SEXUAL CHEMISTRY ZAGANA: The Sixty-First Spirit is Zagana. She is a Great Queen and President, appearing in the form of a most beautiful Woman from whose brow will be seen the horns of a Bull; from amidst her back she has the wings of a Gryphon, but most often than not those of a Bat to be dressed in black Nigredo skin tight leather looking like a Dominatrix. She makes her Master witty. She can turn Wine into Water, and Blood into Wine, also Water into Wine for she is highly versed in the Arts of Alchemy. She can turn all Metals into Coin of the dominion that Metal is of; she can also make Fools Wise. All these things she can do but only when she has had her most wanton sexual hunger satiated by her Master via those Erotic Dreams she will inspire; she Governs over 33 Legions of Spirits like unto her self.  

ASSUMING THE ALTERNATE PERSONA OF A SEXUAL ALCHEMIST PRACTICING ALCHEMY ARCANE

When a Male practioner Evokes the Succubus Zagana he can assume the Alternate Persona of an Alchemist within a Lucid Dream, whose characterics of a character construction can be based upon the likes of, Paracelsus, Nicholas Flammel, Cagliostro, Count St. Germain, Basil Valentine, or that of others of influence. When one assumes the guise of ones Alternate Persona within a Lucid Dream Zagan will thence empower ones role of a character; whereupon she will thence weave an Alchemist's laboratory around one of Lucid Dream setting within which one can thence practice ones arcane Art with Zagana.

THE NIGREDO QUEEN OF SEXUAL ALCHEMY

Alchemy is often referred to as the Mother of Chemistry. Books by medieval Alchemists contain instructions on the use of various substances, which they listed as Mercuryt, Sulfur, and Salt. These and other exotic substances were heated, combined, and recombined in various elaborate ways in the hope of attaining the transmutation of a base material to become as Gold.

The word Alchemy, was originally derived from the Ancient Greek word Khemia meaning "Art of Transmuting Metals", later Arabicized as Al-kimia, is both a philosophy and an ancient practice focused on the attempt to change base Metals into Gold, investigating the preparation of the "Elixir of Longevity", and achieving ultimate wisdom, involving the improvement of the Alchemist as well as the making of several substances described as possessing unusual properties. The practical aspect of Alchemy generated the basics of modern inorganic Chemistry, namely concerning procedures, equipment and the identification and use of many current substances whereby one has changing Water into Wine, Wine into Water etc.

Alchemy has been widely practiced in Mesopotamia (comprising much of today's Iraq), Egypt, Persia (today's Iran), India, China, Japan, Korea and in Classical Greece and Rome, in the Post-Islamic Persia, and then in Europe up to the 20th century, in a complex network of schools and philosophical systems spanning at least 2500 years if not further back into time.

The image of the Alchemist labouring within his grime ridden murky laboratory of a womb amidst swirling sulphurous fumes, trying in vain to turn Lead into Gold, is ingrained in contemporary thought and culture. Unfortunately, the efforts of the medieval Alchemists are believed to have been purely futile should one take a literal perspective upon the 'Matter' at hand.

What is not generally well-known, however, is that the authentic Alchemists of the middle ages, such as Paracelsus, Nicholas Flammel, Cagliostro, Count St. Germain, Basil Valentine, and others, were using their Alchemical language in a heavily veiled manner. These Alchemists are considered by some as being privy to a secret knowledge, which was only revealed to those of the initiated; whereby they spoke and wrote about their arcane art in a heavily coded form. The Alchemists were so successful at hiding the true meaning of their secret, that almost any treatise on Medieval Alchemy is difficult to understand and almost impossible to decipher unless one has the experiential keys to their mysteries. This secret was known not only by a few of the Alchemists but also by many of the great mystery schools of the past whose passed down knowledge was also veiled by utilising their own particular array of intricate Symbolic systems.

The Psychologist Carl Gustav Jung believed that he had rediscovered the secret of the Alchemists, which he put forward in his masterpiece entitled, Psychology and Alchemy; Jung's work is the twelfth volume in the Princeton/Bollingen edition of his Collected Works. In it Jung had argued for a re-analysis of the symbolism of Alchemy, wherein to indicate that the Alchemists had a prior in depth knowledge of the Psychoanalytical process. Jung utilises a cycle of Dreams for his argument, which one of his patients to have experienced. The Dreams, which Jung's patient experienced indicated to Jung that the symbols utilised by the Alchemists also occur within ones deeper psyche as a stream of Subconscious mythological images drawn upon by the individual within their Dream states. Jung draws up a correlation between the Great Work of the Alchemists and the internal processes of reintegration and individuation within the Psyche of the troubled patient, which still has present relevence.

While weaving together these associations Jung reinforces the inter-woven universal structure of his theory investigating the Archetypes to put forward the argument that the Spiritual impulse is important for the Psychic health of the modern humanity. Jung's book is heavily illustrated with images, coded drawings and symbolic paintings from the arena of Alchemy and other mythological sources to also cover Gnostic Christianity; the heavy tome is a perfect example of Jung's immense knowledge and infatuation with the Esoteric and Exoteric expressions of Spirituality born of the questing Psyche as it scales the symbolic ramparts of religion and mysticism.

Influenced by the innovative work by Ethan Allen Hitchcock and Herbert Silberer (who was in turn influenced by Jung), Psychology and Alchemy is an influential work of investigation into a nigh forgotten system of thought which did much to rekindle interest in Alchemy as a serious force within Western Philosophical and Esoteric culture.

