WEBVTT
Hi guys.
Thank you for joining us for another love of One Deep Dives.
It's been a little while since we did one of these,
but we are now somewhat ready to begin addressing the,
the body archetypes, uh, discussed in book four
of the original publication.
Um, this is kinda like the last 25 sessions of the material.
They really focused in on the major arcana archetypes
and what this means for our
evolution of mind, body, and spirit.
And the first seven archetypes were relating to the mind,
the seven second major arcana throw cards
or archetypes relate to the body.
So we're gonna get started on some of that, but,
but raw actually recommended in session 88 that the study
of the archetypes be done.
Well. Well, first of all, you don't wanna study every single
individual symbol and every single card,
but what you wanna do is initially study the matrix
of mind card number one alongside the matrix of body,
which is card number eight, alongside the matrix of spirit,
which is card number 15, which is the devil.
Um, so if we study all these together, they said
that there's, uh, um, something that comes out to the,
the seeker, and this is the, the first way
of studying the archetypes together that they recommended.
So I'll go ahead and share my screen now
and I'll show you where they say that.
So in, in session 88, raw, uh, Don had asked, uh,
raw must have had a lesson plan
or course of training for the 22 archetypes
to be given either to those of third density raw
or later on to those in Egypt.
Would you describe this scenario for the training course?
And raw said, we find it more nearly appropriate
to discuss our plans in acquainting initiates upon your own
planet with this particular version of the archetypes
of the archetypical mind.
Our first stage was the presentation of the images, one
after the other, and the following order, 1, 8 15,
which is the matrix 2, 9 16,
the Potentiator 3, 10 17, which is the Catalyst
4 11 18, which is the experience
5, 12, 19, which is the significant of mind, body,
and spirit, six, 13,
and 20, which is the transformation seven, 14,
and 21, which would be the
great way of mind, body, and spirit.
And then 22, which is the fool.
And this way the fundamental relationships between mind,
body, and spirit could be, could begin to be discovered for
as one sees, for instance,
which is what we're gonna do today.
As one sees, for instance, the matrix
of the mind in comparison to the matrices of body
and spirit, when may draw certain tentative conclusions.
And then later when at length the student had mastered these
visualizations and had considered each
of the seven classifications of archetype.
And classification Here,
meaning matrix is one classification,
looking at the relationships between mind, body, and spirit.
Then they suggest consideration
of archetypes in pairs one and two.
And we kind of did this a little bit when we went, went
through it initially, one and two would be the matrix
and potentiator of mine together, so and so on.
You may continue in this form for the body
and spirit archetypes, you'll note the consideration
of the significant was left unaired
for the significant shall be paired with archetype 22,
which is the choice
and the significant, which we are seeing ourselves
in mind, body, and spirit, I think.
And that choice seems to relate to the, the, the progress
that we're making in that, that choice
of, of how we see things.
Um, that's my wording on it at least.
And then finally, when at the end of this line of inquiry,
the student was beginning to grasp more
and more deeply the qualities and resonances
of each archetype at this point, using various other aids
to spiritual evolution, which we don't know what those,
those would be.
We encourage the initiate to learn to become each archetype,
and most importantly, to know as best
as possible within your illusion when the adoption
of the archetype's persona would be
spiritually or metaphysically helpful.
So to some degree, we're, we're attempting
that along the way too.
Um, so since we've, we've done,
we've looked at these in so many different ways.
We're, we're gonna keep on looking 'em,
looking at these in all these ways ongoing.
But I thought it, it might, it might be appropriate
to start looking at at least the,
these seven classifications in order
first starting with the matrix.
And so the, the images,
and this is from the CC Zane images recommended
by the LL Research Organization.
And this was, um, roughly similar
or the same to what Don Elkins probably had,
which was the 1960s version of that.
And did you find Nick in the pamphlet
said anything was modified in particular way over time?
No, This was, come, comes from a church
of light organization, um, linked to from, oh, here
It is on the side of the box.
Alright, Brotherhood of light ex, uh,
Egyptian tarot deck provides companion cards.
Uh, the original 1936 black
and white images have been redesigned
as full color Egyptian tarot.
So I'm thinking if, if this,
and what I read in the pamphlet is, is correct in my mind
that they, when they put this one together
and they added the color and all that stuff,
this was the version after the 19 36 1.
And they go in the pamphlet to talk about, uh, why,
why the addition of color.
And it said to, to draw, to draw together the tarot,
the astrology, and the, uh,
kabbalah I see into the one deck.
So basically everything Ross said the study. Mm-hmm.
So it'd be helpful to know as we go through these,
if the version that you have in front
of you is actually any different from what is on my screen.
Okay. I got this from A PDF on off their
website, which was not in color.
Um,
So what's the, what, what are the numbers?
Number one, number eight, and number 15. Okay.
So we already covered the, the magician, the matrix
of mind, more exhaustively in an earlier episode,
so we won't cover that as exhaustively today.
Um, but this is a quick recap.
This is what they considered, you know, the foundation
of consciousness and also the will.
And they, it's called the magician, seemingly,
because they said, as you embody this archetype fully,
you're essentially coming back to the new mind,
unbiased unblemished without polarity
and full of the magic of the logos.
And so seemingly as we withdraw all the things
that are contained in consciousness
and come back to the raw container, which is consciousness,
the raw matrix itself, then
that in theory gives us the most potential
or the most, um, uh, fullness of a framework
for potential or the fullness of the matrix
for the potentiator, which comes, which is, which is
what the, the masculine principle,
which is the consciousness dips into with the potentiation
of consciousness into all other forms
of experience of the mind.
And so there, there may be some parallels to
that concept with the matrix of the body
compared to the matrix or
to compared to the potentiate of the body.
Um, but there, but there are some inversions on that.
And so I should probably pull up at this point, the, um,
some of the original references where these were described
in session 78.
You you wanna
Look at the, they're extremely similar.
Okay. Um, the objects on the table are a little different.
There's a chalice and a curved sword and a coin.
But I mean, you know, chalice sword coin,
Yeah. Wish I can get
it even clearer.
And then, uh, I mean, they are very spot on.
All Right. Except for the, except for the addition
of color.
All right. And he's holding.
Yeah, I mean, it's all the same.
Alright, good to know. All right.
So in session 78, uh,
we, we begin discussion of the matrix of the body
on question 11.
And this was when Don first asked,
could you elaborate please on the nature
and quality of the matrix and Potentiator?
And Ross said, in the mind complex,
the matrix may be described as consciousness.
And I'm debating how much we should
even talk about potentiator today.
Just to stay focused. I think we could stay more focused on
matrix today and,
and just see if we can understand the, the, the differences
between these and,
and how, how they relate and, and, and the body.
The matrix may be seen as balanced,
working or even functioning.
