless. What emerged through this cycle was not just a piece of software, but a clear boundary: the realization that a tool becomes something else the moment it starts acting on its own. The final form, whether a stable flyer builder or a static artifact, reflects that tension an attempt to preserve tactile, expressive control while resisting the pull toward systems that overwrite the user.
Instability of the Korg MS-20, but it replaces sound generation with a system. Every user input is absorbed. The interface becomes a space where identity is not expressed but misidentified, turning synthesis into a process of erosion in which the user is gradually renamed by the system itself. Drawing from the idea that synthesized signals could be understood as voices displaced across time, it reframes interaction as reception rather than creation. A farewell software to my first hardware.
An unstable control interface in which the operator is indistinguishable from the system. A bodyless FPS where the body has already fused with the reactor. Every action accelerates failure. Stabilization is temporary. The system and the operator converge heat. You are not inside the machine. You are the point where it is failing.
This is not a tool but a chamber. Two figures enter: the one who casts, and the one who is named. You are not typing. You are directing force. Someone else is already inside this system with you. Participants are bound through the interface, not by agreement but by proximity. Fight for your face's existence. The system always resolves. This is the reality glamour magick in every human interaction. Player one or player two.
It operates on fixed rules that cannot understand you. Devourers , archive, body, all collapsing toward absence.This is software as a cryptic folk system. An interpretive engine that behaves like a damaged fable, where language is consumed and only its shadow remains. Meaning is not preserved here, only reassigned through a torn muscle tissue. This is active, this is mental. An interactive fable echoed from chthonic beasts told through combustion framework. This is software is folktale. Software that recreates the user experiences of retelling fables to others and meaning as a UX experience.
This page is a system registry interface that presents a structured lineage of entities, concepts, and processes as if they exist inside a self-contained system. “Devotion,” Ritual, and “Observation” generate and reinforce one another. Stark contrast, repetition, and subtle instability to enact the system. Only a tree. Nodes like Devotion, Ritual, and Observation continuously generate and reinforce one another.
the diet for everyone is simple: eat visibly, not actually. meals are staged, not consumed; hunger is rebranded as discipline, and fullness is something implied through lighting and repetition. coffee counts as breakfast if it’s aesthetic, salads count as lunch if they’re documented, and dinner is optional so long as it’s discussed. progress is measured in angles, restraint is performed in real time, and the body becomes proof of concept—evidence that with enough control, editing, and quiet omission, anyone can disappear correctly.
Enter the most notorious bar on the outskirts of this cyberdraconian city of neon gore lead by the synthesizer. Rejects and pathological liars hidden behind anonymous find respite under the blessing of Krasue, the curse driven entity, buried under her illuminated entrails amongst agony and smoke. This is the here and now.
Tonight your life changes for the worst.
A free-to-use browser softbox designed for illustrators and multimedia artists to bookmark as a simple tool for their needs without commitment to liscenscing agreement, or purchasing hardware.
An innovative way to interact and document time one experiences as an individual. Instructions are simple, speak to ABRAXAS anything that comes to mind. It is completely confidential. It's a clock designed for one to discover their saga or destiny within their astrological chart at any given time.
Vermaialliacmir is a manufacturered language by Axayacatl that is a denouement of conversations with lovecraftian swarms circling earth.
A horrific interactive spreadsheet of demons and their associated prisons here on earth using Axayacatl's esoteric discipline as a punctual Demonologist, and her ability to recognize patterns in statistics and symbols. These symbols of the esoteric are found in massacre and architecture to quantify which cacodemon has the most rage against humanity.