"Surrealism is destructive, but it destroys only what it considers to be shackles limiting our vision." – Salvador Dali


Despite the similarity of names, Lucifuge is distinctly inferior of rank to (Diana-Lucifera) Lucifer. S. L. MacGregor Mathers ranked Lucifuge as the Arch-Daemon of the Feminine realm of Binah, the third sphere found upon the Kabbalistic Tree of the Sephiroth (see The Kabbalah Unveiled, plate IV).


Under his extended title Lucifuge Rofocale is featured prominently within the 17th Century Grand Grimoire of tome, where a Black Pact is described between the Sorcerer and the Daemon. An illustration of Lucifuge Rofocole within the Grand Grimoire has Lucifuge sitting behind a table with parchment and quill at the ready like that of the Artist Salvador Dali sitting at a table made by the arching body of a woman. The 17th century illustration of Lucifuge Rofocale was also utilised for Aleister Crowley’s illustrated Goetia, for Lucifuge teaches all aspects of Sorcery practice. The final part of the declaration by the Daemon to the Sorcerer gives a clear indication of the nature of the transaction:

"I also approve thy Book, and I give thee my true signature on parchment, which thou shalt affix at its end, to make use of at thy need. Further, I place myself at thy disposition, to appear before thee at thy call when, being purified, and holding the dreadful Blasting Rod, thou shalt open the Book, having described the Kabalistic circle and pronounced the word Rofocale. I promise thee to have friendly commerce with those who are fortified by the possession of the said Book, where my true signature stands, provided that they invoke me according to rule, on the first occassion that they require me. I also engage to deliver thee the treasure which thou seekest, on condition that thou keepest the secret for ever inviolable, act cheritable to the poor and dost give me a gold or silver coin on the first day of every month. If thou failest, thou art mine everlastingly." – LUCIFUGE ROFOCALE

One cannot help getting the impression that Lucifuge Rofocale is an astute Lawyer of the infernal realms; however his Horns to indicate otherwise for he is in fact a Shamans benefactor whom bestows the treasure of Sorcery knowledge to inspire. Woe to the Sorcerer if he should ever become poor after sealing this pact with the Daemon. The failure to yield up a Gold or Silver coin at the beginning of every month results in everlasting damnation. The Sorcerer is counting on the Daemon delivering the promised treasure, so that he will have a supply of this tribute thereafter, but should the Daemon delay the promised delivery of the treasure, the Sorcerer may find himself in a difficult position.


However the Gold and Silver coin alludes to something quite other of association for what would an immaterial Daemon desire of material coinage, which is the primary affair of the all too Human. The Gold and Silver coin actually refers to the Sun and Moon whose symbolism is associated with two nerve channels running along either side of the Sorcerer’s spine and the two hemispheres of the Brain as well as referring to the Sephiroth of Tiphareth (Sun) and Yesod (Moon) of the Kabbalah. What Lucifuge Rofocale is actually speaking about is that the Sorcerer can never become slack in his Sorcery practice whereby the first day of every month the Sorcerer has to indicate his growing understanding of his Art pertaining to the spheres of the Sun and Moon in order to attain a balance between the Macrocosm of the waking world of the (Gold) Sun (Land) and the Microcosm of the (Silver) Luna Dream (Water) whereby the Sorcerer has the true wealth of Gold and Silver to thence become amphibious of Consciousness, which Lucifuge inspires and requires of further tutelage.


Should the Sorcerer neglect and thereby fail in his Sorcery practice he will thence go back to sleep to become just as Blind as everybody else whereupon Lucifuge Rofocale will thereby fragment his Mind for only the singular of Eye Sorcerer is as a King in the land of the Blind.

When one treads the path of Sorcery in order to win ones own Horns of Sun and Moon betwixt which be the Trans-mundane Horn of Amphibious Consciousness to attain there is no way of going back to the Mundane world of sleep, for if the Sorcerer attempts to do so he will go quite insane!

