Memory Transfer by Mitchell Pluto

Transferencia de Memorias

From The Eclipse © Mitchell Pluto 2024 Séance channeling memory transfers. Espiral en el Estuco © Mitchell Pluto 2025 Transferencia de Memorias

In early June, the sky was clear and the temperature was pleasant. Tom and Sarah Anderson came across a metal tower while hiking in the Lolo National Forest.

The object’s Gothic style stood out as they approached. Seeing it brought back memories of their honeymoon trip to Chartres Cathedral.

The couple assumed the installation was someone’s art project or an exhibit at the University of Montana. The sight was unusual. There was a black circular window high up, near the top of the bell tower.

The tower emitted an extraordinary spectrum, encompassing all shades of blue and green.

3,500 kilometers away, a small gathering met at the United States Capitol. Attendance was by special invitation only.

Elijah Booker and his friend Alvaro, a man of abnormally short stature, arrived punctually. They entered the room and attracted a lot of attention. Booker, a large, Black man, always stood out in a room full of white men.

Alvaro had previous experience in the company. He knew the purpose of the invitation. Alvaro was albino and his alias was white dwarf. His main function was to use his mentalist ability to influence and dismantle cults. He possessed an innate ability to influence and alter opinions and beliefs.

On the screen, taken from a popular social media video, several recorded witness statements were shown. An older man, standing next to his wife, described the encounter with the intelligent light as best he could next to a strange tower. With deliberate and concise gestures, his wife explained the same thing, but in more detail.

Booker assumed he was the keynote speaker invited to talk about the future effects of permafrost.

The focus was personnel selection, not Booker’s research. Elijah Booker was the world’s foremost parasitologist. He researched extensively and wrote informative books on toxoplasmosis, a brain parasite. Elijah worked with international scientists. The Bureau of Globe Research in Alaska, where he lived with his wife and daughter, housed a broad research panel on prehistoric pathologies. Booker’s research caught the government’s attention.

Booker’s specialty did not include cosmic rays. He had heard of them and knew they were unstable, but nothing more. Cosmic rays sometimes interfered with belief systems, sometimes caused hallucinations, or enhanced brain patterns in unique ways.

The U.S. Intelligence Service considered ideologies to be mild hallucinations and was intrigued by the effects of cosmic rays on the brain.

The U.S. agency selected experts in direct observation.

The department was aware of Booker’s private life.

They knew of Booker’s Buddhist practice and his hobbies, which included listening to jazz and researching the occult.

Booker and Alvaro boarded a plane within a few hours. The private pilot, a native of Montana, had a great time. Alvaro taught him numerous dirty jokes for a total of six hours. This gave Booker time to read reports on cosmic rays.

According to government research, different rays posed varying levels of danger.

A jeep with tinted windows was waiting for them at the airport.

They soon reached the mysterious object. The Forest Service managed the situation, giving it a normal appearance to the naked eye.

Antennas, tents, and tall Douglas fir trees surrounded the 70-foot bell tower. The building’s structure possessed a beautiful style. The scene reminded Booker of a surreal landscape, something Bosch might have built.

He took a photo with his phone and recorded a video, documenting the luminosity of the fading colors.

Álvaro tugged at his pants and pointed to a tent. A young woman, about the age of Booker’s daughter, was holding a tablet like a clipboard.

Frauke Brunhilde introduced herself. Her black nails, black shawl, and tight leggings gave off a countercultural air. She was a genius in the German Federal Intelligence Service. She was a forensic chemist and radiological technologist.

Booker inquired about Frauke’s findings and knowledge.

Frauke showed him a live feed from a radiation-resistant camera. A vertical line of light aligned with the top of the bell tower. He speculated that the beam provided a transmission that might correspond to a conscious entity. Frauke discussed the fluctuating visibility of the light. She said that in Europe, cosmic rays are everywhere. Frauke said people believed they caused poltergeists and produced other strange effects.

Throughout history, ancient peoples used stones and statues to mark power points. Indigenous Europeans wore conical hats, such as the Golden Hat of Schifferstadt, to tune into cosmic rays.

Frauke proposed that primitive peoples tuned into radio stations in space. Mysteries associated with cosmic rays included encounters with fairies, aliens, angels, or even people who disappeared without a trace.

