The Senses of The Bodygraph: Awareness Center Gates [PDF]

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Lecture One The Senses of the BodyGraph Good morning to all of you. At least it’s my morning. For some of you it’s morning. But anyway, welcome to Rave Anatomy. It’s one of those programs that I am looking forward to. As I mentioned in the build up to the start of this program it was really based on a series of illustrations that I developed in the early 90s in preparing to be able to write the first books in Design and to be able to illustrate them. It was my way, because I’m very visual, it was my way of sort of laying out all the information and laying out all the data that I thought would be useful, in that sense, in terms of developing analysis. This is one of the most significant places, in a sense. It seems very, very superficial. And as you will see as we move along in this program there are many, many things that I’m going to deal with in the BodyGraph that have never really been publicly taught. But when we come here to the senses of the BodyGraph, all of you with some kind of training in Human Design should have some sense, anyway, of the keynotes that are here in the way in which they are applied. Obviously, I’m going to be going through all of this anyway.

Awareness Center Gates But what I want to begin with is just a basic visual impression here. And that impression is that when we’re looking at the key gates, and quite frankly the senses and the way in which they operate in the BodyGraph, though they are keyed in a particular gate, they operate through streams. That if you’re looking at this configuration the first thing that is obvious is the fact that all of these gates are operating out of the socalled awareness centers; that is, the Spleen, the Ajna and the Solar Plexus. In this particular illustration, because the basic illustrations that I’m going to be showing you, all are updated versions of

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the originals, and this was the original illustration of the senses. What I did not show anyone at that time, because it would have not been possible for me to have explained it then, simply that the whole basis of the knowledge had to be laid out first, is that when you see this in its proper context, this is actually the way to see it. So, here is where we’re actually going to begin. Perhaps the most important work that’s been done in the IHDS over the last two years is the detailed investigation of the design and the personality crystals themselves. And of course, in any investigation of the crystals in understanding the way in which we are programmed, it is one of these fundamental basic understandings necessary in order to really be able to understand the infrastructure. It is an illustration I have drawn out many times. If you assume this is a crystal here and you have a neutrino stream that is pouring towards it, that when that neutrino hits the crystal the frequency and this is called an entry frequency, this is the base. When that neutrino is actually within the crystal and every crystal is different like every snowflake is different, that this place in here is called tone. And that the moment that the neutrino has moved through the crystal and exits here, we have an exit frequency and the exit frequency is called color. And if you have this matched on the other side, that is, if you’re thinking about it in terms of the two crystals of consciousness, what we have in the center is the Magnetic Monopole and it’s the Magnetic Monopole that attracts these color frequencies and pulls us together in the illusion of our separateness. This is basically the way the programming works.

Tone What is significant for us, of course, is the nature of tone. And tone is—it’s so easy in Human Design to take any aspect and overstate its importance, because there are so many things like that. But if you’re thinking about the nature of being and life itself, that the underlying theme of this whole program is to achieve self-reflected

LECTURE ONE The Senses of the BodyGraph

awareness. All of that is only possible through cognition. And the tone represents our cognitive architecture. So, when you’re thinking about tone and you’re looking at your design and you’re looking at those themes below the line so you’re looking at color and your tone, looking at your tone is very, very significant. That is, your tone represents what is your cognitive potential. Now, remember, that is only a potential. And you can see the way the cognitive potential, in a sense, sets the foundation for the design.

One of the things that I have taught my students in dealing with understanding tone is to pay attention to the fact that it is not an accident that the graphic construct of tone, the triangle, because in fact color is a hexagon and base is a square that tone graphically is a triangle and this triangle mirrors, in an eerie way, it mirrors the BodyGraph itself. In other words, this is the underlying architecture. This is the basic plan that’s here underneath, but by the time that basic plan, that tone is integrated holistically into the vehicle we don’t know whether that information has actually moved across. Because color is something that transfers and if somebody is not-self they are cut off from their cognition, and therefore they’re cut off from their architecture underneath. But what’s important in all of this is to let you see why when this construct was first established what it was based on, because it’s based on exactly what is there in the tonal architecture. In the tonal architecture we see it as Splenic binary, Ajna binary, Solar Plexus binary. But if you look at the keynotes you will see that not precisely, but mostly, these keynotes are the same. So you have your Splenic taste and smell that are locked in to the Spleen on the surface. The feeling and the touch is locked in at the surface. And the visual is locked in at the surface. Of course, one of the things that you see in the architecture is that the central theme of the architecture is acoustic and of course here you have in the individuality you

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have this acoustic triangle. In other words, what we’re looking at in the BodyGraph is that the BodyGraph has followed the plan of the cognitive architecture. Not only has it followed the plan of the cognitive architecture, but thematically these underlying themes are expressed on the surface.

