TANTRA: The Magazine cover Sophia 1992
Cover art by Alex Grey (alexgrey.com) for the SOPHIA issue of TANTRA: The Magazine, 1992
FIGURE 1: Geopranic Omega Channels spiraling from the Earth into the Heavens.
FIGURE 2: Omega channels entering the pineal gland in the brain.
FIGURE 3: Omega channels connected with the physical body in the posture called 'Butterfly Drifts Eternally'.

David McCain

When this article was published in 1992, David McCain had already been working with internal energy for over 22 years. For more information contact davidmccain
@theomegaarts.com
. Learn more at David's other website Vital Connections

Transforming Sexual to Subtle Energies

Ideas about transmuting sexual energy began to grow in my thoughts after I created a set of breathing exercises for tapping both male and female essences within me. Omega Arts started two years later in the spring of 1979 when I began to act on these ideas that were synthesized during meditation, that is, a sexual alchemy in which there was to be a transformation of my own sexual energy resulting in a spiritually-heightened state. Omega Arts has since developed into a concrete and comprehensive system for reaching union with our Higher Selves -- but at first I had only a vague sense of its full scope.

During the early period of development, I was aware of some traditional systems of sexual alchemy, especially a Taoist yoga text translated into English by Charles Luk, although my ideas seemed different. I was following a spirit from within, and as the work progressed I developed my own practices and terminology. In hindsight, I don't think there are any essential differences between any of the sexual alchemical systems; they are all based on a natural process that occurs in humans. Nevertheless, as would be expected of practices from very diverse cultures and eras, there are differences in specific forms and emphasis.

In 1979, after several months of daily practice with the new meditations, I observed certain changes happening. First, I noticed my posture changing during meditation. The new posture was easier and softer. I found my hands falling away from the traditional mudras (symbolic gestures or hand and finger placements) I used, into a position with the palms slightly upturned. With this new posture I felt that I was sitting within a unified energy field.

There were other changes. Some precognition experiences made me feel that this psychic power was increasing. During one meditation, for example, I suddenly had a vividly detailed vision of a large house. I was at a loss to explain this apparent intrusion in my meditation. Several hours later a friend took me to meet someone he knew. We drove into an unfamiliar part of town and went down a street I had never been on. There I saw the house from the meditation! My friend introduced me to the woman who lived there, and we quickly became friends.

I also had a greater sense of sexual presence and sensual enjoyment. Sensing myself as a sexual being and experiencing my erotic essence took on a spiritual (and spirited!) quality. What was most satisfying was the disappearance of my sexual frustration even though I didn't have a sexual partner at the time. Actually sexual frustration was the final motivating factor for putting the alchemical meditations into practice. For a year, I had the general idea for, transmutation and had done a little experimenting with the internal energies, but it wasn't until my sexual frustration became harder to endure that I began the meditations in earnest.

I had never paid much attention to animals before, but after starting the new meditations, I gained an increased sensitivity to them. Wild animals, including birds and butterflies, would appear at important moments and come quite close. Some appeared as omens, and others seemed to be connected with specific aspects of the work. For example, I was working at home with a new Omega mudra that was created by gently rotating the hands and arms overhead. I felt a strong sense of energy, yet there was a peaceful, fluttering quality to the motion. I named the new mudra and posture Butterfly Drifts Eternally. I left the house and went to a remote canyon that had some springs. Along a small stream, I had begun working with the new mudra when a beautiful tiger swallowtail butterfly appeared. My hands felt like an antenna attracting the butterfly, sending it away, or bringing it back again. We played together along the stream for over an hour. I thought of this play as a "psychic contact dance." This experience taught me a great deal about moving my body with the new energy flow.

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