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  • Writer's pictureDr Lila Moore, All Rights Reserved

Media Priestesses and Auric Fields

(c) Sigil dance by Psyence Vedava, 2019
(c) Sigil dance by Psyence Vedava, 2019

We live in times of darkness, in shadows of artificial light’ writes Psyence Vedava in her illuminating book chapter:

The Dance of Aurora Media Priestesses and Auric Fields

The chapter suggests that embodied ritual practices of the feminine—involving media, art, psycho-spiritual technologies, and techniques of the occult—manifest transmedial auric fields that weave the dance of Aurora, the dance of awakening of the Goddess of Light. These fields resonate with the universal heart vibe, channelling the healing energies of the cosmic Mother to the physical, the digital, the mental, and the tech-noetic.

Specific examples from the work of three women are presented in this book chapter, ‘namely Dr. Lila Moore, Vedava (the author of this chapter) and Sedona Soulfire. These modern creatrixes actualize their media priestess function by fusing consciousness and the imaginative with the ancient and the futuristic, in the convergence of art, body, technology, and 21st century feminine spirituality.’

The modern media priestess invokes the Dance of Aurora

‘She is the initiator and field manifester.’

The media field represents the womb of culture, an alchemical mirror of transformation, the psychosocial matrix of civilization. It reflects/projects and (in/re)forms the contents of the collective unconscious, expressing individual and collective consciousness/imagination.’ Mediating both the shadow and the light, the field mirrors pathological states, ‘archetypal narratives of the isolated ego living in ignorance and fear, lost and sick in a journey for survival, trapped to scenarios of inescapable self-annihilation.’ Nowadays, the shadow of the technosphere has become humanity’s primary extension, just as media technologies became the extensions of the self in the last century (McLuchan,1967).

The media priestess does not hide in the shadows of the technosphere. ‘She is an artist of consciousness alterations actualizing the modern function of the techno-shamanic creatrix. She is a visionary medium.’

(c) Devada’s Gifts. Vedava’s divine mythic self, 2017
(c) Devada’s Gifts. Vedava’s divine mythic self, 2017


Vedava sees media priestesses everywhere, in all cultures of the ancient past, the present, and the future. The priestess is in the matrix and in a way she is the matrix. Envisioned as a cosmic vessel, the matrix is filled with the light of consciousness, emanating from the (world) soul and flowing through cells, DNA, and through us. Vedava refers to contemporary philosophers who see matter as a manifestation of cosmic mind. (For example, matter from consciousness – idealism, Kastrup, 2021).

Additionally, links are made between the psychedelic revolution of the last century and the emergence of computer networks as well as concepts such as networked consciousness. She highlights the pioneering artist, primary theorist, and innovator of cybernetic art, telematic art and technoetic arts Roy Ascott alongside one of the leading pioneers of the psychedelic movement, Terrence Mckenna. Although operating in different fields, they both comprehended the convergence of art and technology as part of the integration of science and spirituality, ‘the merging of the biological and the artificial as part of the evolutionary integration of culture within nature.’


Vedava positions the modern media priestess in the historical context of film as ritual magic with reference to film artists such as Maya Deren, Kenneth Anger and Derek Jarman. Film as ritual magic is a practice which has advanced ‘into new modes of expression through media technologies.’ She brings specific examples from the work of three contemporary media priestesses and presents them ‘as forms of transmedial auric fields.’ ‘Their commonalities’, she writes, ’emerge from embodied feminine spirituality practices involving alterations in consciousness evoked through ritual, sacred dance, different techniques of the occult/esotericism, and technological media.’

Modern media priestesses do not hide, however, they may become invisible in the noisy technosphere. Yet, ‘modern media priestesses emerge around the globe. They meet in person, when possible, or in cyberspaces and intermediary realms through online rituals and networked rites.’ Weaving networked media technologies in the biospheric web of consciousness, they assist in ‘dissolving the artificial noise that is disharmonizing the collective.’

(c) The Gate-Keeper Dance, Guardian of the Life Force by Lila Moore, 2012-2021
(c) The Gate-Keeper Dance, Guardian of the Life Force by Lila Moore, 2012-2021


Finally, Vedava states: ‘more interdisciplinary research on the ways media priestesses use ritual art as media magic for beneficial purposes in the 21st century is needed.’ We’ll discuss the imaginal realm and the cosmic notions described in her chapter in my course:

The chapter was published in the Handbook of Research on Global Media’s Preternatural Influence on Global Technological Singularity, Culture, and Government. Edited by Stephen Schafer, PhD and Alex Bennet, PhD. The handbook views preternatural healing of the media-sphere from a variety of perspectives. It addresses the subject of a healthy media and the dynamic of heart-coherent entertainment.

Members of the book’s Advisory Board: Jorge Ferrer, CIIS, USA Florin Gaiseanu, National Center of Microelectronics, Barcelona, Spain Rollin McCraty, HeartMath Research Center, Institute of HeartMath, USA Robert Pope, Science-Art Research Centre of Australia Dean Radin, Institute of Noetic Sciences, USA And others.

Psyence Vedava, independent research, Greece.


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