A common feature of the Black Pact was the book of Spirits, which was signed by the Daemon or Daemons involved. Of course, the Daemons did not actually sign the book they merely revealed their unique seals and signatures via Visions and Dreams so that the Sorcerer could sign for them to thereby also illustrate their manifestations within his Necronomicon book of Shadows. Sometimes this occurred while the Sorcerer entered Trance to become possessed by the Daemon, so that afterwards the Sorcerer did not realize that he himself had made the signature in the book. The Blasting Rod referred to is the Magick Wand. The Kabbalistic circle is the ritual circle of Evocation. The word "Rofocale" is the word of power by which the Daemon is summoned by the Sorcerer.

Sorcery is indivisible from Art, they are one and the same of Magickal practice whose continuance from the time of Cave painting to that of Canvas to paint continues on when to formulate Computer Generated Imagery. When one creates a work of Art one is fusing two states of Consciousness together of Alchemy being that of the Sun and Moon whence one becomes Amphibious of perception between the waking world and that of the Dream. It is then one can Evoke (Binah) forms amidst ones Triangle of Art Imagination to thence fix into materialisation via ones Singular of ‘Eye’ upon Canvas to paint with ones Wand of brush while one to stand within ones Magick Circle of a Studio.

Artists are apparently supposed to be poor as the popular myth goes whereupon should a male Artist attempt to chat up a woman by saying he is an Artist he will quickly find it will not cut the ice for she will determine that his wallet is very much on the small size; Artists are supposed to suffer for their Art, this is why many an Art Ghoul likes to feed upon the life of Vincent van Gogh, who was very poor during his time on Earth as well as his work being extremely unpopular to be ignored. Such myths provide the fodder for cannibalistic Art critics whom love to feast upon the Artist as being misunderstood, not appreciated in order for the Critic to earn big bucks interpreting the Artists work, but how far have we advanced; for “now” we realise their talents in hindsight, especially that of Vincent van Gough for his Silver framed work to be worth mountains of Golden coin. The Spanish Surrealist Artist Salvador Dali, however, always made it known that he did not share this rather bizarre ambition to live a life of tortured poverty. He wanted to earn money in order to work as he pleased. André Breton, the “Pope of Surrealism”, hence nicknamed Dali “Avida Dollars,” an anagram of his name, meaning “eager for Dollars”. Indeed, Dali liked money, but it seems this is where most observers of Dali content themselves with of comfy zone observation: he was a Painter, a Surrealist Painter, in love with coin, who painted for Silver and Gold.


In fact, nothing could be further from the truth. Dalí’s Artistic repertoire included Paintings, Film, Sculpture and Photography, which explored the Implicate Ordered Luna realms of the Dream lined with Silver. Wherever he went, he stood out through clothing, coiffure and Explicate Ordered Golden behaviour, supporting a moustache that was itself a work of Art. If that did not cause Macrocosmic worldly spectacle enough, there were other means. In 1936, Dalí took part in the London International Surrealist Exhibition. His Golden lecture entitled “Fantomes Paranoiaques Authentiques” (Authentic Paranoid Ghosts) was delivered while he wore a deep-sea diving suit.

Dali’s paintings are not only Surreal, they are ingenious of inspired Luna Genius. There are his numerous depictions of what is known as soft watches or melting clocks of Binah realm over which presides the planet Saturn; his ingenious method of conveying to the reader that Time is fluid and not fixed fascinates the imagination. The idea was according to some based on his knowledge of Einstein’s theory that Time is relative. However, Dali apparently got the idea when he was staring at a runny piece of Camembert cheese during a Hot ‘Summer’s’ day.

The most famous of these enigmatic images is equally one of his most famous works: “The Persistence of Memory”, which was painted in 1931, depicting melting watches resting amidst an eerily calm Luna landscape within whose dimension, Time is of no relevance. In his painting “The Search for the Fourth Dimension”, the limp clocks are still present, as well geometric shapes and figures; such as a Pentagram somehow emerging amidst a cliff face from out of the Fifth dimension, for one can only observe the flow of Time from the dimension above it whereby one has the Sixth dimension of Tiphareth and the Ninth dimension of Yesod. The Pentagram is repeated elsewhere when Dali works his version of the Last Supper into this geometric shape. There is “The Temptation of Saint Anthony”, in which he has used imagery from Bernini’s famous Elephant sculpture in Rome and the Hypnerotomachia Poliphili of an Elephant supporting an obelisk on its back, whose legs Dali has extended in his painting, as if this and the other animals on the canvas appear to walk upon spider leg stilts.