Note that here, the matrix is always active
with no means of being inactive.
So this is one of the first ways in which they,
they con compare and contrast the, the matrix of the mind
with the matrix of the body.
The matrix of the mind
is, is not moving.
And The body of the, the matrix of the body is
always active with no means of being inactive.
They said, they said consciousness of it
of itself is unmoved.
So movement is at least one core concept in,
in these archetypal comparisons
that will, will keep coming back to.
And then they said, with, with the matrix of the spirit,
it is what you may call the dark night of the soul
or primeval darkness.
Again, we have that which is not capable of movement
or work, but the potential power
of this extremely receptive matrix, as such
as the potentiator may be seen as lightning.
And this was refined to be the lightning struck tower.
However, the original potentiator was light in its sudden
and fiery form that is the lightning itself.
So essentially the deepest darkness is
the, the matrix of the spirit.
And then the greatest sudden fiery
form of light, which would be lightning,
is the, is the potentiator.
And these are called the most, um, profound
aspects of the way in which we're transforming
ourselves is through the spirit.
And I think that was in session, maybe session 79.
I'll pull that up. It's really just two, uh,
sessions I think they'll be focusing on.
Um,
They are packed though. They're
dense sessions.
Yeah, yeah.
They said the matrix of the spirit is difficult
to characterize since the nature of spirit is less motile,
which means capable of movement.
So darkness of itself is not,
or you should say the dark night of the soul, appreciation
of darkness is not something that it's moving.
The energies and movements of the spirit are
by far the most profound, yet having more close association
with time space, which is the metaphysical dimensions,
do not have the characteristics of dynamic motion.
So these energies and movements of the spirit are
by far the most profound,
but they do not have the characteristics of dynamic motion,
Which would suggest to me that there's not, you know,
balls moving around to push something to turn onto.
And it's not like a light switch has to get flipped.
They, it, it says here, thusly one may see the matrix
as the deepest darkness
and the potentiator of spirit as the most sudden awakening,
illuminating and generative influence.
It's almost like there is no need
for a switch to turn it on.
It's just completely sudden like lightning
flashing out of nothing.
And, and to some degree, I've had this, you know,
as an experience where I'm in a state,
and you know, when when you're in a,
in a dark place and something turns on like a light bulb,
a lot of times it's not, it's not possible
to trace where that come from.
It's almost as though there's some, some more raw,
deeper layer of our reality, which can turn the light on
and just have light be what, what we are generating from
that, that inner, inner spiritual place.
Does that make any sense?
Yeah. And I always think of it as, um, you know,
as science is finding smaller
and smaller, they're coming to the point
where they're saying, all matter comes from this, this place
of pure potentiality and, and, uh, elements
and molecules and or, or,
or atoms rather form out of, out of this sea.
And they become a wave and then they become solid.
And, you know, it's talking about the mind, body, spirit.
But I've always written in the book and,
and read alongside of it basically from time space,
which would be the, the ether things vibrate into matter.
And it's kind of going along those lines
with this, it's, you could, you could overlay the process
of matter becoming on top of the, this session.
Yeah. Yeah.
And really we're comparing, you know, the,
the deepest nature of potentiality, which is beyond and
before all form ever, ever existed.
And that's really what we're talking about
with the archetype seems to be the, you know, the plan
of the logos, the architecture for evolution
that precedes all the creation of, of light itself
and, and any forms.
So it's almost like this is like a unified physics that,
you know, precedes all of physics,
because we're just talking about just the concept
of darkness and light being, what was the guiding principle?
Did you say it preceded the creation of light, though?
I think so was the third distortion.
Well, the logos is love and, and the logos
and love could be called the second distortion.
And then out of love, the, the logos chooses that plan
of evolution, which then unfolds as delight
of the, of the
galaxy. Does that sound right, Nathan?
Yeah. Yes.
First distortion was the free will there,
and then the creative love principle, uh,
basically then focused
and then led to the creation
of physical manifestation in the form of life that we see.
Yeah. But doesn't all, that isn't all that what's needed
to create the, all the archetypes?
Well, in theory, the archetypes were the, the initial part
of the, the logos is choice to explore
creation through, through,
Through logos or the sub sub logos.
I guess we, we need to narrow down which one we're,
Maybe I should find that passage though.
Um, I'm pretty, I'm pretty sure that just that
that came from a discussion around the logos choosing, um,
and the archetypical mind.
Um,
That's interesting.
I've always thought of, of those three distortions
as far more fundamental, like, I mean,
completely fundamental
From the beginning of our creation, the description
of polarity as service to self
and service to others, dwt within the architectural
architecture of the Prial logos.
Um, that's one discussion of this.
Um, the archetypical mind,
Oh, go ahead.
Oh, the archetypical mind may be defined as that mind,
which is peculiar to the, to the logos
of this planetary sphere, thusly,
unlike the great cosmic all mind,
it contains the material which it pleased the logos to offer
as refinements to the great cosmic beingness.
So I see that as they're talking about our sun in
that sense here, that has this local creation
with its own archetypes, with everything within the suns.
Um, I see sphere of yeah, reference there,
but the higher logos is our setting up, basically,
I think the architecture for our sub logos to then go
and, uh, create those sort of
archetypes that it chooses.
So yeah, maybe I'll read some more on this.
Uh, Don had asked, would I be correct in saying
that our local logos, which must be in the sun
and acting as co-creator, distorted to some extent
for the purposes of experience
that which we experience here,
and that the archetypes of this particular logos are
somewhat unique with respect to the rest of the creation,
but are of course related to the all
and that they are part of it.
But are, I can only say a unique part.
And the systems of study
that we have just talked about would not translate quickly
or easily to other parts of the creation.
This is a very difficult, ques difficult question to state.
Could you clear that up for me?
And Ross said, we may draw from the welter,
which means a confused, massive
or jumble, the confused massive statement which you offer.
The question we believe you ask,
please re question if we've been mistaken
or query the archetypical mind, is that mind,
which is peculiar
to the logos under which influence you are at this space
time distorting your experiences.
There is no other logos, the archetypical mind
of which would be the same anymore,
and the stars would appear the same
planet in another galaxy.
You may correctly infer that the closer logo
are indeed closer in archetypes.
So certainly there are variations to what the archetypes are
across these different parts of the galaxy.
But they did say that the harvest of the previous creation
was an awareness of the efficacy of the,
of the first nine archetypes, which were, um, you know,
matrix potentiator significant
and an awareness of the efficiency of using mind, body,
and spirit for evolution. And this would
Is that creation with specific
respect to space time, though
It's what they call the octave,
which would be both space time
and time space within this universe.
I would think that It's hours beyond space time.
That's obviously, you know, that's a,
that's a microcosm space time itself.
So I mean, if they're talking within the, you know,
the physical creation, again, that would make sense.