A Cognitive Goal In analytical work that is to come in both Rave Psychology and in Primary Health System, the relationship between the tonal sensory architecture and what actually has emerged on the surface in the illusion is that the relationship between the two becomes very important. As an example, if you are somebody that has the 1 st tone, and again referring to this within the context of the Sun/Earth so we’re just looking at the Personality sun/earth or the Design sun/earth, which obviously is a 70% key to the programming. When we are looking at sensory potential at deeper levels we are looking at it through the sun/earth configuration. So you have a 1st tone and let’s say that 1 st tone is something that is a personality 1st tone, it’s the tone underneath the line and color of your particular sun in whatever gate it happens to be. Now, at the same time, if you also happen to have the 44th gate, or in fact as you will see, not simply the 44th gate but the 32 or the 54 or the 26 or the 21 for that matter, then there is going to be a heightened capacity in terms of whatever the olfactory is going to bring. In other words, whatever the quality of smell can bring. It is going to be very different if you’re somebody that has very strong, for example, tribal activations which tend to point to, at least on the Splenic side, to smell and that you don’t have a 1st tone either in a personality or the design. In other words, the way in which that sense of the BodyGraph is going to work is going to be less efficient and is going to work in a different way simply because that being is going to have another sensory quality that is its focus. There are some very deep things that are here in this relationship between the surface and what the architecture is underneath and what is the goal of that architecture because in fact it is a cognitive goal. It’s there to establish a certain sensory potential in that person which is in fact what they’re here determined to be. In other words, this is what their differentiation is all about. But I don’t want to make this over complex because there are some of you that a lot of this would be very new information. I want to go back first to the basic construct and see it within the BodyGraph and understand how we see this within the BodyGraph, because it is different not so much in that—thematically these things are the same thing. But there is a difference between what is a programming potential

LECTURE ONE The Senses of the BodyGraph

at the tonal level and what is a possibility of expression that is there at the BodyGraph level. After all, by the time we get to this surface here, what we are looking at are basic imprints. Those imprints are part of the differentiation. To realize one’s perfection in this life, one is going to have to exalt, in that sense, be correct in the language of Human Design in order for those sensory capacities of the BodyGraph to be able to function. For me the BodyGraph is the great illusion. So, the way in which these senses operate can be illusionary. We can confuse them with the way in which they are intended to be according to the program at the tonal level.

The Progression of Evolutionary Awareness Let’s take a look and let’s begin, because this is the evolutionary pattern, the evolutionary pattern is from Spleen to Ajna and from Ajna to Solar Plexus, this is the progression of evolutionary awareness. And in following that progression that means that when we are beginning with the Splenic Center we are beginning with what is our basic survival awareness. As a matter of fact, it is still the only awareness that we can trust. It is the only awareness, in fact, that we can trust. We have Ajna awareness, but we well know in terms of Human Design the mind is not something that is here to make decisions for us in terms of our own process. So, in that sense, it cannot be trusted. It may be valuable as outer authority and others may trust the outer authority they receive from somebody’s mind, but in and of itself it is not something we can rely on for our survival. And when we refer to the Solar Plexus, though it’s nice to speak of it as an awareness center, and I always preface that with “so-called,” it’s so-called because in fact that awareness is something that is emerging, it has not yet emerged on this plane and we are still dealing with the consequences of the Solar Plexus being a motor, where in fact, the Spleen and Ajna are not, and as a result we deal with the wave of that motor, and of course, that makes absoluteness impossible. It’s something to understand about emotional authority, if you look in the global survey you’ll see that the largest authority group on the planet are emotional beings, just over 50% of humanity has emotional authority. We know not only that emotional authority means no truth in the now, but we know that it never means absolute anything. You can be 80% clear, 90% clear, 95% clear;; I don’t think anybody ever gets to be 100% clear;; I don’t think that’s possible.