"I believe that the moment is near when by a procedure of active paranoiac thought, it will be possible to systematize confusion and contribute to the total discrediting of the world of reality." – Salvador Dali

Dali did many Surrealist paintings on the first day of every month and is one of the few Artists who was able to convince his audience that the other world of the Luna Dream is very real of an influencing reality; his prodigious Artistry may have been inspired by his ability to enter into a furious Trance state of Critical Paranoia Method; it may be because he never hid the fact that he was an avid drug taker, and before meeting the love of his life, his Binah wife Gala, whom he considered to be his Babalon Muse, he had also made it known that he considered himself to be “the Great Masturbator”.


Impress that special Surrealist Girl in your life: “As a young man, (Salvador Dali) was totally asexual, and forever making fun of friends who fell in love or ran after women – until the day he lost his virginity to Gala & wrote me a 6-page letter detailing, in his own inimitable way, the pleasures of carnal love. (Gala’s the only woman he ever really made love to. Of course, he’s seduced many, particularly American heiresses; but those seductions usually entailed stripping them naked in his apartment, frying a couple of eggs, putting them on the woman’s shoulders, and, without a word, showing them to the door.” -excerpted from Luis Buñuel’s autobiography, My Last Sigh (Remember to allow the eggs to cool upon ones predatory Feline for at least 2 minutes before applying!)


Dali had a genuine interest in the Mind and the Occult Arts. His interest in the enigma of the Mind brought him into contact with Sigmund Freud. The meetings occurred in 1938, when Freud was ailing in his London residence. Dali would draw numerous portraits of the father of psychiatry. Later, Dali designed the superb Dream sequence in Alfred Hitchcock’s “Spellbound”, which heavily delves into Psychoanalysis. But Dali was more akin to Jung than Freud, for Dali was far more open to an Archetypal reality whereupon Dali created a bespoke Tarot card deck; whereby authors such as Roger Michel Erasmy had no qualms in describing Dali as a visionary Artist let alone to see him as a Shaman.


Though his masterpieces are well-known, what they mean is less known, if only because Dali is seen as a man who painted for money whereby most do not perceive the deeper layers of symbolic meaning within his work. There is a most obvious esoteric dimension to Dali; for example, following a visit in September 1963 to Perpignan, Dalí declared the city’s railway station to be the centre of the Universe, saying that he always got his best ideas while sitting in the waiting room. He followed that up some years later by declaring that the Iberian Peninsula rotated precisely at Perpignan station 132 million years ago. Above the station at Perpignan is a monument in Dali’s honour, and across the surface of one of the main platforms is painted, in big letters, «Perpignan centre du monde» (French for "Perpignan centre of the world. Well, who knows; it could have been at one time to thereby find an ancient Pagan Site under all that concrete winding back to the Palaeolithic, since one has some very interesting painted caves in France!")

Art critics and cynics often accept that for Dali it was indeed the centre of his own Universe for it was from the station that he shipped most of his paintings to their buyers. But there was more to it than that. Dali stated that he had a profound Vision while inside the station of Perpignan, “I had an example of a cosmogonic ecstasy, more powerful than the preceding ones. I had a precise vision of the constitution of the Universe.” And for Dali, that was the real reason why he saw the station as the centre of the Universe, however bizarre that may sound to anyone who has ever visited the unimpressive station of Perpignan let alone for Dali to have discerned the nature of Time from a melting piece of Camembert cheese.
The Vision from 1963 was followed by a painting of the Station of Perpignan, one of his masterpieces, which went on display on December 18, 1965, in New York. In the invitation sent out for the opening night of the exhibition, Dali repeated his claim that the station would be the location from where the Universe would start to converge.

This invariably led to the curious incident of the French news media who were the first to pick up on the Coincidences between Dali’s Perpignan Prophecy and paintings in regards to the murders in Perpignan of 19-year-old Moktaria Chaib, found in December 1997 with her face to the ground and both breasts cut away, and 22-year-old Marie-Helene Gonzalez, discovered six months later with some of her internal organs placed in a box and head and hands missing, and the subsequent disappearance of 17-year-old Tatiana Andujar.