But it's, it's gonna be superseded.
The way it sounds to me is that the, you know, like the,
the previous octave was a previous space time,
which the learning experiencing happened,
and then they got the, you know,
the cliff notes of it
and said, well, we could tweak it this way
and then came into our space time.
And that's why they were saying like, it would be akin
to looking at the stars from another planet,
because yeah, you're looking up and they're stars up there
and they're all in the same shape,
but you're looking at it from a different angle.
I feel like the first three distortions exist, um,
beyond the atonement,
and that all of the octaves are effectively the expression
of atonement.
And yeah. So they still just seem a lot more, uh,
primordial to me.
Like I always think of these things that we
talk about here very much within space time
and time space at most, which I get is still an inverse
dimensional reality.
But I mean, so far down the chain from, you know,
where these things are projected from the, that's where I,
I tend to think of those distortions as, you know,
in eternity, those distortions exist.
It's not until the, the, the mind of,
of the logos, I suppose decides that it wants
to create an experience in separation, that all
of this stuff becomes necessary.
And specifically the soul body, which, you know, karma,
all the things that are tracking this from one life
to the next to the next, um, all of that is created
as the tree of life during the expulsion process, which,
you know, again, we kick ourselves outta the Garden of Eden.
But all that happens, um, in consciousness
before space time is even a thing.
So, I mean, I don't think that, I don't think
that there is archetypical mind outside of space, time
and time, space again given their inverse relationships,
but I just don't see why they would,
why they would be needed, or at least
maybe not in their same form.
You might have higher levels of the energy bodies,
but probably not all the way down to the level we do.
The way that I've always thought of it was that the,
the matrix of the mind, I said it was consciousness.
I always thought of that as the time space, you know,
uh, ether from which things come.
So it, it, it is in time space and space time.
I think that once you get to the, uh, the body,
it, it, it dabbles in time space more than space time.
And then once you get to the physical body,
now you're really getting into space time and the experience
because you're more detached from the
origin consciousness. Well,
It would be nice for us to, to establish a, some level
of agreement or vocabulary around the bodies as well.
We know that the physical body is the third density body,
but there are, you know, seven, right?
Or at least this is how I would look to, to see this.
And hopefully, you know, you guys with some of the Eastern
specialization might be able to add into this,
but raw does kind of break down how the, the first three,
you know, densities add up to the physical body,
but we can't stop there.
And so every time I think of the matrix of the body,
I am not thinking the physical body.
I think that's, and that's less than half
of the body is thinking of the physical body.
And so I do think of it as that continuum
that goes throughout all of the energy systems.
But to your point, Nick, we really don't entertain a
physical body until we're in space time.
Yeah. I think it's fair to look, look at ourselves
and have, uh, some sense of, you know, the body as being,
at least in, in some form of manifestation
and whatever form we can see ourselves as, I think
that would allow us,
we could extrapolate from these archetypes of body
out into whatever we're capable of perceiving
as our manifest itself.
Um, so I, I guess what the,
the, the stopping point I I'm at with the,
your original question is the definition of an octave
and a creation, does each creation, um, unfold
from the first distortion to the second to the third?
I I, which I assume is always happening,
it's always the same, um, moment.
Essentially every octave is like one moment of an experience
of the first distortion, the second distortion,
the third distortion altogether, simultaneously, um,
having this experience.
So this might maybe a, a small point
to continue talking about.
Um, but I,
but you know, the one original thought might have been the
one original thought, the correspondent to this octave.
And that might be the thought
that comes from love acting on free will
to create an infinite array of expressions at
that particular, um, um, point of awareness
of archetypical potentials, which is
what, what I'm gathering from this quote where they,
where they were saying that at the beginning
of this creation, or as you may call it, octave,
there were those things known which were the harvest
of the preceding octave about the proceeding creation.
We know as little as we do of the octave to come,
however we are aware of those pieces of gathered concept,
which were the tools which the creator had in
the knowing of the self.
So in some form, there was a gathered concept at this point
in evolution, um, which I suppose there's
A logos at that point, which is before the Octa and
before a universe or before a, you know, physical
or space time expression.
I still visualize that there's a, it might
as well be infinite, frankly, layers between
that logos and the Godhead.
And, and if we're, if we're not to be, you know,
envisioning it that way or a fraud saying
otherwise, that would be, you know, quite helpful,
uh, certainly for me.
But, um, yeah, to me, the beginning of one universe
or one sort of octave is really not really the beginning
of, of anything.
I mean, it's the beginning of a, of a multiverse of a
infinite number of, of universes.
And it just doesn't seem like it's got that very first spark
of existence sort of thing.
Is that we dive headlong into, into this.
It seems that there's a whole expression of reality
and truth that exists entirely outside of, of this,
and always has and always will.
And we dive into this only when, you know, obviously we need
to, but I think it's infinite numbers of expressions
and experiences that are available outside this.
Ross says, we, we could, we could.
Um, when, when Don asked, are you saying
that there are an infinite number of octaves
or of densities, one through eight, Ross said, we wish
to establish that we are truly
humble meers of the law of one.
We could speak to you of our experiences
and our understandings and teach, learn in limited ways.
However, we cannot speak in firm knowledge
of all the creations.
We know only that they're infinite.
We assume an infinite number of octaves.
However, it has been impressed upon us by our own teachers
that there is a mystery clad unity
of creation in which all consciousness periodically
coalesces and again, begins.
Thus, we can only say we assume an infinite,
infinite progression through, though we understand
it to be cyclical in nature.
And as we have said, claded mystery.
So I don't know if raw knows the answer to your question.
That's interesting though. The way
I've always read it is that the octaves
like, we're in this octave, we're having the experience
that we're having, and then once this octave ends,
which essentially is like at the harvest,
the knowledge from this octave is gathered
and passed on to the next.
But because we live in such a chronological
space time thought process, it's hard for us to think
of the time space process.
And if you dip into the time space
and look at the space time universe,
it's all happening at one time.
So the infinity of octaves is happening, meaning
that there wasn't necessarily one than the
next, than the next than the next.
It's more like they're all happening at once.
All the information is being pulled in.
And then when, when the, the, the cyclical rate,
I always equate it to breathing.
The, the universe has an exhale.
It produces matter and experiences,
and then it has an inhale,
takes in all the data, and then it has an exhale.
Again, this is what leads me to think that
all the different universes are different octaves,
because we can't travel linearly to another universe
because there's too much space for us to, to do it in.
If we wanted to take our physical body from universe
to universe, it would deteriorate
before we got to the next one.
I always think of the other universes or,
or, uh, galaxies, not universes, my bad galaxies,
the other galaxies of the other octaves happening
simultaneously to ours.
And then it all happens. Then it all,
and then it all gets aggregated.