Booker wondered if these disappearances were due to dangerous rays that triggered aggressive progeria, a disease that accelerates aging. This cosmic ray posed no such danger. Frauke mentioned an article published by German scientists in The New Nature Journal, which argued that time is a moment that has already passed.

According to Frauke, the article suggests that UFOs are future apparitions investigating the present.

Booker wondered: Who was shaping the future from the past?

In the report he read on the plane, some anthropologists in the southeastern United States theorized that cosmic rays were attracted by unicursal patterns, but also expressed themselves to humans in diagonal or zigzag patterns. Frauke mentioned geometry as a method for communicating with unknown intelligences.

Booker noted that Frauke’s explanations had a mystical undertone, and he knew she was speaking of magic.

Frauke inspired Booker to reflect more carefully on the unintended consequences of cosmic ray-induced hallucinations. Most of the knowledge discovered turned out to contradict his beliefs, something he was prepared for.

The next day, scaffolding surrounded the tower.

Booker spoke to the welder. The man said he hadn’t been able to burn a hole with a blowtorch.

Incineration also didn’t work on the top window, which the worker described as Jell-O. His partner punctured a sandwich with stainless steel tweezers in the Jell-O. Nothing happened to the sandwich. The puncture filled and healed itself.

Booker walked toward the main tent.

Alvaro reclined on Frauke’s lap. They seemed to be having a good conversation. Frauke chuckled. Booker told Alvaro and Frauke to prepare to enter the object.

The unit gathered what they needed. Booker hooked Alvaro to his belt like a weapon. Frauke slung a backpack over her shoulders as if she were spending a week in Glacier Park. Frauke put on her headphones and began climbing. Booker braced one hand and one foot on the scaffolding, the tips digging into the ground, as he slowly ascended to the upper platform.

Standing near the most enigmatic and sinister feature of the building, the three gazed up at the large black window.

The surface was obsidian, with a thick, gelatinous texture. Due to its unknown elemental nature, they were unable to separate the gel into samples. Frauke, using her scanner, surmised that it was an iron mordant containing extraterrestrial gelatin. The window also contained a low- to medium-fluctuation radioactive ray, known to cause hallucinations, according to the scanner. Booker hoped that, as they approached the cosmic ray, they would all experience an LSD-like experience.

Without any prompting, Álvaro dipped his hand into the substance.
It was the temperature of a warm bath.

Booker quickly glanced at Álvaro.
He removed his hand from the gel, waggling his fingers toward Booker and Frauke to demonstrate that God was luck.

The group sat for an hour discussing hypothetical possibilities, including personality changes and brushes with death.

Álvaro lived by the motto: to embody the god of things as they should be. To be the force of humor in every passing horror. Frauke, enchanted by Álvaro, agreed.

Frauke put her headphones back on. The music turned up. Booker hooked Álvaro back onto his belt and held Frauke’s hand. Booker didn’t want her to wander off alone in the oozing gel. He felt responsible for all of them. Booker placed a camouflage bandana over his nose and mouth. He breathed and closed his eyes. Frauke tugged at his hand.

The first step into the gel was similar to stepping into a deep pool without firm footing. Each movement created an unpleasant sucking sound. The absolute darkness unleashed a wave of fear. A surge of adrenaline flooded Booker’s bloodstream, testing everything he had learned from Buddhism. With a concentrated effort, he maintained his upright posture, stepping into the dense gel with one arm. The suction made movement difficult.

Booker could now identify with the five clinging aggregates of Buddhism.

It became a direct experience. The aggregates — form, sense, perception, and external forces — environmentally influence the mind.
Booker felt a predatory presence. An obsessive, superstitious belief overwhelmed his mind as he struggled to penetrate the bottomless gel.

Suddenly, Booker had a clear view of his own brain. He could see his amygdala working overtime. The pressure on the insular cortex made him imagine the worst possible scenarios, including an imaginary predator chasing him.

However, there was no malevolent morphic resonance present, only a confined space. His own fear divided and attacked every facet of his mind. The narrating brain identified its observer function as an intruder.

A strong auditory memory told Booker not to panic. A Nyingma master at a Buddhist retreat advised him to accept the discomfort and practice gratitude.

This precious memory became clearer and more fundamental to his resistance.

