Online Groves, pt 2

More thought on contemporary screen-craft

That word – icon – is crucial. The digital witch queen is not just an individual; she is an interface where multiple ancient figures converge: wise woman, whore, saint, muse, demoness, fairy godmother, war goddess, influencer. Each clip, each carefully composed selfie, is a tiny rite in which this hybrid image is invoked and sustained in the collective psyche.

In self-aware forms of occultism, this archetypal dimension is usually named directly. Practitioners speak of “channeling” goddesses or spirits through their content. A creator may present herself as a living vessel of Lilith, Hecate, Inanna, or of a new egregore – an entity generated from the attention and desire of a fandom. These invocations are an invitation to relate to the persona not just as entertainer but as object of devotion, sometimes of blasphemous devotion.

Esoteric traditions insist that every working generates residue. Power raised must be grounded; spirits called must be dismissed. Platforms provide no such hygiene. There are no built-in banishing rites for a tidal wave of prurient projection. Some creators invent their own: periodic disappearances, ritual blockings, symbolic cleanses. Others succumb. Online, one sees sudden breakdowns on livestream, final posts tinged with exhaustion, abrupt deactivations. These are the nervous crashes of priestesses whose sanctuaries are also marketplaces that never close. You can often hear, ”I’m leaving this platform!” With everyone responding in-between the lines, ”Oh Yeah?”