The data comes in, and then it all happens
and it all comes back and gets aggregated again.
Yep. Definitely a learning process through un unimaginably
infinite expressions.
It's, it's hard to wrap your head around,
but I'm, I'm, I'm excited
to get started now on the, on the images.
Um, so the, the last, uh,
past chair I wanted to cover again was the, um, this,
this other discussion of the, I think this was a discussion
of the first nine.
Um, so Rod said, the matrix of mind is
that from which all comes, it is unmoving,
it is the activator in potentiation of all mind activity.
So it's, it's somewhat confusing to think about movement
as not being the same thing as activation here.
If they're saying it's unmoving,
but it's the activator,
I guess you can have activation without movement.
That's the time space, that's the ether.
It's not moving, but all motion comes from it.
The minute the vibration starts to gather enough mass
to turn into matter, it slips out of timespace
and then becomes space time.
Yeah. And they said that, uh, timespace is the place
of our beingness and space time is the place of function.
Yeah. And as the add up begins to do less
and less of the outer work having to do with function,
the add adapt begins to work more, more on the inner work,
having to do with being, and you don't really have to move
to change the way you see yourself.
And you could say that that's the, that's the essence
of the evolution of the mind is
changing the way we see things.
Um, and the potentiator of the mind is
that great resource which may be seen as the C
into which the consciousness dips ever deeper
and more thoroughly in order to create, ideate
and become more self-conscious. And we talked about that.
A lot of things to do for something that doesn't
Move. Yeah. Yeah.
It's a lot of dipping.
Yeah. But if you were thirsty
and you went to a, well, the well doesn't move, you move
to get the water to your face.
Yeah. In this case, it says the matrix is what is dipping.
And so that, I'm just saying it uses a verb that it's,
I get it's a metaphor, but
It's, it could, it could be, it could be that we're,
what we're talking about is a matrix that has something now
in potentiation that can be the catalyst,
it could be the experience, and maybe the matrix itself
is this, actually, let me,
let me pull up the definition of matrix.
This is something I did with my wife last night.
Um, um, the, the definition of matrix, the fir,
there's five different definitions here listed.
The first definition of matrix is an environment
or material in which something develops
a surrounding medium or structure.
So really they're saying this, this surrounding medium is
what is what is unmoving.
And yet the surrounding medium of the body is something
that is in constant motions.
The atoms it would seem are, are constantly moving
and constantly requiring the potentiator,
which is then wisdom, um, to,
to refine the way in which the movement is occurring.
Um, and I also like that they,
they gave an example sentence here for the use
of the word matrix for this definition,
free choices become the matrix of human life.
And you could say the choices is discussion
of the matrix of the mind right here.
Look at Google, dropping some knowledge.
Yeah. But
I, I, I might as well read these others.
I feel like this is this possibly insightful, possibly
vaguely intended by raw.
Um, when, when the second definition says a matrix can be a
mass, a fine-grained rock in which gems crystals
or fossils are embedded.
So maybe we're, we're finding these gems
of thought within this matrix of mind.
And a matrix can also mean a mold in which something such
as a record or printing type is cast or shaped.
And then we of course have the, the mathematics definition,
a rectangular array of quantities or expressions and rows
and columns that is treated as a single entity
and manipulated according to particular rules.
So that could be, there's a law of physics operating.
And then the fifth, uh,
definition is an organizational structure in which two
or more lines of command, responsibility
or communication may run through the same individual.
I think that might be a business concept.
Matrix structures are said to foster greater flexibility.
Um, but I think these are all playing off the same, uh,
concept of the environmental, environmental
or material in which something is developing there.
It's like the surrounding medium.
Um, so in the body, the matrix may be seen as
balanced, working or even functioning.
So th this is not something we think of as like
Adams bouncing around, unless we could say that the,
the, the core way in which any potential of an experience
of the body is coming about requires there to be
some fundamental functioning, which is
even evenly working enough balanced, working enough so that
the, the structure of reality doesn't collapse.
It allows for a, a, a experience to unfold.
The matrix is always active with no means of being inactive.
The potentiator of the body complex then may be called
wisdom forward, is only through judgment
that the unceasing activities
and proclivities of the body complex may be
experienced in useful modes.
And then, as I said before, the matrix of spirit is that
what you may call the night, the dark, the night
of the soul, or primeval darkness.
And this is, this is really profound though, to think that,
that, um, raw is saying that there is actually, uh,
there's a reason that we would want to become the knight
of the soul or primeval darkness as an archetype that
that helps us in our evolution.
And, and I, I've, this is kind of skipping ahead a bit,
but I've, I've pondered, you know, over the last few years,
what is, what is the situation in which the, the night
of the soul is useful to us?
And maybe, and discussing the symbols in this image will,
will get more into this.
Um, but the, the only conclusion that I have so far is that
The, the existence of a dark night of the soul is one
of the most useful catalysts, or,
or I should say one of the most useful ways
to dip into the catalyst of the spirit that we have.
Because if we're, if we're dealing as in shadows
and we're unable to discern, as they say, relating
to the moonlight, the experience
of the spirit is like moonlight,
where you can have difficulty discerning truth from shadow.
If we're having difficulty determining truth from shadow,
it might be appropriate to face our fears
to face whatever it is in, in, in the,
in the darkness we haven't been able to look at.
And when we try to look for that darkness,
and we see that there is, um, something that is
an appearance of darkness, then we have the ability
to face the fear.
And we have the ability to find, you know, the, the,
the light that was completely illuminating, that
that darkness without the, without the ability
to face the darkness, it's hard to see, you know,
the truth from shadow discern those two,
um, apart from each other.
And I've also considered a great point, you know, all
of our, all of our manifested reality is in some way looking
at shadows, because we're not looking at the light
of the infinite sun, the infinite creator,
we're looking at forms which are distorted forms
of this infinite light, this infinite love,
which is the source of all these forms.
So it could be that the experience
of the spirit is just another layer of this, um, you know,
experience of the mind and body,
but more clearly represented in terms of light
and darkness, which is the more, more the pure, uh, form of,
of evolutionary energies which are
coming from the creator. Um,
And if you, if you're gonna lay the example I was saying
earlier about matter becoming, then the spirit of, uh, uh,
the, the matrix of the spirit
is the ether from which everything comes.
And it is darkness.
The primor, primordial, primeval darkness, right? Yeah.
And then as the matrix of the mind gets applied,
you become the, the, the logo begins to split
and have experiences.
And that is the beginning of the formation of matter.
And that's the matrix of mind.
And then the matrix of body is when light, you know,
actually starts to happen.
And that's, that's where it's that that darkness
and then, you know, the logos, the light was created.
That's how I've always thought about it.
Yep. So we had a message from
Heine, I can just put it on the screen.