Of course the mundane media at the time made a big thing out of Dali’s Surrealist statement: "I like it, le murder, because this is courage," Dali told Victor Bockris in a 1974 interview. He was talking about murder in general, of course:

"It is anti-bourgeois. Le murder is closer to heaven, because after becoming rrrremords de conscience (remorseful), one prays, one opens le sky, and le angels say, ‘Good morning!"

Stephen Bourgoin, dubbed by the press France’s leading expert on multiple murders, discounted any link with Dali, but he put the case this way: “Dali has done his work of Art. Now the serial killer of Perpignan is doing his gruesome work of Art.”

One could say that a psychopathic murderer was angry about the feminine influence of Binah birthing all form should one look at it from a Jungian perspective while Freud would say that said murderer was pissed off at his Mother; however, the murder at the railway station is a mere red herring in the great Dali saga. Far more intriguing is the matter of Europe’s abduction, the imminent catastrophe, and the mystery of the abandoned village of Perillos.

Dali’s pronouncements about the centre of the Universe and the continent’s coming destruction were not about to be left alone, and several writers have carried the ball to roll on collecting moss from there to tie in Dali’s Prophecies with Dan Brown’s Da Vinci Code, the Saunière, Rennes-le-Château and the Priory of Sion of Occult inclined Illuminati Conspiracies whereby Dali’s Surrealist Prophecy has entered the Surreal realm of Conspiracy theories to be seen by many as being quite literal.

"It is not necessary for the public to know whether I am joking or whether I am serious, just as it is not necessary for me to know it myself." – Salvador Dali

It was via such enigmatic statements of Prophecy that Dali came to the attention of the writer Roger Michel Erasmy, who began to explore Dali’s strange world of hyper-real Luna hallucinations, an area where few had dared to go before. Specifically, Erasmy focused on Dali’s later years, when Dali was generally considered as being “just mad” or that of suffering from an information overload of a burn-out. Was the Star-Gate of Pentagram into the Luna realm of Ninth Dimensional Yesod wide open and was Dali unable to regulate it?

"There’s no greater bliss in life than when the plumber eventually comes to unblock your drains. No writer can give that sort of pleasure." – Salvador Dali

Dali’s Babalon wife of a Binah Muse Gala had died on June 10, 1982, which broke Dali’s Tiphareth Heart of the Sun to go into Leaden mourning shadow. Shortly afterwards, Dali deliberately dehydrated himself, which was possibly that of an attempt to put himself into a state of suspended animation, for he had read that some micro-organisms achieve such a state by a similar process. The public perception of Dali as a Madman was augmented in 1984, when he apparently tried to commit suicide by setting his bed on Fire. In his work, the theme of an enveloping catastrophe came ever more to the forefront. There is also Dali’s enigmatic “catastrophic writing”, written in a booklet on September 16, 1982, while he was at his castle Pubol.

His final “Prophetic testament” was dictated to Antonio Pixtot, his most if perhaps only trusted ally at the time, on October 31, 1983; it contained catastrophic revelations, that were centred around four pillared hallucinations of Elephantine feet, which Dali had experienced, apparently after the death of Gala, at the end of 1982. In Dali’s hallucinations, the French Mathematician René Thom appeared like that of an imposing obelisk. Though Dali had only ever met the Mathematician once; while Dali was experiencing his Luna Visions, spectral Thom apparently convinced Dali of an upcoming catastrophe. Intriguingly, Dali stated that the centre of this catastrophe, which he linked with the disappearance, or abduction, of Europe, would begin between Salses and Narbonne, not too far from the station of Perpignan, which he had previously identified as the centre of the Universe.

Dali drew the “Enlevement topologique d’Europe. Hommage à René Thom.” (Topological Abduction of Europe – Homage to René Thom) in 1983; It is one of his lesser known paintings, since most consider it as being nothing more than the desperate attempts of a man who is losing his sanity, having already lost the ability to portray his thoughts via wonderful compositions on gigantic canvases.