What is also interesting about Jung's work on Alchemy concerns the unique pedegree of the patient whose Dreams were being analyzed; the patient in question was none other than the Physicist Wolfgang Pauli, who later collaborated with Jung to investigate ideas concerning the acausal connective principle of 'Synchronicity.' Pauli's Dreams are interpreted as a flowing panorama of Symbolism in order to decipher the underlying meanings encoded within the recurring motifs and Symbols. Pauli's series of Dreams culminate in a vision of a 'world clock,' which is somewhat akin to Salvador Dali's vision of a melting clocks in some respects. However, Pauli's vision of a world clock is actually several clocks, which exist on differing levels of existence to be operating on different scales emanating colours. Jung interpreted the Dream of the world clock as symbolising Pauli's Unconscious expression of some grand cosmic order, which disturbed Pauli. Three of the most powerful Dreams, which Pauli to have experienced of insight were communicated by Jung in his Terry lectures covering the Psychology of Religion. As for Pauli's world clock it can be interpreted otherwise to indicate that ones Consciousness is indivisible from the experience of Time, being one and the same of entity.

Jung's thesis is primarily directed in advancing the association between Alchemy and Psychology to perceive pre-industrial humanity as not having a sharp distinction between 'Subject' and 'Object' whereby leading them to Unconsciously project their own inner states onto external objects (especially those objects of science, which are mostly unknown to them due to their pre-industrial society); whereby a Symbolic analysis of the Alchemical symbols utilised reveals the nature of the underlying collective Unconscious Psychic drives behind a pre-industrial period of history. Prior to Jung's analysis of Alchemy it was generally considered that the perceptual experience of pre-industrial societies was a totally different one to that of the so called modern age. In general, the peoples of a pre-industrial society were seen as being unable to discern between the qualities of the object and that of their own subjective perceptions, whose observations and that of their own entangled values, emotions, and beliefs were very much tied up with what they were observing. In other words ones pre-industrial ancestors were seen as being driven by superstitious impulses. It is now generally believed that it is the reason why the Alchemists could not communicate what the 'Philosopher's Stone' really 'is' and the reasoning behind the many differring symbols for the Great Work of Alchemy. However, such a perspective of ones pre-industrial ancestors is somewhat arrogant in the extreme.

The primary orientation of the Alchemist was that of an attempt to understand the nature of the material world in order to thence transmute base Metals into their purest form, which was perceived to be that of Gold. Jung had determined that the Alchemists understood that they themselves must internally embody this change, which they then hoped to affect within their external materials via an associative process of Symbolic correspondances: for example, if the Alchemist hoped to achieve the 'Philosopher's Stone,' (The Quintessence) which can redeem 'base' or 'vulgar' Metals, then the Alchemist had to also become a redeemer figure him self to thence assume of guise. It became apparent to Jung that the Alchemists were attempting to redeem nature in the same way as Christ had been perceived to have redeemed Humanity, hence the identification of the Lapis Philosophorum with Christ the Redeemer. The Opus (work) of Alchemy, is viewed by Jung through this prism of a Symbolic interpretation; the processes of Alchemy becomes that of a Symbolic account of the primordial process, which the human Psyche undergoes as it re-orientates its value system and creates meaning out of the chaos of life.

The Opus begins with the Nigredo, 'Blackening,' which Jung perceived as being akin to a state of acute depression or a total Nihilistic loss of value. The Nigredo stage of the great work can also be equated with the common North-Central-Asian Siberian Shamanic motif of the dismemberment experience, which is endured by the Shaman while he is deep Trance or via Dreams whom is torn apart by ancestral Spirits, deities or Animal familiars after which the Shamans energy body is then rebuilt anew to also include powers and abilities of an evolutionary leap in Consciousness; this Shamanic motif of dismemberment by otherworldly entities can also be found in modern reports of UFO Aduction experiences. The Nigredo stage of the work had to be endured in order to descend back into the manipulable Prima Materia whereby to then proceed through a process of Spiritual purification, which unites seemingly irreconcilable opposites (the Coniunctio); this thereby leads to the attainment of a new and far more deeper level of Consciousness, which one could equate with the process of DNA self-replication.

Within Jung's Introduction to the Religious and Psychological Problems of Alchemy he sets out the central thesis of his book to thereby perceive the art of Alchemy as drawing upon a vast array of Symbols, images and patterns, which are drawn from the Collective Unconscious of the West. Jung defended his insigthful investigation of the Psyche and Soul against various critics who often accused him of being both religious and anti-religious depending on their particular point of view. Jung argues for a deeper understanding of the Western Spiritual traditions of an Esoteric Christianity, which is not at odds with Animist Paganism as well as Alchemy alongside an examination of ancient Eastern Spiritual practices such as Buddhism and Hinduism etc.

Jung had diagnosed that the Spiritual laziness of the West was due to it not being able to truly embrace the Christian Myth as an inner journey of self transformation. (When one looks into the Christian myth of the Nigredo Crucifiction one can discern the ancient forerunner of Christ who is the 'Shaman' Trance hanging within the World Tree whom in Central-North-Asian Siberian lore has an elder brother who is the Smithy, which one can equate with the Alchemist the Christian's to have demonised as their sooty Devil.) Alchemy, Jung argues, is a 'Western form of Yoga' which was designed to facilitate an inner process of consciousness transformation. Jung's book indulges its self in describing as well interpreting a whole cycle of Dreams, which were described by an unnamed patient to protect his confidentiality who we now know was Pauli; the Dreams are interpreted within an Archetypal and Mythological context by Jung in order to put forward his theory of the Collective Unconscious and the Psychological goal or Great Work of Psychic and Spiritual transmutation of Consciousness through the practice of Alchemy.