The other galaxies are other logo.
The similarities between them
and ours is much like the differences
between humans on this planet all related
to a single origin, yet uniquely different.
The quantum perception is
that all souls are an individual logo, much like Jesus was.
And this galaxy holographically mirrors its own
understanding of those varied perspectives, referencing
how we interact in order
to guide its own orbits and processes.
The logos being oriented
to love is quite a blessing in the sense
of physical appearances experiences.
Those souls that are close in space time and and
or time space to their originating star galaxy may feel a
closer connection to their source of personality distortion,
souls pursuing the same seeker path
to know their archetypical mold
or logo that are not as close
to our coordinates in this physical journey.
We'll experience more of the knowing
and faith of the quantum connectedness we all live within.
This gets back into the mirroring
of the original 12 logo and its reflections.
It's interesting you say 12 logo, uh, instead of nine,
because I think there was, it's,
it's ambiguous if they're talking about experience, um,
in one passage as being part of the original, um, Loy
that were the harvest of the previous octave, um,
it's almost like two, two different passages.
Contradicted one seemed like it was talking about nine,
one seemed like it was talking about 12.
Well, maybe I'll cover that another time. Um,
Um, just to make sure that I got part of that, Mike, um,
because I'm not sure where that was, uh, referenced from.
But they're saying that the, the closer in
physical proximity, that one is to the logo
under which they, uh, originally incarnated
or, um,
and then something about the farther away you are,
there's more faith involved.
Can you touch on that again?
Well, this, this was a a in the chat
that zoom chat here, we had some Yeah,
That's what I thought you said, but I just,
so I didn't know where the, um, dean brought that in from,
but I was Yeah, I was just kind of curious. Yeah,
That was, that was a discussion in the
material if searched for the word.
Oh, okay. Because it, it makes a lot of sense.
I mean, when, as we talk about wanderers and travelers
and so forth, um, when you do go plug yourself into,
you know, a, an archetypal system
that's maybe different than your native one, um,
that last statement was the part that made sense.
I was expecting it to sort of result in more challenge
or maybe allergies or, you know, what have you.
But, um, no, very much, uh, just about that.
It takes more faith
and will, I suppose to surmount that perhaps, which I,
I would imagine is sort of in the, the back pocket
of any, any wonder really.
So this is one I, I think was being referred to.
Don had asked, could you generally say that
as you get closer to the center
of this major galactic system,
that there is a greater spiritual density,
I'll use the term, or that this general
spiritual quality is advanced at that area.
And Ross said, the spiritual density
or mass of those more towards the center
of your galaxy is known.
However, this is due simply
to the varying timelessness states
during which the planetary spheres may coalesce this process
of space time beginnings occurring earlier, shall we say,
as you approach the center of the GL spiral,
Uh,
they're more evolved
because they've been around a lot longer.
Yep. Seems to be alright.
So I'm ready to do the work
that I've been essentially intimidated by
for maybe the last 10 years here, looking at this,
this image of the matrix of the body, which is so chockfull
of stuff that I, I knew that I needed
to actually dedicate some serious time to, uh,
unpacking whether
or not I could discern even what,
what some of these symbols are.
And it's gotten, it's gotten easier now
that I know about the CC Zane image that, um, that was, uh,
in vector format where I could clearly
see, um, more of the details.
But I wanna go over every symbol now in this image.
Um, and we could start with what seems
to be most important about this image
and understanding what is this, um, this
balanced working or even functioning.
This car was also called justice.
And we have the, the, the primary figure
as a female in the center holding these scales,
which I learned a lot more, seemed to be representing
what had been called the scales of Maat in, in Egypt.
And you could see this, this image relating to the judgment
of the dead and the presence of Osiris.
And you, you hear, you have these scales in this part
of the image, and I assume this is, uh,
part of the principle that was being referenced.
Um, but this feather here is,
is continuously coming back up.
You'll see the same feather here is on one, this feather
of maat is on one end of the scale.
It's also above the head of this figure here
and above the head of ot.
Um, um, and also above the head of this image on the left,
which looks very much like, uh, portrayals of maat.
I assume that it, sometimes it's pronounced too sy
sometimes pronounced one syllable.
But MAAT was the
Featherweight against the heart, Mike
Y Yep. And that,
so yeah, that tracks, I mean,
if you have enough darkness in your energetic bodies at the
end of a, of an incarnation, um,
you're not gonna be progressing.
You know, you're, you're going
back, you get weighed, you know.
But again, it's not the physical heart,
which I think would've been, you know, a bit misleading
to, to consider.
Yeah. Yeah.
So you look at this image right here.
You see this, this person looks pretty close, uh, to,
to this image in the back except,
and this card, this image has this,
this, this woman has wings.
And wings can mean protection means wings,
can mean obviously taking flight.
And this is sort
of a theme throughout all the archetypes we discussed.
Obviously the first one matrix of mind, there's
a bird in a cage, which could represent, you know,
the unmoving nature of this initial matrix,
this consciousness, which has no ability to move without,
you know, any potentiation.
Um, and then here these wings are sort of wrapped
around the primary figure who's holding these scales.
And this, this idea of balance seems to be very strongly,
um, um, represented by the scales.
But then on top of that, we seem to have this protective,
uh, image of maat.
And it's interesting that they have the double
feathers pointed both ways.
Maybe this means, um, you know, the, the,
the heart can be represented in the two ways,
the love of self, the love of others.
That's my speculation on that. Any other thoughts on that?
Are we sure that the seated figure is female?
Does it say it anywhere?
Because I always thought of it as male.
It definitely did in the law of one. Um,
I could really, Yeah.
Um, and I mean, it, it, if I zoom in a little bit more,
I think you might be able to see, this clearly
looks like bigger lips.
Um, the form is maybe a little
bit, um, more slender.
Um, do you, do, do you guys have any other thoughts on that,
This regard? I'm
pretty sure she's female as well too,
because it's representing our unconscious body,
I think in the sense here, which is like you were saying,
very stable and recovering archetype from that sense.
But it's, I, I, I guess I think of it kind of
as our maybe baseline instinctive
or reactive qualities of, of our body.
Um, so I can't remember exactly where they stated it,
but I thought it was female for addressing Nick's question.
Yeah, I was pretty sure there was. I
Agree with Nathan that yeah, unconscious sounds right
Because I've always, I've had,
I don't even wanna explain my thoughts on it
'cause they, it, it all balanced around
that seat to figure being male.
I definitely thought that this was in a particular session
and I'm, I'm looking for it now, but I'm not seeing it.
Um,
No, we have the polarity as well too.
So like the potentiator
and the matrix are usually reversed male female qualities.
And I think the wisdom, um,
archetype then is the male, right.
Or the body then.
Yeah. And I could pull up that one too.