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The Splenic Binary: A Defense System So, we have a progression here, and when we’re starting at the Root, when we’re starting with the Spleen you can see there is also an anomaly in here, which was part of the original illustrations, and I will get to these at the close, the presence of the 50th gate and the 6th gate, and they’re very, very important in understanding the sensory system and the way in which it operates in the BodyGraph. But let’s go over for a moment and see the parallel. If we go over here to this side and we’re looking at what is this Splenic binary, basically what we’re looking at is a defense system. It’s a basic defense system in which the very first tone is simply on alert all the time. This is the whole thing about smelling —on alert all the time in order to maintain one’s security. Theoretically, what that means is that if that architecture is moving correctly upwards into the BodyGraph, being integrated into the holistic being, then that being whether it is on the design side, which would mean they would simply have in the physical sense the brain system will be focused on taking in sensory data, they will have a heightened physical capacity to smell, or on the personality level, smelling in the sense of being able to interpret information and to be able to have a mind that is focused on security. Now whether it is going to be successful in reaching here is another story. But I only illustrate these two in order to bring us back to the surface and see that it’s not precisely the same, it can’t be. Yet, the thematic is the same. What I mean by that is that when you’re looking at taste and smell within the context of the BodyGraph, when you’re seeing that within the context of the Spleen, that this is essential for survival.

Smell It’s not so much about how good the nose is of a 44. And in beginning with smell, because this is the relationship to the architecture to the 1 st line, let’s understand something about it. First of all, you have to take into consideration the 21, the 26, the 32 and the 54, this stream that is here as well as that expression of that stream, or the potential expression of that stream in the 21 st gate. All of these gates have a relationship to smell, all of them.

LECTURE ONE The Senses of the BodyGraph

Now of course, it’s one of the basic things about tribe. One of the things to understand is that when I am speaking of smell I am not necessarily speaking of anything you recognize on the surface. This is about your Splenic system; this is about your lymphatic system with all its tiny little noses all over your body sniffing out information that is coming in. And it is one of the gifts of smell in the BodyGraph that rather than it simply being a tonal architecture, that it is a tonal architecture, it isn’t. Here the by-product of the potential of smell becomes totally connected to the material. In so many ways this stream is about the smell of money and the smell of success and the stink of failure and all kinds of things. Remember that within the context of what it is to be a nine-centered being in the 21 st century money is survival. And everything about this smell, when you get it to the BodyGraph it loses all of its pure architecture, the system of taking in information and becomes pointed. So that the moment you bring this sense into the BodyGraph it is no longer simply about the idea of a heightened sense itself, it is about the by-product of the sense that the by-product of the sense is more important. In other words, that smell is the basis upon which material development takes place. It’s very difficult for somebody who doesn’t have anything in this stream to really have a feel for the material plane. And when I say a feel for the material plane I mean a feel for the material competitive plane. This is a work stream. The 54th gate, the Marrying Maiden, that marrying maiden that wants to rise all the way up and turn her numbers around from 54 to 45 and sit at the head of the family and at the seat of the throne—it is all about rising up, it’s all about rising up on the physical plane. The 32, the personnel manager, there it is, deeply concerned about who has the talent, who has the ability in order to be able to ensure that the tribe makes more money. And the 44, the manipulator, the controller, the one who can handle the Ego, the one that lays the foundation for the propaganda and the transmission of the marketing and the sales pitches and if that doesn’t work, well, make uniforms for soldiers and conquer and force everybody to buy what you have, and so forth and so on. And the 26, the sales person warrior, the marketeer, this is what smell becomes when you leave the architecture behind and you enter into the BodyGraph, it’s what it’s for. It’s not written back there in the architecture. Again, remember that this is a floor plan for cognition. But how it gets from this tone through the color to the line to the gate into the design, that here it takes on a different value. It’s the same, but it’s different.