"The only difference between myself and a madman is that I am not mad." – Salvador Dali

At first sight of Mundane perspective, there is little to suggest that the Cannibalistic Art critics have gotten it wrong. Erasmy, however, thought there might be more to this painting. Firstly, the name sits clearly within his series of Visions, which Dali had experienced. Secondly, the painting, in the bottom left corner, has a specific reference to René Thom, including a series of intriguing mathematical symbols.

The rest of the painting appears to be nothing more than two lines, against a grey background, and a cross. As Dali had stated that the abduction of Europe, the topic of the painting, would begin between Salses and Narbonne. Erasmy had noted the similarity between the route of the A9/E15 motorway, between Salses and Narbonne, and the line to the right of the painting. The resemblance is indeed remarkable, however coincidental it may be. Still, the smaller, lighter, line to the left coincides with a part of a smaller, yet important secondary road, the D611, between Tuchan and Durban-Corbières. The similarity between the A9/E15 and D611 and the painting is so stunning that Erasmy asked Pixtot whether Dali had painted the painting with a map in hand. Pixtot stated that he was present throughout and that Dali had not used a map at all for reference but at the same time noted that the similarity was indeed stunning, if only because in his hallucinations, Dali had stated that “the spot” where Europe would be “abducted” was to be between Salses and Narbonne.

As outrageous and mad as these claims may appear; Dali’s obsession with the centre of the Universe was genuine. Should one take such a perception seriously Dali’s conception of the Macrocosmic Universe is that of a Sphere. Dali was well aware of Einstein’s discoveries on the laws of Physics and was specifically fascinated with Quantum mechanics and how this would change our understanding of the Universe, whose cosmological shape is now perceived to be that of a Dodecahedron Sphere. In 1958, Dali wrote in his "Anti-Matter Manifesto": "In the Surrealist period I wanted to create the iconography of the interior world and the world of the marvellous, of my father Freud. Today the exterior world and that of physics, has transcended the one of psychology. My father today is Dr. Heisenberg" (Dr Heisenberg who created the Heisenberg Uncertainty Principle.) Dali was able to see the connection between Quantum Physics and the Mind and how it will supersede Psychology, whereupon Dali was decades ahead of his Time. More specifically, he not only understood, but he was able to conceptualise this understanding within his Microcosmic Surreal Luna world, which he manifested onto his Macrocosmic canvases to make Golden.

This makes Dali a Visionary. Was Dali also an Alchemist and a Sorcerer, of course he was, for Sorcery and Art are one and the same entity; Dali on one occasion had met up with the Psychic celebrity Uri Geller in Barcelona for a couple of days. Geller bent a ‘Gold’ fork in Dali’s hand; Dali then took off to a room within his house, whereby he then locked himself in for hours. For some such would be obvious evidence of his Madness. However, when Dali later emerged from out of his room, he was holding a rock crystal Sphere in his hand, which was his gift to Geller; Dali’s crystal Sphere now sits proudly on the hood of Geller’s Cadillac, which is coated in bent spoons.


It just so happens that the Physicists are seeking to warp the very fabric of Space like that of Dali’s Golden spoon bent all out of shape by Geller and thence to control Time to make as a melting clock by conducting experiments at CERN’s giant Hadron Collider of an Ouroboros ring in order to discover the God particle at the centre of the encircled Universe of a Dodecahedron Sphere. However a French physicist with the European Atomic research centre of CERN near Geneva was charged with terrorism offences back in 2009 by a Paris judge after investigators said that he had offered to work with the North African branch of al-Qaeda. Police in the Isere region of France made no immediate comment on reports of the arrest at the time. The French Physicist Adlène Hicheur, 32, who is of Algerian origin, was arrested with his younger brother after intelligence agents intercepted his alleged internet contacts with al-Qaeda in the Islamic Maghreb.

The Physicist, who had worked at the giant Atomic Collider at CERN (European Organisation for Nuclear Research), which straddles Swiss and French territory, told the Islamic group that he was interested in committing an attack but had not begun any material preparation, according to police sources. He had acknowledged contacting the militant organisation, they said. The brother was released without charge. Judge Christophe Teissier, of the anti-terrorist branch, ordered the French internal security service, the DCRI, to open an investigation into the possible offence of “association with criminals in relation with a terrorist enterprise”. Judge Teissier placed the scientist under formal investigation and ordered his detention.