Jung was well aware that Alchemy is one of the cornerstones of the Gnostic Esoteric Work to thereby not dig any deeper; however, the ancient forerunner of Alchemy was the practice of Shamanism where one has the Shaman Smithy of an Alchemist. In his writings, Samael Aun Weor unveils a far deeper insight into the secret of Alchemy where he discusses its importance in detail. The Seven Metals and their associated Planetary correspondences, which the Alchemists refer to are not things found in the world around us, but rather are substances found within our own bodies and psyches; these Metals refer to the ancient Hindu concept of the Seven Chakras. The core of the Alchemists' long and cryptic discourses, when unveiled, is a straightforward Sexual concept. It consists of the transmutation of the Sexual energies, or secretions, through the practice of the Sexual act between Husband and Wife, but without ever wasting the Sexual energies (i.e. never reaching climax or Orgasm). The idea of intercourse without reaching Orgasm may seem at first unusual to some, but if it is practiced correctly it gives one the ability to achieve self-realization for it empowers ones Dream states to become Lucid of awareness. In other words ones Sexual impuse is internalised of Emotive Charge to thence Spin ones Electron Dreams to make as Golden Awareness whereby Leaden 'Time' let alone 'Space' can thereby be manipulated via ones Dreams.

In so called modern Western society the Sexual energies and Spirituality going hand-in-hand seems like a contradiction to many due to their religious indoctrination. This is not however the case when Sexual Alchemy is performed correctly. A Hermetic axiom states "As above, so below" wherein one finds the 'Six-Pointed-Star,' of interlocking Feminine and Masculine principles hence engendering creation and by practicing Alchemy one is using the same primary forces of creation, which the creative force of nature uses in order to bring everything into existence; only one is using these forces at a different level of being. Through Sexual Alchemy one creates the esoteric vehicles and virtues, which enables one to reach the Divine. One inner Transmutation via ones Lucid Dreams gives one large quantities of energy. Instead of the Sexual energies being wasted through unfocused Orgasm, they are transmuted or transformed into a finer, more potent form of (Emotive Charge) energy to thereby be internalised. The physical, intuitively Psychic, and Spiritual energies of one Dreams, which accumulate through Sexual transmutation are of an extremely powerful nature; it is energy of this quality that one needs to successfully progress in the Gnostic Esoteric Work but more so in regards to its ancient forerunner of Shamanistic practice, which does not have any qualms about Sexuality whereas Gnosticism traditionally finds it very difficult to handle all matters concerning Sex. One needn't express ones Sexuality physically, but one does need to internalise its potent energy should one desire to know what the ancient Alchemists knew, whose techniques enabled them to achieve full lucidity within the Quantum Dream of the Microcosm from where they could thence affect Macrocosmic Matter!

Sexual transmutation through the practice of Sexual Alchemy has often been referred to of modern perception in regards to Gnosis as working in the "Ninth Sphere." The number Nine esoterically represents the work with the Sexual energies. One can find a hidden code in the Tarot Card number Nine entitled as "The Hermit", which signifies the Alchemical work. The Hermit is a lone Male practitioner (Husband) whose Sexual partner is an inner Archetype of the (Wife) Feminine Principle. (One can gather what type of practice a Hermit to indulge in of Sexual expression somewhat obvious, although it is best when internalised rather than to indulge in all out masturbation without a creative focus.) The Feminine Archetype is encountered within the realm of the Dream made Lucid of awareness who is in essence a Succubus. The Succubus is otherwise known in Hindu Yogic and Tantric practice as a Dakini, which Jung would term as being a Feminine fluctuation of the Anima.  

The number Nine is also associated with the Hebrew Cabbala whose Ninth Sephiroth of the Cabbalistic Tree of Life is called Yesod. The name Yesod means "Foundation", and it is in this Sephiroth, which ones Sexual forces, are the living foundation of ones physiology. The modern viewpoint of the Gnostic teachings stress that it is impossible to attain self-realization without working in the Ninth Sphere, which seems to be somewhat contradictory when one considers that Gnosticism was primarily anti-sexual of celibate orientation. The Gnostic's were primarily looking at the Ninth Sphere in regards to ones base emotions (Prima Materia) to transmute; however they left the Sexual aspect out of the equation, whereby they took one step forwards to then go two steps backwards as well as to trip themselves up without realising that Sex is the key; for it is the power of creation.

Sexual Alchemy is orientated towards awakening what is known as the Kundalini Shakti in Hindu Yogic and Tantric practice. The awakening of the Kundalini, which is otherwise called the ‘Quintessence’ in Western Alchemy is worked upon in order to transmute ones Consciousness. One can thereby gauge why the Alchemists veiled their knowledge behind a shroud of Symbolic secrecy whose age was under the sweaty sandal of celibate Priests whom had the habitual habit of torturing and burning nubile Witches while playing with themselves under their dirty habits. The Kundalini is seen as a powerful, Serpentine energy of a Fire-Snake (Dragon motif found in Alchemy paintings) within Oriental Philosophy, which is situated at the base of ones spine. The Kundalini is currently found dormant in most people, but it is only through its awakening and subsequent ascent through ones spinal canal that it is possible to achieve what is known in Alchemy as the Philosophers Stone.

As the Kundalini ascends ones vertebra by vertebra, which are numbered Thirty-Three in number through each of the Seven Chakras; it results in the transformation of the spinal Chakras, which are otherwise seen as the spheres of Planets with their corresponding Metals and their virtues in Western Alchemy. To awaken the Kundalini, and to subsequently keep it ascending, requires great amounts of energy. This energy is obtained only through the practice of Sexual Alchemy. Contrary to what many schools believe, Meditation alone is inadequate to awaken the Kundalini. The Kundalini is Sexual in nature, and Meditation, although being a very powerful technique to obtain the necessary mental state, cannot provide the quantity nor the quality of Emotive energy needed to awaken the Kundalini in order to make it arise along ones spine without Sexual input; whereby intense Sexual visualisation techniques are utilised; hence one has the Succubae to thereby aid in ones Alchemical work.

The awakening and ascent of the Kundalini is governed by certain laws, which must be adhered to. These are not blind or mechanical laws, but rather conscious laws. The Kundalini is under the control of the Mitochondria, which determines the energy output of each and every cell; the Mitochondria is associated with the Divine Mother for the Mitochondria is passed down from the Mother to her children; it is from the Mitochondria that the Bio-Photon Fire emanates from, which suffuses ones Dreams to make Lucid of awareness who is the Kundalini Shakti. The inner Feminine Archetype, which is encountered within the Dream is called the World-Soul in Alchemy practice who is the fluctuation of the Kundalini Shakti. Most of the Nerve-Fibres of ones Central-Nervous-System are situated in the Heart area of ones body, which emanate from the central Nerve running along ones spine; it is along ones central Nerve channel that the Kundalini Shakti ascends to thence experience at a physiological level.