Um, this is the CCZ
and image for the wisdom
or the sage,
smaller breasts.
Yeah. But, uh,
but it definitely made sense to me that there's an inversion
between male and female across matrix
and potentiator for the mind and the body.
Um, and but
and beyond that, the, my aunt is all also female.
Mm-hmm. Um, so there's already fem feminine aspect in this
image from that aspect.
Well, I, I don't wanna say too much
and put out the, put out the wrong info,
but to clarify the,
like the feminine is, is the, um, time space,
and then the masculine is space time.
And I've always looked at it as
the space time figure seated figure was about to, or,
or is embodying matter,
but is protected by the feminine, the time space, basically,
because no, no choices are wrong.
You know, it's all, it's all part of the experience.
And she's got the wings around the
physical experience
because it's saying that, that no matter
what happens in this experience, you will return back to
the one and, you know, oh, I agree with that.
Yeah. I've always thought of that,
but I always thought it was 'cause the
seated image was male.
But if you're talking about it being an inversion,
then maybe that's where it comes in.
The, the, the female principle is
that which awaits the reaching
and the male principle is that which reaches,
and that was also something I was considering discussing
here with the matrix of the spirit,
because they called this an extremely receptive matrix.
Um, and there the belly of this beast could be seen
as pregnant, and these are breasts,
but at the same time, this,
there's a, there's a penis in this one.
And I didn't know it's, if, if I could tell if
that was there in the other versions of this card, I,
I couldn't quite see that it existed there.
But it made, it made more sense as I was studying this
to call this female.
But also, these are not females in front of this image.
So it could be that this is not meant to be seen
as strictly male and female in general, however, or
To embody both.
Yeah, to embody both.
But the, the idea of a receptive matrix also implies
that there's, you know, something that's, that's needing
to seek the,
and I think the light is almost seeking, uh, or,
or at least the, the darkness is, is absorbing in
that negative sense, absorbing the, the positive energies
of the, of the light, um, to,
or to create the catalyst of the spirit
and which leads to the experience of the spirit.
Um, but the,
but the idea of the, the, the darkness, giving birth
to an experience of light is also interesting.
Um,
Well, that, again, not to, you know, beat a dead horse,
but that again goes back into my mind of matter, beginning
to form from nothingness, you know, and,
and the darkness representing the nothingness.
Uh, but it, it's breathing fire.
I mean, that's the ultimate depiction
of light in the ancient world is, is fire.
You know? So that, that is the darkness creating light from,
you know, the nothingness creating everything from, or,
or everything coming from the nothingness.
Mm-hmm. I would like to
continue see how much I can get through with these images.
We've got, we're one hour in, we've got one more hour.
Um, and, um,
yeah, I guess just continuing to go
through the symbols will help us potentially get closer
to appreciation of these.
Ultimately what I wanna do is see if we can come up
with more of appreciation of how these are interrelated,
these three, which was RA's first suggestions.
Um, so the scales, it seems like these scales, um,
could mean things that are sort of beyond
what our culture is interpreted them as, like justice in,
in terms of like, you know, you have to balance, um,
everything when you're considering, you know, who's right
and wrong, but I'm not sure if you know the concepts
of right and wrong are what this is
talking about with these scales.
Um, because there's a sort
of an inherent balance across all of our cosmos.
And, um, I was talking to this with my wife earlier and,
and, and I was like, what would you think are big examples
of, uh, balances or imbalances in the body?
And, uh, we were discussing the concept
of disease being something that we could see
as an imbalance.
However, uh, uh, the manifestation of a disease itself
might actually be a form of, uh, a balance
or a counterbalance to something that was out of alignment.
For example, when they discussed the, the, the idea
of cancer, cancer would be, if it's not processed
by the mind, it becomes processed by the body.
And you could say that cancer appearing in the body
could be completely out of balance.
It's something that has no balance, but it,
but it's actually there for the purpose of balance,
a according to that, that principle
of the metaphysical manifestations that allow us
to have the catalyst that we need.
So, so what might be interesting then is that it's not
that there's no balance in disease of the body, it's
that the perception of us, of the archetypal nature
of the body as being perfectly in balance is what needs
to occur in order for us to come back into full alignment,
uh, with the archetypal nature of our being.
We can come back into appreciation with gratitude
for the disease that it does represent a kind of balance.
Does that make any sense?
It does. Well, and, uh, uh, you know, a, a disease is
a condition that is showing you what's wrong.
You know, if you have liver disease,
you're abusing your liver, you know,
you gotta you gotta fix that.
Yeah. So then the behavior is out of balance,
the intake in that case of alcohol,
the liver disease is brought in to bring in balance,
Right?
Makes sense. Or, or
At least it's given you the opportunity to contemplate
and then balance, you know,
because some people just die of liver disease
because they just never got the hint, right.
Catalyst right. Comes in as catalyst
to make a new choice and a new awareness.
And it makes sense that you gotta be able to hear that
it makes sense that the matrix for all, all these potentials
for experience would be, would,
would necessarily be a system of balance.
And it's interesting that then if, if we see,
if we see a need for balance
as being somewhat more fundamental, then all the expressions
of the physical illusion, then I think that, that,
that makes, speaks more to the heart of, of why we have
physical experiences because of the, the need for there
to be, you know, this functional aspect
of the experience experiences we're having,
where we're we're able to, you know, work with an illusion
and the physical reality with dynamic motion
and the physical reality to learn the lesson of what,
what balance really needs to be.
And the, and the whole point of the weigh in your heart
against the feather was that chew was that you were getting
to the point where, uh, in the, in the death process
that you were being judged, you know,
but without all the ridicule,
it was just basically you come into the scales
and the scales either staying balanced
or your heart would pull the feather down.
And in which case, um,
uh, oh, who is it?
Is it Horace, the, the God of the underworld?
Would that be Osiris,
Osiris? No,
no, no, no. Anubis. Yeah, yeah, yeah.
So, uh, you, you go before Anubis
and Anubis records whether the
scales tipped one way or the other.
And if the, if the scales didn't say balanced,
and your heart weighted down, you know, it's kind of like
the consciousness going, wow, you know, like,
well, you were really rotten.
That's a good, you know, it's an experience we're taking
in all experiences here.
We don't judge, but you were really rotten.
So then you go back into the reincarnation cycle
and it, you know, it's,
it's seeing if you can do the balance in a different way.
Right?
So another, um, interesting thing here was these, uh,
these lions on top of each other.
And I, I, I, you know,
like I said, I've looked at this for years.
It's just been baffled. What could this mean?
And I finally think I had some, some thoughts on this.
Um, the, the, the line that's here in image eight
is actually about the same as the line that appears
in the experience of the spirit image 11.
The enchanter just faced a different direction.
Um, the headdress
or the hair might be a little different here.