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So, here security, which at the tonal level when I talk about it, particularly when you talk about it, for example, from PHS, this is about immune system security. It is about the inner security of the vehicle. When you see it in the BodyGraph it becomes making money, it becomes survival on the material plane. That’s what it’s all about.

Taste Let’s take the next look. We have taste, and the most interesting thing about taste when you see taste within the BodyGraph is that of course when you look at the stream that’s there, the 58, the 18, the 48, the 16, this deeply, deeply logical stream, this driving need to correct and perfect talent and skills and enrich depth and all of that stuff. But what taste really brings is judgmentation. One of the things that it is about is being able to perfect patterns. It’s all about perfecting patterns. And it’s so interesting to see the difference between the tonal architecture and the way in which it’s expressed when you take that up into the BodyGraph. Because when you look at it in the tonal architecture, in the tonal architecture I stress how very special this 2nd tone is, this uncertainty principle, that the 2 nd tone brings a certain magic into our potential as a being. Because the 1 and the 2 are both Splenic, they’re both there to in essence to protect. They’re there to guarantee the survivability of the vehicle. When you’re looking at the 1 st, this is all about the fundamental protection; it is the ground floor of what you need to be protected. But when you look at the 2, the 2 doesn’t pay any attention to that. It doesn’t pay any attention to maintaining the security;; it’s not interested in that. It’s interested in what hasn’t happened yet. It is interested in that thing that is going to make a difference. And in the end it leads to the kind of mind that we well understand within the human context, the kind of mind that looks beyond because it knows there’s more. Yet, it doesn’t know what that more is. But how funny it is, and here you can really, really, really get a taste of how different it is when you go from the inner architecture and then you come to the holistic surface, because when you get to the holistic surface everything about taste in the BodyGraph is about establishing fixed patterns, correcting them, making sure that they’re really good. It’s interesting because if you have the fixed patterns so that you can really see everything within that context, it allows you to notice anything that doesn’t fit in; the by-product of what the architecture is all about in the first place. And yet, ironically what happens in the BodyGraph is that this collective stream in so many ways can become a deep controlling collective force that locks people into conformity and challenges anyone who will not stay with the pattern. So, it’s just interesting to see the way it moves into the BodyGraph.

LECTURE ONE The Senses of the BodyGraph

The Ajna Binary: Right and Left Eye System Let’s move up to the Ajna binary, and again you can see I’m avoiding the acoustic now, we’ll get to the acoustic as I move to the end of this, here we have the right eye system and the left eye system. Clearly you can see within the context of its relationship here in terms of the tonal architecture, within the tonal architecture this is an enormous step, this transition between outer and inner vision, the difference between what is called left and right. That is, if you’re thinking about the body, left is active and right is passive. If you’re thinking about the mind left is strategic and right is receptive. So, we have two different kinds of visual architecture. That is, we have the right eye, and don’t be confused here because the right eye has its root in left architecture, and the left eye has its root in right architecture. It would take me a long time to explain how fantastic that is, but I’m not going to do so. I’ll leave that to your imagination. But anyway, the right eye and the left eye, the way it emerges in our bodies, the way it works in our bodies, when you’re looking at the architecture, the left eye, which in this case would be the left vision, so I don’t confuse you, which is our right eye, this is all about being able to focus. When you’re looking at the right vision and you see how it works in terms of the left eye, that this is not about focused at all, it’s about peripheral vision. So when we take it back to the surface and we come to this system of the right eye here and the left eye, the way we understand this in analysis is that the right eye is the logical eye, and it is the eye that sees in patterns, so here you see this root in the architecture of being focused, and when we look at the left eye that the left eye is the abstract eye and as the abstract eye, what it sees is often what it recreates from the past. That’s what an idea is. It is a re-seen vision. See, the whole thing about the right eye and the left eye is that the right eye is always focusing; the left eye is always peripheral. The right eye is always focusing so it can take action; the left eye is peripheral so it can collect information and data. So, when we’re looking at somebody who has the 17 th gate, as an example, it’s something to understand that they don’t see everything, they only see something specific. And of course, this is true for the stream so that the answer is an answer backed up by a focused opinion, backed up by focused details. It’s very different from the left eye.