On either side of ones spine are two other Nerve channels, which are associated with ones Autonomic-Nervous-System; these Two Nerve fibres are associated with the Sun and Moon, which are brought into balance through work in the Ninth Sphere and by the merits of ones Heart. These are merits, which are obtained through a process of the sanctification and purification of ones Intent; in other words, ones focus must be constantly clear. The Kundalini will not rise along ones central Nerve fibre of the spine even by a single vertebra if the merits of ones Heart required for a particular planetary sphere of a Metal are lacking in regards to a Chakra. These merits are obtained through the daily observation, comprehension, and elimination of the negative psychological elements constituting the layered Chakra shells of ones ego. By disintegrating these psychological defects, a degree of ones Consciousness is freed, and those virtues opposite to the eliminated defects are then manifested; this is what is known as the Nigredo stage in Alchemy. This disintegration process, however, requires a special kind of energy. This energy is to be obtained through Sexual transmutation when working in the Ninth Sphere of ones Dreams to make Lucid of Awareness.

The Great Work of Alchemy involves four stages, which are the following:

1: Nigredo (-Putrefactio), Blackening (-putrefaction): corruption, dissolution, individuation. In ancient Egypt this stage was considered to be the Black-Rite. The Nigredo stage is also that of the little Death of Orgasm and Hypnagogic Trance ingress into the Dream, which is usually that of a Sexual experience when one overcomes ones Fear. It is at this point one breaks through the Hypnagogic Hymen veil to thereby penetrate beyond the ordinary Mind miasma of ones chaotic Dreams made up of ones mundane thought processes to gain access into a far deeper order of the Dream.

2: Albedo, Whitening: purification, burnout of impurity; the Moon, female, which is equated with 'WATER.' The Albedo stage is the Dream proper beyond the Hymen veil of normal everyday Dreams, which is suffused by the Light of the Bio-Photon emanating from amidst the Mitochondria. One gains conscious ingress into the watery astral realms of the Dream. One may experience the Primary Bright-White Light at this point where one experiences ego loss, which is covered in the (Bardo Thodol) 'Tibetan Boook of the Dead,' this then leads to a series of visionary states whose visions will be determined by ones Lucid state of Mind within the Dream.

3: Citrinitas, Yellowing: Spiritual enlightenment; the Sun, male. The Citrinitas stage is when one attains a fully Lucid Dream where one is totally conscious while Dreaming. One experiences a unification between ones consciousness, which is involved in physical experiential reality and that of ones internal reality of a Dreaming awareness; it as at this point one can assume alternate personas of ones choice to wear as a guise such as that of deities, animal forms or magickally constructed guises. One is not constrained by the limits of Space-Time, whereupon one can access information emanating from the far flung future or the past as well as to determine what is happening anywhere in ones present; one is only limited by the extent of ones imagination. One becomes aware that the internal reality of the Microcosmic informational realm of the Dream underlies Matter; hence, if one manipulates and changes the information within ones Microcosmic Dreams consciously one can thereby affect ones Macrocosmic material reality by a process of Symbolic Association.

4: Rubedo, Reddening: unification of man with Spirit, unification of the limited with the unlimited, which is equated with 'WINE.' The Rubedo stage is an awareness of ones ‘Emotive Charge’ in order to transmute. There is an associated Emotive Charge of (Metal) virtue, which corresponds with each of the (Chakra) Planetary Spheres. Ones Emotive Charge determines the Bio-Photon Light quality of ones Spun Electron Dreams. The Dream domains have particular qualities, which are equated with Planetary Spheres and each sphere has their corresponding Spirits. The Rubedo stage is also associated with the Hypnapompic state of awakening into rebirth out of the Dreaming realm whereupon the Rubedo is also associated with the blood of the mother. It is at this point one unifies the (Water) Microcosm (Unlimited) of the internal reality with the (Land) Macrocosm (Limited) of ones external reality to make as one, (symbolised as a Leminiscate) whereby ones experiential reality takes on a mythic fluidity where Synchronicities abound around one. It is here that one attains an Amphibious state of Consciousness amidst the Lemniscate (whereby looking like a winged Eye), which is equated with the awakening of ones 'Third Eye.' The Third Eye is that of the 'Pineal Gland' of a vestigial Amphibian Eye, which is often associated with the 'Philosophers Stone.'

The Glands of ones body are associated with the Seven Virtues of the Metals (Chakras) whose produced essences are Chemicals, which verily affect ones Physicality, Emotions and Mind states as well as that of ones Spiritual ingress into the realm of the Dream. The Glands are ones own Alchemists whose Physiological Alchemy when orchestrated brings about the creation of the Philosophers Stone of ones Pineal Gland to awaken into producing the (DMT) Quintessence. However, this process happens first and foremost at the Quantum level (Bio-Photon) of the (Nigredo) Electron Dream, which then affects the (Albedo) Biomolecular level (Mitochondria) to thence (Rubedo) affect ones (Glands) Physiology; whereby one has 'Mind' affecting 'Matter.' In other words, when one transforms ones Consciousness (Mind) from being asleep within the Dream (Lead) to become Lucid within the Dream (Gold) one is then able to bring about a transmutation of (Matter) ones body, which is that of a concordant transformation!