The arrest raised the possibility that Islamist militants could be seeking nuclear weapons technology to perhaps ship though Dali’s centre of the Universe at Perpignan or that of planning to acquire the God particle as well as attacking nuclear targets while to traverse the route of the A9/E15 motorway, between Salses and Narbonne. Dr Hicheur is reported to have worked for the British Government’s Rutherford Appleton Laboratory (RAL) in Oxfordshire for about a year in 2005. He was placed under surveillance by French officers after US intelligence services intercepted internet messages, which he had allegedly sent to contacts close to al-Qaeda in the Islamic Maghreb (Aqim). However, his arrest sparked off a furious row among France’s anti-terrorist magistrates. Judge Teissier’s critics said that he missed an important opportunity to obtain invaluable information about Aqim networks by moving to detain the suspect at an early stage in his investigation. They said that he should have held off and kept the man under surveillance. Brice Hortefeux, the French Interior Minister, is also being criticised for publicising the arrest.

Detractors say that the publicity will have driven the suspect’s contacts underground. CERN said that Dr Hicheur, one of 7,000 scientists working on the Large Hadron Collider, did not have access to any of the underground facilities and did not handle anything that would interest terrorists. A spokesman described him as highly qualified: “This fellow has a doctorate in particle Physics, so he is clearly an intelligent person,” he said. The scientist also worked as an instructor in experimental physics at the Swiss Federal Institute of Technology in Lausanne. “We are pretty shocked and surprised,” said Jerome Grosse, spokesman for the institute. Residents in the suspect’s home town of Vienne, which is renowned for its superb Goat cheese making situated in Eastern France, said that his success had made him a role model for young Muslims. “They are good boys,” said one neighbour of the suspect and his brother. “They are from a family of six children and from a very moderate Muslim family which is seen as a model of integration.” The suspect’s brother is reported to have graduated from the University of Paris with a degree in Biomechanics. After graduating, the suspect’s brother taught at the 500-year-old Collège de France in Paris, which is one of the country’s most prestigious research institutes. All of this is somewhat reminiscent of the film ‘Twelve-Monkey’s,’ which concerns an engineered viral plague being spread at a Perpignan type ‘train station’ and CERN research soft clock Time travel; no doubt the movie was inspired by Dali’s Prophecies considering it was made by the Surrealist Genius of a film maker Terry Gilliam.


As for CERN one to find Lord Shiva (Siva) who veritably presided over the world’s largest experiment when scientists sent the first beam of protons zooming at nearly the speed of light around the world’s most powerful ’27’-km-long particle accelerator of a scaled up ‘9’ foot diameter Magick Circle in search of the ‘God particle’.

"God is just another Artist, like me." – Salvador Dali

Next to the two metre tall statue of the dancing Shiva or Nataraj (Lord of Yoga) at the European Centre for Research in Particle Physics in Geneva is a plaque, which explains the connection: "It is the clearest image of the activity of God which any art or religion can boast of" … "Hundreds of years ago, Indian Artists created visual images of dancing Shivas in a beautiful series of bronzes. In our time, Physicists have used the most advanced technology to portray the patterns of the cosmic dance. The metaphor of the cosmic dance thus unifies ancient mythology, religious art and modern physics." Shiva may be the lord of destruction in Hindu mythology, but it’s not the end of the world as some predicted about the Big-Bang experiment.


One can say that the Physicists are ones modern equivelant of Magicians, which leads one of Surreal association to an ancient seal that was discovered during the excavation of the ancient site of Mohenjo-daro; the seal has drawn attention to a possible representation of a "proto-Shiva" figure. Mohenjo-daro (Mound of the Dead) was one of the largest city-settlements of the Indus Valley Civilization of South Asia situated in the province of Sindh, Pakistan. Built around 2600 BCE, later abandoned around 1500 BCE, the city was one of the early urban settlements in the world, existing at the same time as the civilizations of ancient Egypt, Mesopotamia, and Crete. The archaeological ruins of the city are designated a UNESCO World Heritage Site. It is sometimes referred to as "An Ancient Indus Valley Metropolis"

Mohenjo-daro was rediscovered in 1922 by Rakhaldas Bandyopadhyay, an officer of the Archaeological Survey of India. He was led to the mound by a Buddhist monk, who believed it to be a stupa. In the 1930s, massive excavations were conducted under the leadership of John Marshall, K. N. Dikshit, Ernest Mackay, and others. John Marshall’s car, which was used by the site directors, is still in the Mohenjo-daro museum, showing their struggle and dedication to Mohenjo-daro. Further excavations were carried out in 1945 by Ahmad Hasan Dani and Mortimer Wheeler.