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You can see that in the left eye, and of course here is a way to understand my comment about the crossing systems because in the streaming of the mind the collective circuits cross. You can see that crossing that takes place. And of course, the same thing is true here. That is, we have a crossing from the left to the right, from the right to the left. It’s just interesting to see the way all of this sort of spirals up because in the sense it’s not even crossing, it’s really just spirals. You have to see these within the context of their streams always. Again, the underlying architecture gives you an understanding, at least a deeper understanding of what the potential is. And of course, the dilemma; it’s one of these things that we have to deal with is that we are at the Ajna stage of our development. We long ago left the Splenic stage of development. This belongs to our mammalian ancestors. This was when the Spleen over millions of years developed its depth. We have been living in Ajna dominated, visual dominated forms throughout the whole existence of the seven-centered being, maybe going back, my calculations about 85 to 95,000 years that we have had this Ajna dominance, and now we’re about to enter into what is the final stage of that. That is, the Solar Plexus process. So we’ve been living in this visually dominated world. And of course, the power of the Ajna being the center of our lives has meant that our minds have become the rulers of our lives and with that comes all the dilemmas, obviously.

The Solar Plexus Ok, let’s go down for a moment now and take a look here at the Solar Plexus, at the feeling and the touch in the Solar Plexus and to grasp something about this. It (the Solar Plexus) is very different from this (Solar Plexus Binary), even though the language appears to be the same. There is an evolutionary process that we are a part of. Most of you know that according to the knowledge in 1781 came the advent of the nine-centered being. We moved mutatively from being seven-centered, which had dominated for 85 or 95,000 years and we have moved into this nine-centered transitional BodyGraph. If we went back a step to the pre-1781 beings, all of these beings were left-oriented only. If we go back before the left-oriented only beings we would get back to Neanderthal and we would get back to a right only being. We are about to move into, again, a right being, which is going to be the rave. This is the movement of the cognitive process. So, we’re at a very unusual point in our development in that this transitional BodyGraph carries with it two potential cognitive directions. That is, the traditional cognition of the left, the strategic and active which we inherited from our sevencentered ancestors and the emergence of the right, cognitive right consciousness that has been a part of humans being born since 1781 in which the cognitive potential is far beyond anything that we currently either experience, or in most cases can understand.

LECTURE ONE The Senses of the BodyGraph

The 5th and 6th Tonal Potential When I talk about cognitive architecture in regards to the 5th and 6th tones, when I’m talking about the 5th tone I am talking about a capacity to take in complex information from auras, from the electromagnetic field, from chemistry. In talking about the 6 I’m talking about a tactile sensitivity in which contact can lead to the absorption of enormous amounts of discernable information. In other words, we’re talking about a level of sensory sensitivity that is not something other than unusual and what are, in fact, usually the mutative or the product of injuries, these phenomena of people that display some of the qualities that I’m suggesting here in the 5th and 6th tonal potential. When we take it to the BodyGraph, it was one of the dilemmas for me in the beginning understanding, because my understanding was that I was taught the cognitive root, so my whole thing was to be able to differentiate between what is the cognitive architecture for the eventual emergence of rave and what is the experience of this in the Solar Plexus that we live with, which is a wave complex. And of course, the moment that you’re dealing with the Solar Plexus as a motor, and this is what the surface is about, and it doesn’t matter whether there are exceptions and there are emotional beings that are correct now, and there are, this is about the vast majority of humanity that the way in which these senses operate are very crude and superficial. I don’t mean to denigrate them in that sense, because in fact when I say that I only say that in relationship to what they could be emotionally. In fact, emotional feeling and emotional touching in the wave context is much more profound in terms of its impact and the way in which it is processed within the vehicle than any thought or any Splenic spontaneity. There is a great force, obviously, connected to feeling and touch when we think about it in relationship to its motor value. But what I want to stress is that we don’t really understand these things in relationship to what is their true potential. We understand them within the depth of what is available through the wave. So what we’re talking about is the emotional response, for example, in touch, what is the emotional affect of that touch. And that is an energy quality that is taken in. It’s the same thing with feeling. The only difference is that because we are still Ajna dominated what we have done historically as not-self is that we have created interpretations for our emotions which are mental. There are attempts at bringing awareness to wave forms; very difficult to do.