Booker imagined seeing the Khenpo floating on his back, effortlessly performing backstrokes in a slimy jelly.
Another vivid memory resurfaced. Years ago, his few sessions with Stanislav Grof helped Booker relive his earliest memories of being suspended in a possessive womb. He recognized that birth brings with it a subconscious sense of abandonment for everyone.

This caused humanity to misinterpret birth as a definitive isolation and desertion.

All of this originated in the maternal body’s rejection of the newborn as if it were excrement. Generation after generation, this confusion projected contempt for the feminine and nature.

Booker could see his thoughts as images. He saw the unjust and unconscious representations that dominated historical records.

The central idea emerged as the ambition to replace the mother with an artificial mechanism. This would foster the construction of an industrialized, parasitic world devoid of empathy.

Booker wished he had headphones.

Music would make it easier. He imagined John Coltrane’s “One Up, One Down .” He had listened to the album often, at the cost of exhausting his wife’s patience. Today, it helped him remember it. The saxophone arrangement conquered fear. Booker knew that Coltrane understood the patterns of a constantly changing self. A self free of history and objects.

One conclusion became clear: time and space will never have a central authority.

The attempt to even imagine sensations beyond the end proved to be a vain and imputed illusion.

Death existed as a phase that passed like everything else.
Why pretend we knew this?

We shared the same fate. We would cease to exist without knowing what death was.

The tension dissolved and the jelly transformed into a thick fog. With his free hand, Booker reached for Álvaro, patting him on the face. He looked at Frauke. He saw her silhouette. Frauke turned to Booker, took off one of her headphones blasting, and smiled.
Booker asked, “What got you through the jelly?”
Frauke nodded to the beat: “Huh? Yeah! It’s an American band called The Doors , The Other Side , yeah, they’re good!”

The cosmic ray transformed the tip of the bell tower into a reactive vanishing point. This produced a carnival-like hall of mirrors effect. Booker, Frauke, and Álvaro occupied that space between the parallel lines of the cosmic ray. The room resembled a virtual infinite hallway with a ledge. Colors cascaded down the cosmic ray.

Frauke’s gaze caught something in the swift wave of light. She spoke, describing what she saw as it manifested in Álvaro and Booker’s minds.

A spinning triangle reflecting brilliant light transformed into crystal. At each corner, the numbers 3, 6, and 9 materialized. From the center of the triangle, sparks erupted, forging a nude female figure with hair down to her feet. A deep red and white glow caught her attention.

“She can see us,” Frauke said.

The woman spoke echoey. She gave her name as Mitzi Orssich. Mitzi said she was broadcasting from a live 1920 séance in Austria. The chatty ghost said she represented the Viril Society.

Mitzi demanded information from the future to help build a temporal vehicle. Mitzi possessed sternness, while her flawless figure projected an incredible image. She was a magnetic and exciting archetype who could raise blood pressure and induce a firm salute .

This woman’s body possessed a truly divine craftsmanship, an image that neither eats, defecates, nor ages.

Booker reflected.

She fit the bill: blonde hair, blue eyes. The graceful elements resembled the Christkindel.

But why didn’t this woman take over as Germany’s leader in the 1930s?

Mitzi spoke English very well.

Booker recalled researching the Vril Society, which emerged as a 19th-century work of fiction by the English writer Ed Lytton.

Booker realized they were tapping into a projection of Frauke’s subconscious.

Mitzi was, in effect, a literary phantasm forged from a pseudo-story.

He looked at Frauke, who remained staring.
Booker speculated through his online queries and research; Frauke gained powerful impressions from what she read.
Álvaro’s face was simply a huge smile with tiny hands and feet.

Booker interrupted Frauke’s trance and appropriated the cosmic ray, projecting abstract expressionist ideas onto it. He enjoyed this art movement and understood its significance. He was open in sharing his observation of vivid brushstrokes.

Booker gently guided the hallucinatory influence away from the National Socialist art style toward a more universal and abstract variety. It was art without a human figure.

Wonderful and exciting non-figurative patterns formed from the center of the cosmic ray. The variety of designs lacked strict cultural ideologies, which brought Frauke out of her trance.

The cosmic ray inspired Alvaro to create a complex algorithm based on his interest in spiders.

Mitzi’s impression triggered unexpected associations that took a mutated form.

Web strings connected a spider puppet to the spinning chemical brain in Alvaro’s vision.