After the 15th century, many writers tended to compress the 'Citrinitas' into the 'Rubedo' stage whereby considering only three stages. However, it is in Citrinitas that the 'Chemical Wedding' takes place, generating the Philosophical Mercury without which the Citrine coloured ‘Philosopher's Stone,’ whose triumph of Great Work, could never be accomplished. The Chemical Wedding is where the practitioner unifies him self with the Inner Feminine of the Anima-Mundi World-Soul within a Dream made Lucid of Awareness. Such an accomplishment thereby generates the Philosophical Mercury, which is the ascension of the Kundalini Shakti along ones spine whereby one then attains the Philosopher’s Stone. In other words of plain base Lead Language in order to transmute into Gold; when one fucks a Succubus within a Dream made Lucid of awareness one is engaging ones self in Sexual Alchemy. If however ones Sexual orientation is otherwise of Priestly predilection the same is applicable wherein the Classical Goetia and that of its established Patriarchal emphasis on all male Daemons and Angeloi is right up ones street, so to speak, unless one is a Lesbian, wherefore, an all Female Goetia would be far more to ones liking while a hot Heterosexual Witch Nun prefers her traditionally listed Angelic and Daemonic Incubi, which are her own Animus fluctuations of a Kundalini awakening!

CTHULHU BABE FORNEUSI: The Thirtieth Spirit is Forneusi. She is a Mighty and Great Marchioness; she initially appears as a great Sea-Monster of a Cthulhu to which her ravishingly beautiful human form of a sensuous woman is attached to from her mid back or otherwise by a long writhing tendril. She makes her Master wonderfully knowledgeable in the Art of Rhetoric. She causes her Master to have a good name and to have the knowledge and understanding of many tongues. She makes her Master to be beloved of his foes as well as his friends. Whatever gifts she bestows upon her Master is only attained after her most salacious Sexual hunger has been fulfilled via those Surreal Erotic Lucid Dreams she will surely induce when her Master evokes her.  She governs 29 Legions of Spirits, partly of the Order of Thrones, and partly of that of Angels like unto her self.

ASSUMING THE ALTERNATE PERSONA OF A SURREALIST SHOKUSHU GOUKAN MANGA ARTIST

When a Male practioner Evokes the Succubus Forneusi he can assume the Alternate Persona of a Manga Artist within his Lucid Dreams who specialises in Shokushu Goukan, which Forneusi will empower. One may even find ones self assuming the form of a monstrous creature whose phallic tentacles are simultaneously penetrating many a Woman whom come from other lands speaking foriegn languages, which one to duly consume of love feast; such Women one to find are as ones Muses whom inspire ones dark artistry, which is transformed into something quite other via ones Surreal perspective to make Spiritual of orientation. One could base ones Alternate Persona upon the charateristics of a Toshio Maeda to thereby merge with H.P Lovecraft and that of H.R Giger if so desired.

THE DARK CTHULHU MUSE OF SHOKUSHU GOUKAN HENTAI

Forneusi is a very dark Luna Muse of Tentacle porn who along with her sisters are pursued, sexually penetrated and consumed by Lovecraftian monstrosities within whose twisted slime laden guts they are slowly digested to be reborn again for the process to continue; whereby the Erotic Visions and Lucid Dreams Forneusi to inspire covers such dark themes. Tentacle rape or Shokushu Goukan is an Artistic concept of a sexual fetish found in many Hentai, Manga and Anime horror titles in Japan, where various infernal or alien creatures with phallic tentacles (usually fictional or mythological monsters) hunt down and forcefully rape or otherwise penetrate women by overpowering them via a hypnotic influence; one also finds rapine anthropomorphic creatures, Futanari and less commonly human mutants having tentacles frequenting many a Hentai nightmare. One could understandebly argue that such Symbolism is not only extremely perverse but also highly distasteful. However, the shadows of ones psyche cannot be denied or buried so easily to quaintly forget; wherefore one has to transmute the Symbolism into the Spiritual arena. But in order to do so, one has to determine where the Symbolism of Shokushu Goukan had originally been derived from.

Shokushu Goukan also involves women being eaten by the monstrous tentacle creatures, which have had prior intercourse with them, whereby overlapping into what is termed as the Vore genre where one also has flesh eating plants and zombies, giant snakes, mutated insects and other organic and inorganic imaginary beasts; whether they be animate or inanimate they all hunger after female flesh. Both genres are very popular in Japanese Erotica as well as being the subject of much parody. The Western audience primarily perceives tentacle Erotica to be very much a Hentai phenomenon born out of the dark recesses of the Japanese Id, which the likes of H.P Lovecraft did not care to indulge let alone consciously envisage apart from making subconscious references to its manifestation through his Necronomicon works about the tentacle Cult of Cthulhu.

Rapine creatures with tentacles appeared within the annals of Japanese Erotica long before the animated pornography of Hentai. Among the most famous of the early instances of tentacle porn is an illustration from the novel Kinoe no komatsu of 1814 by Katsushika Hokusai. The illustration of a giant Octopus making love to a woman is a prime example of Shunga, (Japanese Erotic Art) which has inspired as well as been reworked by a number of Artists. Australian Artist David Laity reworked the Hokusai design into a painting of the same name, while Masami Teraoka brought the image up to date with his 2001 work "Sarah and Octopus-Seventh Heaven", which was part of his Waves and Plagues collection.

A scholarly paper by Danielle Talerico showed that although Western audiences have often interpreted Hokusai’s famous design as being that of bestial 'rape,' Japanese audiences of the Edo period did not have the same perception. The audience of the Edo period would have associated Hokusai’s illustration with the ancient legend of the female abalone diver Tamatori. The Japanese myth of Tamatori has her stealing a jewel from the Dragon King and when she escaped with her acquired treasure the Dragon King and his undersea minions (including Octopuses) avidly pursue her. Furthermore, within the accompanying dialogue and in the illustration itself, it is communicated that the female diver and the two Octopuses express mutual enjoyment.