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The Divide between the Solar Plexus Sensory Potential and the Tonal For me this difference between the BodyGraph Solar Plexus sensory potential and the tonal, this is the greatest divide. You can see the connection from the architecture to the Spleen and the Ajna without much difficulty. But here there is this huge divide, because it’s the motor that’s standing in the way. And of course, as long as this motor is standing in the way, the only way that these things can be interpreted is the way in which you’re taught in Design, which is that you have to have patience. You have to have patience so the distortion of the wave doesn’t become the thing that you recognize, that it is the wisdom of processing the wave over time that truly brings an understanding through whether it is the touch or the feeling. The interesting thing for me about the emotional senses in the BodyGraph is that they are fundamentally social. This is the great contact awareness and it is this movement of these energies, these wave energies that are the most distorting. It’s why for that 50% of humanity that is emotional, each and every one of them that manages to find a way to come to grips with their emotional nature, what a transformation that is, because this is the only way to handle the wave, is to handle the wave with awareness. And it’s also interesting about the mind’s connection to it. The further mind is away from decision making the easier it will become for mind to accept the wave energy without a distorted interpretation of what it is. I notice that myself in my own process as a very unemotional person how different it is for me in this point in my life as I absorb emotional energy on a day-by-day basis. I have emotional sons; there are emotional beings that I have contact with. And I notice how I used to jump to conclusions all the time. I would feel a wave, and I’m very sensitive to it and I would read it right away and I would interpret it right away. And often, because of course when you’re unemotional you amplify, you amplified. And of course, amplification is always a risk of distortion. Being the of being that I am, so spontaneous is that in that moment of just identifying wave in that place I actually got in the way of my potential relationship with being on the other side. I really didn’t see anything.

get kind that that

What I’ve learned is not to interpret the emotional wave, just take it in. Just to take it in as a wave pattern, and to take it in as a wave pattern without trying to use my mind to make it aware instead of allowing my mind to watch its effect, because it’s

LECTURE ONE The Senses of the BodyGraph

the effect that’s so fascinating. Anyway, I have too much to cover here, I get carried away.

The Acoustic Ok, let’s take a look at the acoustic phenomena. It’s one of the things to recognize about the architecture is that the architecture is built on frequency. My early illustration for you about the way this works, that is, the neutrino going through the crystal, all of this is frequency. And when I say sound, the keynote here, I want you to understand that this is frequency. It is the key to everything. That is, not simply that “in the beginning was the word,” but the fact is that you and I and everybody else and everything else is nothing but frequency at differing levels of density;; we’re just frequency. Everything is moving and everything spins and everything is vibrating. This is what it is, this is frequency. So, frequency is the glue. It’s the glue, it’s the bedrock. And it’s something to understand that it is our most omniscient sense. It connects us in the most deepest sense to the world. And when you look at the way in which the acoustic is seen within the BodyGraph, and it’s something that I like very much because you get to see there is this inner triangle within the larger triangle, which is also within, again, that larger triangle. It’s like one of those dolls that they sell in Russia, one inside of the other.

The Right Ear Now Anyway, I like this inner right there, this inner triangle. This is the acoustic cord, the acoustic hub. And you can see there is the right ear and there is the left ear and there is the inner ear, or what I amusingly like to call the third ear, because I don’t think there is such a thing as a third eye. I think it’s a third ear. But anyway, I don’t want to get into any arguments with weirdoes. Nonetheless, when we take a look at it, it’s interesting to see the way in which it breaks down. That is, three kinds of acoustics, in a sense, three kinds of thematics. You have this Splenic right ear in the now; I mean in the now. It’s so interesting to think about it, think about telephones. Everybody in this day and age carries one in their pocket, just about. And think about where you put that telephone when you’re going to make a call or when you’re answering a call. Think about it. If you’re putting it to your right ear—now of course, if you’re a right-

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handed person, the chances are that you’re going to use your telephone with your left hand and you’re going to put it to your left ear, which is interesting to think about. But anyway, if you put the telephone to your right ear whatever you hear you get everything because it is in the now, whatever is said you take in in the now. It’s very clean hearing. And it’s very oriented to the now. It’s right there to hear. You can notice this kind of hearing in yourself when you think back to one of those moments where you were all alone in let’s say a big house and it was all dark and you heard a funny sound somewhere and suddenly you become incredibly still and you’re hearing in the now with an intensity that’s unbelievable. This is right ear now hearing, this intense hearing in the now.