Frauke saw it as a fusion, creating one puppet within another.

Booker interpreted Alvaro’s vision of the spider as a portable DNA capsule capable of flying through space.
Small cubes appeared on a spinning belt in another future. The webs were coordinates, guided by a chemical brain inside a metallic spider.

Booker, Frauke, and Alvaro huddled in a triangle in front of towering Douglas fir trees. They were gone for three days and reappeared five miles from where they had disappeared. There was no alien tower there. A man named Warren found them while patrolling the forest. The cosmic ray information was useful.

US intelligence took statements from Booker, Frauke, and Alvaro.

Engineers, chemists, and physicists collaborated to design a new space vehicle with a chemical brain.

A few months later, the spider-like object would fulfill a panspermia mission. The space spiders, called Anansi Capsules, would aim to find habitable planets to modify human DNA and enable life in an extraterrestrial environment.

The Anansi Capsule was an 8-foot-tall mobile figure with eight appendages for hand tools.

After descending, the capsule would unfold into a complex 16-foot laboratory.

The Anansi Capsule would manufacture and raise two biological beings for several generations.

It is unknown whether the new offspring would preserve or understand their origins, but they could be alive to continue exploring space.

A few months after visiting Montana, someone mysteriously provided a grant to de-extinct the woolly mammoth and thus include it in Booker’s future project.

From The Eclipse © Mitchell Pluto 2024 Séance channeling memory transfers . Spiral in Stucco © Mitchell Pluto 2025 Memory Transfer

Espiral en el Estuco (Spanish Edition) Paperback – Large Print, 23 April 2025

Spanish edition by Mitchell Pluto

El surrealismo oscuro y el absurdo crean efectos psicodélicos. El zen y el jazz de Coltrane ofrecen una vía de escape de la veneración política, permitiendo viajes interestelares. Cada capítulo explora el surrealismo y las técnicas budistas. Estas ayudan a sobrellevar el trauma de sentirse atrapado, como un animal en un anuncio repetitivo.

Warlock Tree, Rhizomatic writings by Victoria Riquelme

Capítulo I

Limbo de hoja (Percepción)

Rizoma herbolario

Rizoma comestible, tubérculo sanador, yema axilar e interrumpida, epigeo brote conquistador de jengibre, lúpulo y cúrcuma medicinal. Rizoma incontrolable, inalcanzable, rebelde rizoma de venas de tallos subterráneos e ingobernables. También eres nutriente, órgano de reserva para las plantas y sostienes con tu amor horizontal los tallos perennes. No eres inmortal ya que mueres de vejez con el curso de los años; pero en verdad no mueres nunca, nuevos tallos inquietos brotan y siguen y se quiebran y siguen y los cortan y se doblen y siguen creciendo. Se aferran al suelo, ramificándose y creando esa red entrelazada de conexiones que los mantiene vivos y unidos. Rizoma difícil, no eres estático ni sistemático Tienes tantos puntos de vista y miras por todos los ojos la creación de la tierra.

La nieta del brujo

El pájaro austral canta debajo de la lluvia balanceándose en el árbol rezado y superviviente. Pica los limones y entona. Caen las semillas en la poza de agua que lava sus raíces; dedos rizomas: brotan flores cítricas que nadan. Llueve en el jardín del curandero. Don Manuel Antonio Lezana es sereno; sabe leer el idioma antiguo. El de la piedra. El tallado…

Oficio antiguo

Somos los cultivadores brujos, los de la marca en el cuerpo, nuestro oficio es la botánica de la sobrevivencia. Somos los gentiles, observamos la belleza en el micelio del auxilio. Vivimos muchas vidas: eres bienvenido a regar nuestras tierras.

Árbol brujo

Dormí en tu halo tardes de primavera, hice el amor con el destello del sol que penetraba tus hojas calientes. Subrayé mi nombre en la secreta elevación de tu mejilla. Es verdad tu belleza, es verdad al caer el agua en tu humedad y tu sudor de invierno. Comí cada hongo alucinógeno proveniente de tu mutación, me cobijé del sol neurálgico cuando mi piel ardía, descansé mis huesos sudorosos en tu sombra, canté el nacimiento de pájaros en nidos de pelo lobo. Aprendí el nuevo idioma de lo recóndito, de las profundidades, de lo mas sublime de las estrellas…

Recorrer los textos de Árbol brujo es aceptar el curso de un río; flotar sobre aguas que cambian de velocidad sin advertencia. Adentrarse en sus palabras significa estar dispuesto a habitar el micelio de la autora, recorrer sus hebras y vivir en sus espacios. Buscar nuevas entradas y salidas, pues como dice Victoria Riquelme: «nunca ha de cerrarse ningún camino». Un rizoma de lenguaje feroz y sensual será lo que encontrarán en estas páginas.