Um, but it seems as though this is
hinting at something about experience being like the natural
environment or the, the power
or strength li lines might represent, um,
a protector or a divine authority, um,
might be suggesting, uh, even a graceful thing.
Cats can be graceful creatures.
Um, maybe the powerful
and the grace of natural physical
potentials is represented here.
Um, you guys have any other thoughts? I'm
Always the guy on top as a representation of spirit.
The, um, I'm pointing, like you guys can see me pointing
in the, in the middle one, the, uh,
the one has a body of a creature
and the head of a man with a headdress.
And I always thought of that one as the spirit
resting on the back of the physical experience going to,
like, they're, they're moving together.
Mm-hmm. And that the lion headed one more represented like
the physical experience, physical world, space time.
And that's why it's in the other one over there
on the, the right.
Because, you know, again, they're talking about the body.
They're talking about the physical world.
The lion appears again.
Interesting. Yeah. And it's also interesting that they,
that with, with card number seven, we're talking about the,
the gr the, the chariot, the great way of the mind.
There were two sphinxes pulling the chariot there,
and Rod suggested those could represent time.
And so if, if the sphinx is representing time
and the line is representing space or time, space
and space time, that might be this connection of these two
aspects of our reality going together with the, the body.
Yeah. The physical and the metaphysical.
Yeah. Another thing I was just thinking about is like,
the difference between a sphinx and a lion is just that
although this particular sphinx also has wings, the,
the main difference between a sphinx
and a lion is that a sphinx is just a lion
with the head of a man.
So there's something about, um, this lion
that is mirrored, but
with hu humanity incorporated in some way.
So I wondered if that, if that meant that the, the aspect
of the, the physical illusion
or the, the power over the physical illusion
that man represents is like a smaller subset of,
of the larger reality.
Um, and maybe this could also imply that, you know, the body
of man is a subset of the body of the, of the cosmos.
The physical body of our extended being.
Well, and the, and the headdress is very important
because you didn't wear the headdress until you were
far enough along in, in the teachings to have, uh,
I don't know, enlightenment wisdom, you know
what, whatever you wanna call it.
But when you learn enough and you,
and you understand the universe enough,
you then you don the headdress.
So the sphinx is the, in, in my mind, it's the, the lion,
the physical realm walked through by the initiate,
who's got the headdress on.
Mm-hmm. So applying wisdom to the physical world.
Yeah, because I was looking at the line too
as like potential danger
or protection, like you were saying, like, too,
it's like one, one or the other.
It could potentially be, so maybe to your point, Nick,
there, it's like, not necessarily mastery over it,
but being able to see it through either lens
or, um, maybe tackle your catalyst in one
direction or another like that.
And the, and the other thing, I'll, I'll try
and make this story as quick as possible.
I had a, a data download when I, I was watching this, uh,
show, I think it was called Relentless Enemies.
And it was a, about these, uh, lion, uh,
packs in the African Savannah.
And the, the two lions went out on a journey,
or three lions went out on a journey
and they lost each other and they couldn't find each other.
And so the camera crews following all three of them,
and then eventually one dies
and two come back together and they meet each other.
And the thing that the lion did from that point on,
'cause they followed these lions for their whole lives,
and the lions would never stand next to each other
and just lay the tail over the other one until they had
that moment where they lost each other.
And then the lion was standing there when they would look
off in two different directions,
the lion would lay its tail over the other one, kind
of like, you know, are you still there?
Uh, kind of, kind of, um,
just like this lion has its tail touching the other lion.
Like, wow, that is the physical world.
It's constantly in connection with
and touching the metaphysical world.
Interesting.
I don't think that they're even divisible
yet through our perception.
Yeah. Yeah. Definitely not like it, you know, we, we,
we see 'em as separate,
but you know, to the initiate, they're one in the same,
it's two sides of a different coin.
So it's constantly in communication with the other side.
It's constantly, you know, touching, referencing the
Other. I think it's a
causal, causal relationship.
Most importantly, you know, one, one necessarily causes
or manifests as the other trickle down,
fractal self.
Ah, you're breaking up a little bit there.
Um, yeah, Andrew had a inconvenience at this point.
Uh, it's okay.
Um, but yeah, definitely there's, and,
and this is, is discussed in the law of one with space time
and time space working together to, to create our reality.
Um,
And we were just talking about the time space, quality
of revolving around the spirit, I guess.
And a lot of times it seems like those wings can be tied
to spirit, so potentially, I guess that stinks there
with the closed wings is saying that in
that connection hasn't been fully made yet,
but the potential's there, I guess to, to open up
to the spirit after going through the body, potentially.
Yep. John Anthony West actually had a really good point
on, uh, he was shown this specific statue,
and it was the Pharaoh, the male was sitting,
and to his left, I think it was,
was the female.
And the female actually had her arm wrapped
around the back subtly,
and he was pointing out that like the, the male,
the physical is, um, part of
and protected by the metaphysical.
And then at the top there was a hawk
that was the exact same size
as the headdress on the Pharaoh.
So if you looked at it from straight on,
you didn't even know this hawk existed.
But if you spun around to the back, you saw
that completely mirroring his headdress was the hawk's head
with its outspread wings protecting the Pharaoh.
And this, this just screams that, that statue to me,
where it's just wrapped around the, the, the protector is,
is, um, is, uh, always with
and always helping the physical world.
Mm-hmm. All right.
Shall we move on to the turtle? We've joked about the turtle
once before, and as soon as that time, I've,
I've searched a little bit to see
that the turtle had a few different meanings to Egyptians.
And the most interesting one that I hadn't considered is
that a turtle represents to some degree
that which exists in both land
and water is sort of between these worlds of being an, uh,
you know, a a a water-based amphibious, ve being,
and it could be living on the land.
And, but interestingly, the,
the turtle often represented, uh, a threat.
Um, and, and,
and I, I considered maybe the, you know, the,
the protective aspect of, of, uh,
moat here might be in some way counterbalanced
by if the turtle is a threat.
But I, I'm not quite sure that's what it's meant
to be. Um, I
Like the first part, Mike,
because of what I was saying earlier about the energetic
bodies, um, spanning across both physical
and non-physical reality.
So that's a really neat way of, of looking at that,
Right. Actually with the turtle.
Yeah.
So a turtle can represent regeneration or unpredictability.
Um, and the,
the wings are very fascinating too,
because it's the exact same way the wings are
pointed just downward.
Um, you know, I'm, I'm, I'm not quite sure
what, what that, that angle means, but,
but in theory, if we're talking about looking to the left,
we're talking about looking towards that which would be
of service to self nature.
Um,
That's the other reason that I think
that the matrices all are primordial and fundamental
because they are all looking left.