The Left Ear Wave So, it’s one of our aspects. There is always, in that sense, a part of us that is acoustically taking in information in the now. There’s another part, though. If you go over to the Solar Plexus side, to the emotional side, you get the left ear and it is the ear in the wave. So think about that right-handed person who by nature pulls the telephone out of their left pocket with their left hand, puts it to their left ear, they’re not going to hear everything in the now. They’re only going to hear what attracts their attention; they’re going to hear in a wave. So, that person who calls you up and is telling you something and while they’re telling you that they hit some button and you get stuck on that button and you really don’t hear anything else. All you heard was they don’t want to or you’re fired, all you hear is that one thing, and you don’t hear the rest of it at all. You may not even hear that what followed the thing that you got stuck on actually is to your advantage. You can get off that telephone thinking that the world has fallen apart when in fact you may have been offered the universe, but you only hear what you hear. Then you wake up the next morning and it’s, “Did they say…” because it’s a wave, it comes back. You don’t hear it all in the moment, but you hear it later. It was one of my things as a professional analyst. I always set up my room environment so that when clients had a reading with me they were always sitting on my right, so that I could talk into their left ear. In talking into their left ear I knew that they were going to, regardless when, all the stuff that I had dealt with sooner or later was going to pop into their head, because that’s the wave ear and it’s the way it works. It’s

LECTURE ONE The Senses of the BodyGraph

particularly important for emotional beings. It’s deeply connected to the emotional system. It’s why there is no truth in the now. Emotional people rarely hear the whole thing in the now. If you’re down in your wave you have no room to hear. If you’re up on your wave, hey, who needs to?

The Inner Ear And then of course, we have the inner ear, the third ear. Individuality is fundamentally acoustic. It is one of the keynotes of individuality in Design. One of the things to realize about the acoustic of the mind, that is, the 61, 24, 43, and the 23 is that this is a very, very acoustic mind. This is a talking mind, a noisy mind. Of course, it is not real sound, is it; that sound in your head when you can hear a conversation, when you can make one up, when you can set a dialog, all of these things. There is no sound. But, there is a frequency. And it is this uniqueness of this inner ear that it is able to translate into what appears to be sound, translates this with this inner ear, this mind ear. It’s quite a thing. So, when you’re looking at this, and you’re looking at this whole configuration, what you’re looking at is the acoustic basis and the acoustic basis that’s there. So now we have the presence of these various senses that we’ve looked at. It’s also something for you to note about the nature of your own design. In other words, what we’re looking at here, these gates that I have mentioned to you, these are keys. But of course, it’s very important for you to understand that these various sensory keys are also affecting the streams that they are a part of. It’s important to see the balance that you have. And for those of you that are deeper in the knowledge and have tonal background to be able to see comparisons between what kind of tonal structure is there for you and its relationship to what’s actually emerged in your BodyGraph, to see what’s actually come through in that sense and the potential that is there, because obviously there are all kinds of different sensory potentials in individuals.

The 50th and 6th Gates But with the little time that I have left, I want to touch finally here on these two gates, our little mystery gates here, the 50 and the 6 and what do they have to do with anything. Awareness—I’ve done many things about these three centers, the gates of fear for example. And every single one of these gates that we’re looking at are gates of fear. It is so important to understand that within the context of this knowledge fear is the mother of intelligence;; it’s what it’s about. It is the force, in that sense, that drives intelligence.

