"That each important point in the body must of necessity be placed at key points of the architectural plan becomes proof of the projection in the Temple of Luxor, not of a defined image, but of Microcosmic Man. Though the sex organ is not represented in the architecture itself (no excavations having been carried out in this area), we find it in a bas-relief located at point N (see fig. 1), around the opening that would represent the urethra of the symbolized man. Here is drawn a Min (the god Amun in the form of a figure bound as a mummy from the chest downwards and with erect phallus indicating the generative function). The Min is not just found in the place corresponding to it; it also corresponds to the very principle of the temple (fig. 6). From averages established from measurements of the human body, it has been proved that the navel divides the total height of the body in the proportion of Φ (phi) to 1. This formula is applied to classical Greek sculpture, and in Egypt as well, except that here the crown of the head is excluded." In the Min in question, the phallus is not at its natural place, but exactly at the place of the navel, the maternal attachment." Schwaller de Lubicz, The Temple of Man

"[T]he pharaonic teaching shows us Man composed of three beings: the sexual being, the corporeal being, and the spiritual being. Each has its own body and organs. These three beings are interdependent, in the flux of juices and the nervous influx; the spinal marrow is the column of "fire" that connects the whole. The being properly called "corporeal" is the body—the chest and abdomen, where the organs for the assimilation of solids, liquids, and air are located. The head is the container of the spiritual being, where the blood, built up in the body, comes to be spiritualized in order to nourish the nervous flux and prepare the "ferments" of the blood and the "seed."" This is a greatly condensed aspect of Man in the image of the Universe." Schwaller de Lubicz - The Temple of Man

"The medulla oblongata, from which stem the twelve pairs of cranial nerves, ends in the west side of room 12 [of the Temple of Luxor.] From the medulla the marrow continues into the spinal column, and from the marrow stem all the sensory and motor spinal nerves. However, if there is a central severance of the motory nervous channel, excitation of the sole of the foot will show there is a break in the motory arc. Normally plantar excitation of the feet causes a flexion of the toes toward the soles, and when the big toe disassociates from the other toes (that is to say, remaining extended while the others are bent), it is a sign of a central interruption of the motory nervous channel." Schwaller de Lubicz - The Temple of Man

Bronowski, relating the drive to know as both a scientific and sexual impulse (and that secrecy and privation pervert both) makes the claim that the discovery of DNA wasn't so much a problem-solving activity, but one of planning. Specifically, the plan to do something great in the world.

“‘So, when I finally became a responsible being, I decided that before making my choice among the mentioned sacred ways, I would bring my planetary body into the state of the sacred “Ksherknara,” that is, into the state of “all-brained-balanced-being-perceptiveness,” and only when already in that state, to choose the way for my further activities. “‘With this aim, I then ascended the mountain “Veziniama,” where for forty days and nights I knelt on my knees and devoted myself to concentration. “‘A second forty days and nights I neither ate nor drank, but recalled and analyzed all the impressions present in me of all the perceptions I had acquired during my existence here, during the period of my “self-preparation.” “‘A third forty days and nights I knelt on my knees and also neither ate nor drank, and every half-hour I plucked two hairs from my breast. “‘And only when, thereafter, I had finally attained complete freedom from all the bodily and spiritual associations of the impressions of ordinary life, I began to meditate how to BE.” -Beelzebub's Tales to His Grandson, Chapter 26: THE LEGOMINISM CONCERNING THE DELIBERATIONS OF THE VERY SAINTLY ASHIATA SHIEMASH UNDER THE TITLE OF “THE TERROR-OF-THE-SITUATION”

Done in the style of, and with body proportions suggestive of, femdom fetish artist Namio Harukawa and Robert Crumb, this is killing me Not surprised if he used both artists as prompts here

Dikǽros is an epithet meaning two-horned, applied to Diónysos (Orphic Hymn 30.3) and Apóllohn (Orphic Hymn 34.25), 'or to any God, for all true Gods have "horns." [A] vast effusion of Aithír (Aether; Gr. Αἰθήρ) flows from their heads.'

"In the anatomical interpretation, the heel-to-perineum placement applies focused pressure to the base of the torso—the region known as the perineum in Western anatomical circles. In Vedic science, it is the Guda Marma, which aligns with the Muladhara chakra. In the Taoist tradition, it is the Hui Yin, the Earth Gate and the meeting point of the Yin currents."

"At the same time, this posture creates a levering effect at the pubic symphysis, the cartilaginous joint at the front of the pelvis. As the heel presses upward, the hips naturally widen at this joint, softening the groin, releasing tension in the hip flexors, and subtly opening the pelvic bowl. This front to back dynamic—sacrum drawing inward, pubic symphysis opening outward—creates a kind of balanced, architectural spaciousness in the lower body. (Where the creative energy is at its most powerful)." Awen Spring video link: youtu.be/5LmfYHessQ0

Ioannis Pierii Valeriani Bellunensis hieroglyphica, 1602 - sumptibus Pauli Frelon

Daqa’iq al-Ḥaqa’iq (Degrees of Truth), Seljuk Anatolia, ca. 1272-1273 AD, BnF Persan 174

Bronowski - Magic, Science, and Civilization "the poem is...about secrecy in love affairs, but it's just as true about secrecy in science."

Joos van Cleve, The Death of Lucretia (detail), c. 1520-1525. Oil on oak panel.

Abraham Janssens, 1612 This image of Lascivia depicts the seductive beauty of the female body by combining the concepts of vanity and voluptuousness. The woman looks at herself in the mirror, a traditional symbol of vanity, revealing the falsity of the outside world. The exposure of the body, combined with the refined still life placed on the table in the foreground invites sensuality.

“What thou lovest well remains, the rest is dross What thou lov’st well shall not be reft from thee What thou lov’st well is thy true heritage.” Ezra Pound, The Cantos

“Your aim is love. Only, there are many kinds of love. Everyone puts a different meaning into this word. I could write about twenty different kinds of love. It is necessary to know about what kind of love you are speaking. (She said she thought all love was the same.) Different love has different properties. One kind of love lifts you up, another pulls you down, a third sends you to the devil. I was speaking of something different. I was speaking of the love religions speak about, and not of the kind sung by poets. You have never loved and never will love so long as you remain what you are. You don't even know the taste of it. A man can love anyone. But an ordinary man cannot love; with him ‘it’ loves. He loves by association—for instance, because he likes someone's nose, or because of other laws and influences.” —Gurdjieff's Early Talks 1914-1931