Leonel Huerta / Chile/ 2024

JoLu Amaringo on Vegetal Ceremonies

My visionary artworks are based on the two plants needed to prepare the ayahuasca brew. A snake emerges from the ayahuasca vine, surrounded by fuchsia flowers. There is also another snake, the chacruna snake, green in color with its luminous leaves. Radiation comes out of his mouth. The chacruna snake penetrates the ayahuasca snake, producing the visionary effect of these two magical plants.

In an Ayahuasca ceremony, the master and his disciples are covered by rainbow-colored radiation emanating from the ayahuasca and chacruna plants. The combined effect of these plants is esoteric: due to their supernatural properties, psychic bodies are created that the eyes have never perceived before, so that one is overwhelmed by this strange new dimension. This world penetrates the top of the head so that the aura stimulates a gland between the eyebrows and activates the third eye.

Ayahuasca reveals its deepest secrets when the visionary dizziness is strongest. They show that human beings need to create a balance between their good and bad sides.

Through ayahuasca you learn to express in thoughts, feelings and words that “I am” and “I exist”. If a person thinks or says, “I am nothing and I have nothing,” she is extinguishing his spiritual strength and is doomed to failure. It is important to think inspired thoughts and say empowering words about yourself and others, rather than complain about the negative aspects of a person, as we all embody both positive and negative qualities.

Ikaros

This work represents all the magic songs that shamans use to cure various diseases, these magic songs are called Ikaros. The ikaros or magic songs are taught by spiritual beings especially by animal spirits, that is why in this painting I have captured various animals with different powers.

The Eagle is considered the supreme emblem of the gods, rulers and warriors. It is a symbol of majesty, bravery and spiritual inspiration. Being seen as the lord of the air personifies power and speed.

The personality of the snake means wisdom, power and health, it is an animal that represents strength and unsurpassed superiority.

Some attributes of the Wolf are: intelligence, cunning, communication, friendship, loyalty, generosity and compassion.

In the realm of spirit animals, the tiger places a special emphasis on raw feelings and emotions. The tiger spirit symbolizes primal instincts, unpredictability and the ability to trust yourself. By affinity with this spirit animal, you can enjoy dealing with life issues spontaneously, relying on your intuition and acting quickly when necessary.

Finally the heron and the butterfly represent self-sufficiency, stability, tact and careful foresight. In other words, you will achieve great success through your efforts. Visioning with these animals signifies your ability to explore and delve into your subconscious.

Arcanes of the Ayahuasca Star

In the Amazon there are several types of ayahuasca, these lianas go to the infinity of the universe, meandering many colors, among them the orange color, known as “Ayahuasca Star”, a color that shines in this visionary work of art.

The “Arcanes” are protection spirits of the shaman, and of the magic liana Ayahuasca, these are presented as people, animals and plants.

On the left side of the work you can see two arcana presented by a tiger and an owl. This is a vision that surprises shamans, because they emerge from the ayahuasca rope. The spiritual tiger contains the almost impenetrable depth of the science of ayahuasca and the spiritual owl represents the ayahuasca vine. These spirits are concerned with the esoteric force of ayahuasca. In these animals, the sense of smell and the eyes are full of hypnotism that are sharpened through rhythmic movements, when these animals prepare to act on something. The masters, who acquire the strength, the cunning and the sharp eye that hypnotizes these spiritual animals, become expert healers of both natural and artificial cures, because the shaman has learned from the intelligence and powerful and intelligent minds of these animals.

In the upper central part of the painting we distinguish a face with a yellow halo; this is the reflection of the mind. It is there that a master healer perceives and feels the rhythmic formation of life, with its forms and motifs that intermingle with its vibrant colors and sounds. There, the teacher is filled with knowledge, when he knows the value of colors; Color reflects human behavior, whether people are good or bad based on dark or light colors. This is also true for the sounds that we carry inside our bodies and external sounds.