RAVE ANATOMY I A Digital Book for Students

When we look at the 50th gate in the Splenic Center, the 50 th gate is the source of intelligence. And in the way in which the tonal architecture was built, in that sense, that the information of the Splenic binary was information that moved through the 50th gate, and then spread out, in that sense. In other words, to really understand that here is the basis of the way in which the information from the cognitive architecture is passed to the BodyGraph. And that the 50th gate is not only responsible for the intelligence of the Spleen, but secondarily responsible for the intelligence displayed in the Ajna Center, because the Ajna Center is the natural progression out of the Spleen. All of that, the intelligence that is “body intelligence” of the Spleen and the mental intelligence of the Ajna, if we could point to a designer or a source we would go to the 50th gate. And of course, when we talk about the Solar Plexus system and we talk about the potential of the Solar Plexus, not simply what we see as its wave motor function and the dilemmas of that, but understanding that it is also the source of the potential of the awareness that’s coming. It’s not the initiator of it; that we know is in the 55 and in the 49 in the codon Histidine. But it is the 6th gate that, in essence, is the controller of the Solar Plexus system, as the 50 is the controller of the Spleen.

The Senses are Tools I have mystical names, the guardian and the builder; they really are the instruments of bringing cognitive potential into the BodyGraph. But I also want you to grasp that when you look at cognition at the tonal level, it is very profound. And when you look at senses at the BodyGraph level, they’re very mundane. That’s what they’re supposed to be;; they’re mundane. These are tools and they are tools for not simply survival, they’re tools for survival, reproduction, the cultural and physical development and all of these things;; they’re tools. And it is the tools that the holistic form gets to use. It’s one of the most profound studies to be able to look at the work of the Magnetic Monopole in bringing together these two very, very different programming schemes and to bring them together into this holistic vehicle and to provide this vehicle with the tools that it needs for its survival and for its correctness. Remember something about what happens to us when we’re brought together in this illusion. It’s deeply connected to what is this inner frequency. That is, this acoustic triangle that is in the center and its relationship here to this Magnetic Monopole. It is the Magnetic Monopole by its very attraction frequency from the crystals of consciousness, which in fact are here; it pulls their information together to create this holistic form. And yet, it’s so essential to understand that the Monopole responds to the frequency of the form at the same time that it holds it together. It is a biofeedback, or a frequency feedback system. The Monopole is always attracting and in its work holding together this totality.

LECTURE ONE The Senses of the BodyGraph

Now, if this totality doesn’t operate correctly then there are problems with the attraction frequency. When there are problems with the attraction frequency, instead of getting the true tonal architecture coming through from either side, that what we get is a harmonic distortion of the color. And instead of the color being a 1 it ends up being a 4 or a 2 or a 5, 3, or 6 and so forth and so on. And this whole being ends up being not-self, because its frequency is not correct.

Strategy and Authority In the end it doesn’t matter what I teach, I come to the same place. It’s all about Strategy and Authority. It is only through Strategy and Authority that you can align your vehicle to a frequency that is correct, a frequency that begins with the tonal architecture that is there, your potential cognition at the design side, being able to align and correct the physical frequency of the body so that the body operates correctly, and then the process of beginning to align the mental body so that the mental body can function correctly.

The BodyGraph is a Sensory System But Strategy and Authority immediately aligns the vehicle to what is correct for it, immediately brings it in touch with its cognitive resource. If you take all of these streams and then you move them into their circuits, the first thing to recognize is that the BodyGraph is a sensory system, period. It is nothing but a sensory system. This is us. We are filters of consciousness. We are incredibly powerful sensory mechanisms, everything about us. And this is what we have in our BodyGraph. These are the tools that are there, to keep us alive, to keep us alert, and to keep us in touch. To give us the possibility of going beyond the homogenized field and beginning to experience the treasure, the treasure of what it is to be us. Ok, it was nice that you were all here this morning. I enjoyed my coffee and my morning with you. We will have some interesting things to look at as we go along in our journey in the BodyGraph. To all of you that didn’t make it, I do understand. It’s an odd hour for many of you, but nonetheless, I’m glad you get to download it. So, until next week, bye for now. ~

Illustration Library Lecture 1 The Senses of the BodyGraph

*Pg. 1 (* Refers to the gold book page #, not the pdf page #.) Rave Anatomy I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2007 Jovian Archive Corporation

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RAVE ANATOMY I A Digital Book for Students

The Senses of the BodyGraph Related to Tone

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