Toshio Maeda's Manga entitled, 'Demon Beast Invasion,' was the creation that set into motion the modern perception of tentacle porn, in which the elements of Sexual assault are emphasized whose underlying message is somewhat obvious considering Japan's past in regards to foriegn Imperialist powers taking over Japan as well as its later surrender to the USA. Maeda explained that he reinvented Hokusai’s Erotic expression in order to get around the strict Christian inspired Japanese censorship regulations, which prohibit the depiction of the penis but apparently does not prohibit showing sexual penetration by a tentacle or similar (often robotic) appendage.

The use of sexualized tentacles to make phallic has also appeared in American and European films, although with far less frequency; however this is changing due to the highly imaginative Japanese influence of Manga, Anime and Hentai. While the historical context of tentacle Erotica as a Japanese cultural phenomenon cannot be denied, the use of it in modern Western films, both B-movie and adult-oriented Erotica, was undoubtedly given a boost due to Roger Corman's film, 'Galaxy of Terror,' which was released back in 1980; the film depicted a beautiful female astronaut, played by Taaffe O'Connell, being captured, raped and killed by a giant phallic worm, which is in fact a mentally created thought form of her own darkest desires made manifest. The worm uses its many tentacles to first strip the astronaut naked in order to then systematically penetrate her. The experience causes a kind erotic reaction in the astronaut, who ends up becoming so aroused by her rape she is violently and involuntarily climaxed and suffers death as a result of the combination of simultaneous terror and arousal she is forced to endure by her own self created nightmare.

Galaxy of Terror among others is usually seen to be a rip off of the innovative and highly imaginative movie 'Alien,' which is the all time ground-breaking classic 1979 science fiction horror film directed by Ridley Scott, which stars Tom Skerritt, Sigourney Weaver, Veronica Cartwright, Harry Dean Stanton, John Hurt, Ian Holm and Yaphet Kotto. The film's title refers to its primary antagonist: a highly aggressive extraterrestrial Lovecraftian creature which stalks and kills the crew of a spaceship.

Numerous critics have analyzed Alien's sexual overtones; for example, Adrian Mackinder compares the face-hugger's attack on Kane to a male rape and the chest-burster scene to a form of violent birth, noting that the Alien's phallic head and method of killing the crew members add to the sexual imagery. McIntee claims that "Alien is a rape movie as much as ‘Straw Dogs’ (1971) or ‘I Spit on Your Grave’ (1978), or ‘The Accused’ (1988). On one level it's about an intriguing Alien threat. On one level it's about parasitism and disease. And on the level that was most important to the writers and director, it's all about Sex, and reproduction by non-consensual means. And it's about this happening to a man." He notes how the film plays on men's fear and misunderstanding of pregnancy and childbirth, while also giving women a glimpse into these fears. Film analyst Lina Badley has written that H.R Giger's designs for Alien, with strong Freudian sexual undertones, multiple phallic symbols, and overall feminine figure, provides an androgynous image conforming to archetypal mappings and imageries in horror films that often redraw gender lines.

However, several scenes on the Alien story boards and within the script did not make the final cut of the film. Some weren't even filmed at all. The other more controversial scene that was not even filmed, but only hinted at, was a 'rape' scene involving the character Lambert played by Veronica Cartwright and the Alien. The Alien is seen sliding its sinuous phallic tentacle tail between Lambert's legs, which was originally intended to be the start of a bizarre sodomy/rape sequence, but director Ridley Scott thought better of it and decided not to film that scene. The only indication of the Alien sodomizing or raping Lambert left in the film is when one hears her heavy orgasmic breathing to quicken over the intercom as well as seeing her corpse hanging from the ceiling, which we only get a brief glimpse of is actually stark naked; whereupon the implied subtle associations play upon ones own imagination to make dark connections.

The following films of the Alien series implied that the Alien's are in fact Drones, which are controlled by their Alien Queen, whereupon one has the symbolism of the Queen Bee and her Drones of Beehive, which one can also find in Patriarchal inclined Freemasonary. There are many who believe Freemasonry as having behind the scenes Illuminati tentacle influence in world affairs. One could thereby imaginatively do some Symbol crunching; the Symbolism, which Freemasonry as well as that of the Illuminati employ is primarily based upon Judaeo-Christianity, whereupon one finds Solomon's Temple as being their main focus as well the Beehive of a Ziggurat situated in the ancient Sumerian city of Ur from whence Abraham emigrated to go into Palestine. Abraham sired Judaism from which later sprung Christianity and Islam of an Illuminati triad whose focus is thereby the Ziggurat of Ur in Iraq; whence the Ziggurat of Ur is the true pyramid of an Illuminati Beehive, amidst which is their centralist shared Eye of a jealous deity seeking a Patriarchal New-World-Order.

Should one take a Lovecraftian perspective to perceive the Ziggurat of Ur being occupied by a monstrous Patriarchal entity whose writhing phallic tentacles, seek out feminine prey to rape and consume, one thereby has the phallic tentacles being the primary theme of Japanese Shokushu Goukan. There is an undeniable Patriarchal emphasis, which consumes the feminine principle in Shokushu Goukan where Women are but the playthings of a God; this is most especially the case in a society whose Religious and Political organisation is now in the main based around the Masculine principle. This was not the case in ancient Japan prior to the arrival of the European's.

Japan's first contact with the West occurred about 1542, when a Portuguese ship, blown off its course to China, landed instead in Japan. During the next century, traders from Portugal, the Netherlands, England, and Spain arrived, as did Jesuit, Dominican, and Franciscan Missionaries. During the early part of the 17th century, Japan's Tokugawa Shogunate suspected that the traders and Missionaries were actually forerunners of a military conquest by European powers. This caused the Shogunate to place foreigners under progressively tighter restrictions. Ultimately, Japan forced all foreigners to leave and barred all relations with the outside world except for severely restricted commercial contacts with Dutch and Chinese merchants at Nagasaki.