The last major excavation of Mohenjo-daro was conducted in 1964-65 by Dr. G. F. Dales. After this date, excavations were banned due to damage done to the exposed structures by weathering. Since 1965, the only projects allowed at the site have been salvage excavation, surface surveys and conservation projects. Despite the ban on major Archaeological projects, in the 1980s, teams of German and Italian survey groups, led by Dr. Michael Jansen and Dr. Maurizio Tosi, combined techniques such as architectural documentation, surface surveys, surface scraping and probing, to determine further clues about the ancient civilization.


The Mohenjo-daro proto-Shiva looks very much akin to what is known as the Horned Kernun or CERN-unnos Celtic deity found on the Gundestrup cauldron, which is a richly-decorated silver vessel, thought to date to the 1st century BC, placing it into the late La Tène period. The cauldron was found in 1891 in a peat bog near the hamlet of Gundestrup, in the Aars parish in Himmerland, Denmark. The cauldron is now housed at the National Museum of Denmark in Copenhagen. The Gundestrup cauldron is the largest known example of European Iron Age silver work (diameter 69 cm, height 42 cm). The style and workmanship suggest Thracian origin, while the imagery seems to be Celtic. This has opened room for a number of conflicting theories of Thracian vs. Gaulish origin of the cauldron. Others have suggested a Thracian origin with clear and most undeniable obvious influences of ancient Hindu iconography.

The Mohenjo-daro Pashupati (Lord of animal-like beings) seal shows a seated figure, possibly ithyphallic, surrounded by animals just like the Cernnunos figure on the Gundestrup cauldron. Sir John Marshall and others have claimed that this figure is a prototype of Shiva and have described the figure as having three faces seated in a classic "Yoga posture" with the knees out and feet joined from whose brow sprouts three Horns or that of a head-dress in between the Horns. Although, this claim to a proto Shiva is not without its share of critics, with some academics like Gavin Flood and John Keay characterizing them as being unfounded.


However, one also has the Palaeolithic forerunner of a Horned Shiva let alone being the prototype of Lucifuge Rofocale called the Sorcerer, which is a name for an enigmatic cave painting found in the cavern known as ‘The Sanctuary’ at Trois-Frères, Ariège, France, which is not too far away from Salses and Narbonne let alone Perpignan as the Crow flies. The figure’s significance is unknown, but it is usually interpreted as some kind of Great Spirit or Master of the Animals like that of a Pashupati of a Cernunnos. The unusual nature of The Sanctuary’s decoration may also reflect the practice of Magickal ceremonies within the chamber. In his sketches of the cave Art, Henri Breuil drew a Horned humanoid torso and the publication of this drawing in the 1920’s influenced many subsequent theories about the figure. However, Breuil’s sketch has also come under criticism in recent years.

Henri Breuil asserted that the cave painting represented a Shaman or Magician, an interpretation which gives the image its name, and described the image he drew in these terms. Margaret Murray having seen the published drawing called Breuil’s image ‘the first depiction of a deity on earth’, an idea which Breuil and others later adopted.

His views held sway in the field for much of the 20th century, but they have since been largely superseded. Breuil’s image has been commonly interpreted as a Shaman performing a ritual to ensure good hunting. Certain modern scholars question the validity of Breuil’s sketch, claiming that modern photographs do not depict the famous (Reindeer) antlers. Ronald Hutton theorized that Breuil was fitting the evidence to support his hunting-magic theory of cave-art, citing that "the figure drawn by Breuil is not the same as the one actually painted on the cave wall." Hutton’s theory led him to conclude that reliance on Bruiel’s initial sketch resulted in many later scholars erroneously claiming that "The Sorcerer" was evidence that the concept of a Horned God dating back to Palaeolithic times. Likewise, Peter Ucko concluded that inaccuracies in the drawing were caused by Breuil’s working in dim gas-light, in awkward circumstances, and that he had mistaken cracks in the rock surface for man-made marks. However, these views have also been questioned, noting that "The Sorcerer" is composed of both charcoal drawings and etching within the stone itself, which is a common practice of Cave Art in order to emphasise the formation of the rock its self to become part of the painting, which Dali would consider being that of a Critical Paranoia method. Details, such as etching, are often difficult to view from photographs due to their size and the quality of the light source and those interpreting the image are usually not professional Artists.