In this painting you can see a master shaman, with the degree of “Sumi-Runa” (a man of much knowledge and hidden wisdom), he feels the astral ether very strong, something that is unknown to humans who do not know spiritual things , only with their physical eyes they see the matter that is the deformed space. The Sumi-Rune, Bank-Sumi, Murayas and others who have these high esoteric degrees were for the most part illiterate and naive Aborigines in what is modern culture, but they were integral human beings; a great Sumi-Runa teacher, or any other spiritual degree, seems like an innocent, that when one sees him, it appears that this person knows nothing, yet he covers the infinite knowledge of millions and millions of years, managing to know the kingdoms spiritual of sublime purity. When these great masters travel in time and infinite space they unite spiritual corpuscles to their bodies that form dimensional aureoles that encompass incalculable spaces in the universe, in the process of these trips they see present things where they understand that the past and the future is within the present. For these spiritual beings everything is present, there is no past or future.

Behind the master shaman “Sumi-Runa”, there is the Situlle plant, a plant that grows vines and bitter herbs. Then we see the hawk called “Tive-Mama”. The teacher uses this bird as a guardian who watches the depths of the rivers. The hummingbirds and yellow toad help people to be confident, diligent, active, prepared, optimistic and self-confident.

In the lower left part of the work, a blue snake with a pink aura is seen. The pink color represents Altruism, Philanthropy and Generosity. The blue color represents confidence and tranquility.

Ayahuasca offers a lot of spiritual teaching and physical, mental and moral health. Human wisdom produces various pleasures, such as the experience necessary to obtain material wealth, but not to bring true happiness or lasting satisfaction as spiritual knowledge and spiritual wisdom do. Whoever uses the ayahuasca drink must know how to diet to receive the cure; This is the basis for strengthening the health and proper functioning of the body. It is very, very good to meditate while looking at this painting; In this way you will hear the roidash (spiritual message).

Arcane of the Ayahuasca Bell

There are different types of ayahuasca in the Amazon. These lianas go to the infinity of the universe and meander in many colors, including Campana Ayahuasca green, a color that shines in this visionary work of art.

The arcana are protective spirits of the shaman and the magic liana Ayahuasca, who are represented as people, animals and plants.

At the top and bottom left of the work are the faces of two female spirits with healing abilities, the female spirits take care of the vegetation and the water. These spirits are called “Sacha – Huarmi”, which means “wild woman”; Therefore, plants and flowers together as “Toé”, the “Toé” flower can be seen at the top next to the spiritual face and in the central part of the work, this flower represents the strength that it has. The Floripondio The plant full of electromagnetism, that of The use of shamans for defense is also used for harmful and contagious diseases and for the relief of blood.

In the upper middle part of the work you can see the eye of an owl, these birds that the Master’s healing shaman uses to defend himself from his enemies that attack him from the ground.

We also observe a spiritually named tiger called “Puyo – Puma” in the upper right part of the work, which means “tiger in the cloud”. One of its characteristics is knowing the movement of the earth and making each enemy inactive. . He is very brave in his attacks, but he is very careful. These tigers go through the session or ceremony and give the shaman great healing power for vibrations and powers to fend off the evil of a magician acting against him and his disciples.

The dolphins or bufeos that can be seen in the lower right part of the work are spiritually present in the Ayahuasca ceremony or ritual to allow better vision and meditation. There are the spiritual powers of the gods and goddesses, these energies are conjectures.

“Looking at the spiritual world means seeing another latent world”.

Arcanes of Heaven Ayahuasca

In the Amazon there are several types of ayahuasca, these lianas go to the infinity of the universe, meandering many colors, among them the color blue, known as Cielo Ayahuasca, a color that shines in this visionary work of art.

The Arcanes, are protection spirits of the shaman, and of the magic liana Ayahuasca, these are presented as people, animals and plants.

On the upper left side of the work, you can see the monumental “Celestial Towers”, which serves as an angular protector for the earth. From there come the white zigzags of cosmic energy that in their magnitude can control many other moving energies that serve to develop more life. A little further down you can see the face of the visionary shaman teacher along with her two protectors known as arcana presented as hawk and jaguar.