Russian encroachments from the North led the Shogunate to extend direct rule to Hokkaido and Sakhalin in 1807 but the policy of exclusion continued. This isolation lasted for 200 years, until Commodore Matthew Perry of the U.S. Navy forced the opening of Japan to the West with the Convention of Kanagawa in 1854 and the Harris Treaty was signed with the United States on July 29, 1858. Within several years, renewed contact with the West profoundly altered Japanese society. The Shogunate was forced to resign, and the Emperor was restored to power. The "Meiji Restoration" of 1868 initiated many reforms. The feudal system was abolished, and numerous Western institutions were adopted, including a Western legal system and constitutional government along quasi-parliamentary lines

The prior Japanese Animist perspective before the coming of Christianity was far more balanced of Shinto and Buddhist perception between the Female and Male principles of the creative impulse to also be very open about Sex, whereby Hokusai's illustration was not about rape at all for the Octopus primarily represented the 'Eight' sacred directions, Sexual prowess and the fertility of the sea. It was only when Japan became overpowered by the European's that Christianity took its Patriarchal toll upon the psyche of the Japanese, and more so that of their women folk; one can find the same process to have prior occurred across Europe and elsewhere to castigate the female to burn as a Witch as well as censoring Sex to drive underground whereby the Judaeo-Christian God has been transformed into a Shokushu Goukan Lovecraftian beast of Imperialist phallic tentacles raping the world along with his brotherly Judaic and Islamic Futanari kin sired from out of Abraham's UR. Now one finds Hokusai's Octopus has been transformed into Shokushu Goukan, which most Westerners do not understand, only because they don't bother looking into Japanese history, to only perceive a warped expression of Sexuality.

But what does one expect from a peoples whose Amaterasu (Amaterasu: Sun Goddess of Japan represented as the setting Sun) Mother land was raped by the Imperialist powers of the West whose Christian Missionaries considered Japan to be their personal property to thereby rape its material wealth as well converting its peoples to an alien faith. It is also the only country, which to have later been radiation scarred of rape by Two Hydrogen Bombs taking out both Hiroshima and 'Nagasaki.' Such trauma has mutated Hokusai's Octopus into something other of rapine beast for it was across the Sea that the first European's came to Japan whereas Japan had no seafaring fleet of its own at the time; hence, the Japanese psyche has to exorcise and thereby transform the seafaring Christian Demon via Symbolic Alchemy; whereby, should one ever see a tentacle Hentai flick, which to have also inspired the European expression of tentacle porn one can thence see it in a totally different way when to understand the underlying 'Internal Dialogue' behind its dark artistry. One can also thereby perceive a giant Patriarchal Octopus of a Cthulhu ensnaring the World-Soul of the Anima-Mundi writhing as a Schoolgirl within its Imperialist tentacles to rape into becoming a converted New-World-Order Girl guide should one assume a Surrealist stance of Symbolist perception!

Perhaps Neuro-linguistic programming (NLP) can lend a deeper insight into tentacle porn but more so that of the collective Internal Dialogue underlying it, which has been afflicted with a systematic viral Meme of a brainwash seeking to consume the psyche of many. However, NLP is a controversial approach to Psychotherapy and self change based upon "a model of interpersonal communication, which is chiefly concerned with the relationship between successful patterns of behaviour and the subjective experiences (esp. patterns of thought) underlying them." The practice of NLP is very interesting since it is principally based on the works of Carlos Castaneda whom looked into the Subconscious mechanism of the Internal Dialogue while investigating Shamanistic Toltec Sorcery practices.

“The Internal Dialogue is what grounds people in the daily world. The world is such and such or so and so, only because we talk to ourselves about its being such and such and so and so. The passageway into the world of Shamans opens up after the Warrior has learned to shut off his Internal Dialogue.”

The Internal Dialogue is ones internal Mind chatter, which automatically self regulates and reinforces ones thought processes; however, one would not have such an effective mechanism if one did not have a Language. Ones learnt Language is a series of interconnected sound forms via which one instantaneously Evokes associated Symbols within ones Mind. If one does not understand a Language one cannot make an association between a Sound and a Symbol wherefore one will not be able to fathom what is being communicated by others let alone to ones own self; it is only when one makes an association between a spoken Sound and a Symbol that one can then understand a Language. It is the Symbols within ones Mind born of Memory, which makes up ones Internal Dialogue and each Symbol is ‘Charged’ with Emotive input to a greater or lesser degree, which is dependent upon ones experience.

For example if one has a group of people who hear the word ‘Dog’ being spoken over a loudspeaker, some of whom may not understand since they do not speak English while others will instantaneously understand; however, the Emotive reaction to the word spoken will vary between individuals, some of whom will associate the word ‘Dog’ with their loyal pet while others may recollect being bitten by a vicious Dog etc. The word Evokes a Symbol within their Triangle of Art Imaginations without them realising what is being accomplished; for while they instantaneously envisage a Dog it sets up a whole number of other subliminal associations, which is the Memory stuff of ones personal Internal Dialogue. Another example would be that of an individual who will envisage a Symbol of an Evoked Dog within their Imagination, which leads to a recollected Memory of a childhood pet in their back garden, the garden then associatively leads to a forest and a village whose Church worships God and that of the word Dog to think about in reverse, let alone many another association.

“When a Warrior learns to stop the Internal Dialogue, everything becomes possible; the most far-fetched schemes become attainable.”

Ones Internal Dialogue usually runs away with its self, which tends to reinforce negative self traits, since ones fears and self doubts have a potent base of an Emotive Charge, which then stirs further associations to validate how one perceives ones self. This is very much the case with tentacle porn where many a male of a wounded self image identifies him self with the monster of cathartic expression while some women secretly fantasise about being sexually molested by such a creature to even be consumed by it, which is symbolic of being totally dominated and possessed by another; whereby at a collective level it be somewhat apt in regards to Japan considering its history. The Artistic expression of these dark fantasies allows one to conceptualise ones wounded psyche in order to eventually heal it through Symbolic Alchemy whereby enabling one to transform ones Internal Dialogue. The Internal Dialogue can also be easily influenced by outside stimuli such as by Religious indoctrination for example or by Political campaigns, which feed upon ones fears, such as that of making one feel guilty about ones dark desires to censor; whereby having control over ones very thought processes. Advertising utilises this understanding; for its techniques are honed to subliminally affect ones Internal Dialogue, which is very much associated with ones Reptilian-Brain-Stem drives. It is only when one learns to stop ones Internal Dialogue that one can then tether it to rein in and ride its associative flow creatively whereby one then finds ones self following the path of a Sorcerer.