The general assessment has placed the figure as central to an understanding of cave Art: as S. G. F. Brandon expressed it in 1959, "it seems to be generally agreed that this picture of the ‘Dancing Sorcerer’ was a cult object of great significance to the community which used the cave."

It is common knowledge that most Shamans from one culture to another through Time often wear Horns of office, whether they are of Reindeer antlers, Stag, Bull and Buffalo Horns or that of a Goat. The ancient seal found at the excavation of Mohenjo-daro clearly depicts a human wearing Horns; while the prior Palaeolithic cave Art at Trois-Frères, Ariège, France is considered to be an indication when Humanity became truly Human of evolutionary leap, which was initiated by the Shaman whom wore Horns to Trance dance into Visions and Dreams to thereby paint them of materialisation upon the cave walls.

Art is Sorcery, Sorcery is Art, both the same indivisible from the other; only an Artist can understand the formula when to focus upon a work of Art whose imagery enters into the Subconscious stirring Dreams into becoming Lucid of Awareness whereby the Artist attains a state of Amphibious Consciousness. It is this understanding, which fuelled the cave Art of the Palaeolithic whose Artists were Shamans wearing Horns of office for the Horns represent the waking and Dreaming realms of the Sun and Moon whence one has Gold and Silver of Lucifuge Rofocale coinage whose gifted treasure is the third state of Horn betwixt and between of Amphibious Consciousness.

Salvador Dali was one of the few Artists who had accessed what the majority had lost who have since become Blind to the Dream whereby he was as a Singular Eyed King within the kingdom of the Blind; but through his Art those who are Blind got a glimpse of the Dream, which ones Ancestors explored through their Art that led of evolutionary steps towards CERN of an Ouroboros ring of Magick Circle being wrought in order to Evoke the God Particle into manifestation amidst a Triangle of Art.

Lucifuge Rofocale teaches the Sorcerer that his Dreams are of a Feminine source because of the Bio-Photon, which emanates from amidst ones Mitochondrial DNA. Each Dream has a certain quailty of energy for ones Dreams are suffused with the Light of the Bio-Photon, which is governed over by a Governess of a Succubus whom weaves an Informational Associative Fractal Pattern of a Dream domain when Spun by the Emotive Charge of the Sorcerer. These Succubae were once immortalised as the Palaeolithic Venus figurines whose Mitochondrial Bio-Photon Intelligence was tapped into by the Horned Sorcerer via his Dreams. The Dream reflects back the Self-Image of the Sorcerer whereby the Sorcerer can tune into Dreams of his choice when to assume Alternate Personas, which are Magickally constructed Guises, and to each Guise is an associated Succubus whom empowers its Mask. The numerous Succubae are seen to be in Sexual union with the Sorcerer’s Alternate Personas whereby the Succubae are his Spirit-Wives, but he has to first sublimate them to his will to thereby attain total dominion over them otherwise they will verily tear his Mind apart, which will negate him ever achieving Lucidity within the Dream. The Sorcerer seeks to emulate Lucifuge Rofocale whom is the Lord of the Succubae, hence he assumes Rofocale’s guise in order to attain Mastery over the Succubae and thereby becoming a Master of his Microcosmic Quantum Dreams, which underlie the Macrocosmic Material realm, for everything is made of Light. This being the Treasure, which Lucifuge Rofocale bestows should the Sorcerer not neglect his Sorcery practice, which be indivisible to Art.

"What is a television apparatus to man, who has only to shut his eyes to see the most inaccessible regions of the seen and the never seen, who has only to imagine in order to pierce through walls and cause all the planetary Baghdads of his dreams to rise from the dust."– Salvador Dali