This visionary shaman teacher is called “Sinchi Muscui Huarmi”, which means “Strong Woman”; This master shaman practices the science of curanderismo, and is much stronger than a male shaman, because the spirits sharpen more with women than with men, because the woman contains the ovule that can make a being fertilize, while with the male does not happen that way, a woman can more easily defeat sorcerers and sorcerers. Her protectors (hawk, jaguar and owl), who are next to her, know how to hypnotize perfectly and can neutralize the Icarus of the enemies and paralyze any damage.

In this session the shaman teacher in her concentration with her power can bring trees, plants, shrubs, plant parasites, waterfalls and all kinds of animals such as birds, snakes, among other animals in a spiritual way, as can be seen in all the work; then the physical practically disappears only the spiritual can be seen, in such a way the vibratory waves of the ayahuasca appear, surrounding the master shaman, where one feels a very high concentration, that one almost feels like being a spirit and not a Being physical with ailments and mental disturbances, one leaves everything physical aside and feels like a super man, full of knowledge, wisdom and intelligence with the intention of living not for centuries but forever, at this moment the person greatly appreciates and values life, because it sees that each one fulfills its function fully, it is something very nice and fair, to see plants that fulfill their function of generating healing forces and food oxygen, to preserve living beings on planet earth where life Physics is in stock.

In the lower right part there is a woman’s face, called “Chuya Huarmi”, which means “Clean Woman”, this woman is an expert in the use of floral aromas. She indicates the invisible force of life present in all the forms found in the universe. In these free-flowing circles, as they accumulate there is abundant and lasting health embodying the art of curing chronic disease.

The flower that is observed in the lower central part of the work, carries the perfumes that symbolize the reproductive organs, because each petal indicates: root, leaf, flower, fruit and seed, and this does its work through the spirit, which works through the mind. One has to better learn the knowledge that ayahuasca gives us, remake the mind to introduce the new knowledge that the sacred plant gives us without being stubborn with what it teaches and shows us.

Everything is valid in life; you just need to know how to use it at the right time and in the right place.

Sanctuary of Onaya

In this visionary artwork we can see the shrine of the sublime master Onaya in this temple we can find the path to heavenly wisdom. The spirits encountered by the vegetalist in this journey are his masters, and from them he gets the entrance to the spiritual temple, which is composed of living pearls and precious gems. The columns of this sanctuary are made of flawless diamonds that can never be defiled.
Only the pure of heart enlightened by love, humility and wisdom can enter the magnificent and sacrosanct temple. In the water of the waterfall we see on the right side of the temple are the anguilamamas, who discharge electromagnetic rays that protect the sanctity of the temple. Also visible are the indigenous warriors who also act as guardians. The extraterrestrial ships at the top are from another galaxy and have traveled for thousands of years and visited many worlds to extract minerals and reach the Amazon jungle to receive vital energy.
The green patiquina in the lower right is used to represent a person’s lungs; the different shades of green from the edge of the leaf to its center indicate the state of the person’s lungs.
The hummingbird we see in this visionary work acts as a messenger. Its sweet trills are the most delicate and sublime icaros to sing to people seeking new strength or suffering from dreadful diseases. However, they must be sung with the utmost precision. These celestial spirits inhabit the palaces and temples at the top, where they gather to sing songs of worship.
Finally below is the sachamama (mother of the forest). She projects an electromagnetic rainbow symbolizing the elements that fertilize the plants. The healers in the ceremony are chanting the icaro of the sachamama to prevent the sorcerers from thwarting their work.

I am Jose Luis Vasquez Gonzales, known as JoLu Amaringo, I was born in the cradle of art on December 5, 1991, in the city of Pucallpa_ Peru, when my famous grandfather, the Peruvian painter International Amazonian Visionary Pablo Amaringo Shuña, flew to Japan to present one of his famous exhibitions on visionary and neo-Amazon art.

During my life in my grandfather Pablo Amaringo’s house with my father Juan Vasquez Amaringo and my mother Lidia Gonzales Laulate, I drank countless stories that I heard in frequent meetings around a table. I also drank the vocation for the art of painting.

I am very thankful to God for making me spiritual brothers and sisters, and that my paintings convey my love, energy and healing to each of you. Many blessings, peace, love and good health to all.

written by ©JoLu Amaringo

**JoLu Amaringo and family** **of healers**

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