“At various times Don Juan attempted to name his knowledge for my benefit. He felt that the most appropriate name was Nagualism, but that the term was too obscure. Calling it simply 'knowledge' made it too vague, and to call it 'witchcraft' was debasing. 'The mastery of intent' was too abstract, and 'the search for total freedom' too long and metaphorical. Finally, because he was unable to find a more appropriate name, he called it 'Sorcery,' although he admitted it was not really accurate.

Over the years, he had given me different definitions of Sorcery, but he had always maintained that definitions change as knowledge increases. Toward the end of my apprenticeship, I felt I was in a position to appreciate a clearer definition, so I asked him once more.

'From where the average man stands,' Don Juan said, Sorcery is nonsense or an ominous mystery beyond his reach. And he is right, not because this is an absolute fact, but because the average man lacks the energy to deal with Sorcery.'

He stopped for a moment before he continued. 'Human beings are born with a finite amount of energy,' Don Juan said, 'an energy that is systematically deployed, beginning at the moment of birth, in order that it may be used most advantageously by the modality of the time.” - From the Introduction to ‘The Power of Silence’ by Carlos Castaneda.

The energy of which Do Juan speaks of is often than not tied up with ones Internal Dialogue that is forged at birth when one hears ones first word to understand as well as experiencing the linear flow of Time, which is indivisible from ones Consciousness. Ones Internal Dialogue is comprised of Emotionally Charged Symbols, which are apportioned packets of ones Emotive input whereby ensnaring ones energy in order to keep its automatic machanism going. One can gauge the nature of one Internal Dialogue when to observe ones Dreams; for ones ordinary Dreams are constructed by the associative flow of ones Internal Dialogue. When one learns to control ones Internal Dialogue one can thereby learn to control ones Dreams to make Lucid of Awareness; whereby freeing as well as redirecting ones energy in another direction to go beyond the veil of the mundane.

"The Spirits one sees in hallucinations are three-dimensional, sound-emitting images, and they speak a language made of three-dimensional, sound-emitting images. In other words, they are made of their own language, like DNA." T he "visual music" projected by the spirits in front of the shaman’s eyes is made up of three-dimensional images that coalesce into sound and that the Shaman imitates by emitting corresponding melodies. According to my hypothesis, Shamans take their consciousness down to the molecular level and gain access to Biomolecular information." - Jeremy Narby, The Cosmic Serpent.

Jeremy Narby's groundbreaking book, The Cosmic Serpent takes a serious look at how Neurogenetic consciousness informs ones awareness, knowledge, symbolism and culture. The Serpent motif represents the sentience of the DNA residing within each and every cell whose many double-helix 'tentacles' interconnect all Carbon-Based-Life-Forms. Narby's comparison of the ancient cosmic Serpent myths to the genetic situation in every living cell reveals the immortal Biomolecular Cthulhu Wizard behind the curtain of everyday life. His Anthropological study, Ayahuasca experience and scientific speculations weave a tale of Shamans who bring their Consciousness down to Molecular levels with sophisticated Alchemical Neurotransmitter potions in order to perceive information contained in the coherent visible Nyarlthotep light emitted by the DNA. However, one can also access this knowledge via Lucid Dreams when one learns to control ones Internal Dialogue.

The wavelength at which DNA emits these Photons corresponds exactly to the narrow band of visible light: "Its spectral distribution ranges at least from infrared (at about 900 nanometres) to ultraviolet (up to about 200 nanometres)"... DNA emits Bio Photons with such regularity that researchers compare the phenomenon to an "ultra-weak laser."- Jeremy Narby, The Cosmic Serpent

It is this Bio-Photon light, which infuses ones Dreams whose layers of Symbolic associations can be penetrated beyond ones veil of an Internal Dialogue so that one can access what is known as the Collective Unconscious, which connects all other life-forms into its Bio-Photon Matrix whose 'tentacles' of light touch all; at this fundamental level one can thereby engage ones self in Inter-Species Communication where language is that of three-dimensional, sound-emitting images within ones Dreams to make Lucid of Awareness.

At a Mundane level one has 'Tentacle Erotica' whose Serpentine phallic tendrils ensnares many a Woman into its coils, which has the European equivelant of the Dragon coiled around a fairytale Princess. The mythic Dragon was transformed by the Christian's into their Great Beast to be seen arising amidst the waters, whose number of Revelations is 666. The number 666 just so happens is also the Atomic number of Carbon-12 whereby we are all of the numbered for we are all Carbon-Based-Life-Forms, which of course includes all Christian's; whether they like it or not. At a transmundane level one has the Serpentine Mitochondrial DNA from which emanates the Bio-Photon fire like that of a Dragon spitting flames, whom resides amidst the cellular (Sea) waters of the (Ryleh) Cell within the Mitchondria. The Mitochondria is passed down from the Mother to her children whereby one has the feminine of a Princess around whom is coiled a Dragon of Serpentine DNA, which can of course can be perceived as a Katsushika Hokusai Octopus ensnaring the abalone diver Tamatori within its Serpentine tentacles for she had stolen the (Secret) jewel of the Dragon.

When one Evokes Forneusi she will reveal deeper insights behind the Symbolism of Shokushu Goukan to take somewhere other beyond the mundane of veil into the transmundane Astral waters of Erotic Luna Visions and Sexual Lucid Dreams.