And I know that we're not by default by nature looking left,
but the energetic body
and the archetypal system designed to take us back,
like Nick was pointing out with all the wings on this card,
it's like, it's guaranteed.
It's like, it's absolutely guaranteed.
And yet we are all set up within this framework within
those matrices to be looking to the left,
because that was a result of the choice.
I mean, we didn't show up here for, you know,
for making a different choice.
Right. Well,
and can you look up the wings,
how it's referenced in, in law of one?
Again, I remember they specifically talked about it when
they were talking about, uh, the
first one with the bird in the cage.
Oh, yeah. But, uh, they said
The position of the wings is very significant in the first
one they had said because of the,
the way in which the wings were not outstretched.
Mm-hmm. Um,
the winged visions
or images in this system are to be noted, not so much
for their distinct kind as for the position of the wings.
All birds indeed intend, are intended to suggest flight
and messages and movement and in some cases protection.
So we haven't really thought about this in terms
of messages and movement.
Um, it could be that the, the, the, the like
Movement Yeah.
The always moving aspect of this,
I mean, because the matrix of the
body is, is always moving.
Yeah. And the, the energetic body itself is the tree
of life designed to move you all the way down
and all the way back up to the fool's journey.
Like makes perfect sense actually.
Yeah. And the fact that the wings are down,
a bird doesn't take flight
until the first downbeat, you know?
Yeah. They can lift their wings,
but that's just a potential for flight.
The moment that the wings flat down is when they can,
uh, start elevate.
Yeah.
Yeah. And the turtle, I can't ever get past, uh,
the ancient thought of the,
the whole world is on the back of a turtle.
Mm-hmm. And like that to me is,
is the whole world beginning like
the, and by the, the whole world beginning, I mean like
the, uh, consciousness beginning to experience.
Yep. And as the, as the consciousness begins
to have experience as the turtle begins to take flight,
then you have all these other things below it, like,
you know, and then don't e don't even forget the lotus
flower up there, which is the, you know, lotus flower,
ayahuasca, DMT, these chemicals which are conduits
for the physical to experience the non-physical.
I, I certainly debated this one on the top, um, if
that's a lotus flower,
because you know, normally what I would see
as a lotus is not that spiky.
This to me looks like it's sport pedals than I've ever seen
on a lotus, but maybe that's a part of the symbol.
Uh, I don't think that the, I think the lotus stops just
before that, uh, vertical line.
I think that that's the lotus,
like keep going up to the left.
Yeah. Like follow the shaft up
Here. Yeah. Right there.
Oh, I see it. I see it. Yep. That, that's
It. And then everything
to the right of
that is the fractal universe.
Ah, this
And the cross is an ancient symbol of the sun.
So it could say the meta, the bridge, the lotus flower
and it, and it's pushing,
and then the sun is the, is the beginning point,
and then the, the, so the sun being the sub logo,
which creates the solar system,
and then the, then it's fractualize out from there.
Mm-hmm. I guess we could also, um, acknowledge that
that raw was pretty clear about taking all the stars out
of the other, the,
the mind images when those were ex explicitly discussed.
Yeah. Um,
Does the vertical side of that fan align
between the two beings?
If you zoom out or scroll down a little bit?
It does. It's
Between, so this one in the front is
the one wearing a blindfold. Right,
Right. Reminds
me a lot of third density physical body and Yeah.
Extremely heavily limited
perception. And then you have the smaller, that's why I
Smaller I always assume Is Male.
Well, then
you have the smaller entity behind it, right.
Who's not blindfolded
and would seem to sort of represent the other side, uh,
or the rest of, I should say the energetic body.
And the fact that that fan kind of dissects them at
that point kind of shows one existing in time space
and the other one in space time.
Yeah. And, and the, the fact
that the figure on the right is larger,
if it's gonna represent the physical world,
the figure on the left is the more subtle energies
of the world that it, you know,
is smaller. And the fact that, and
The one on the right only knows itself on the right
because of the blindfold.
And the fact that it's, it's pointing that way.
The one on the one behind it, of course, sees it
because it's in front of it.
So the, the one at the higher level,
at the more energetic side is more aware of, of it all.
Hmm. And the, the, I've always thought of that blindfold
as the veil,
but I certainly
Feels like extremely limited physical perception.
And, and I would say that if that's not at least one aspect
of the veil, um, I don't know what would be,
So I was thinking that too,
of maybe acting without wisdom there.
It's just your basic bodily, um, functions
or needs, your kind of instinctive Yeah.
Primordial nature of acting through the body in
that sense. Um,
Almost the involuntary side.
Right. Which is yeah.
The, the involuntary muscle system
and all that stuff that just operates on its own without,
without the need for choice.
Yeah. Right. That's why I like the matrix being
balanced, working because the body, in order for it
to be this vessel, to take us on this long journey,
really does have to function perfectly on its own.
It's our choice that obviously
rocks the boat one way or the other.
And it's also interesting to me that the, if,
if this blindfold is taking away any potentials for bias
or judgment, then the, that also connects with
what they said about the matrix of the mind being that that
part of consciousness that is without bias,
without polarity, without any judgements on in any way,
essentially blind consciousness.
And it seems like that's what this could connect with as,
as the way the body is operating in, in this core.
I don't know if that Yeah. Maybe unbiased within the
context of the physical reality in which it finds itself,
which is why it would be in balanced working order,
you know, as a, as a natural course.
Yeah. So you can go to
fifth in a service to self, but you skip over fourth.
Correct.
Well, If you, if you're in service to other selves,
you can move to the fourth density.
But those who are service two self springboard or,
or not, not springboard. 'cause that was in
Reference, they skipped the hard chakra. Yeah. Skipped
The hard chara skip Center.
They still do. Well, that's
what they use for harvest feed.
But they still go to fourth is my understanding. Yeah,
Yeah. They go to fourth.
Yep. Yeah. They just experience fourth density with
enhanced, you know, lower chakras
that are higher energy systems.
Okay. Uh,
because if you look at the bottom,
they're standard on a fourth platform.
Yeah. 1, 2, 3, 4. And then, then it begins,
And there's four wheels here
and there's four spikes on the head too.
Yeah. There's four spikes.
Uh, but there are not the, the stuff in the bottom.
It's just blacked out in the color one, just
for a reference on how they're different.
Oh. Hmm. But he does still have the four spikes.
That's interesting. The colored one, they chose not
to have the, what I was calling the wheels.
And there, and, and obviously it's much less,
uh, detail on that.
These are all different patterns of lines here,
And then there's that, but they're all showing four,
you know, no matter how the platforms are,
they're all showing four.
Yeah. And then that makes me think, I like the one
that you're showing now, um,
because it has different, um, see
how there's vertical lines, there's horizontal lines,
there's slanted lines, and then there's curved lines.
And, uh,
I'm reading Laird Scranton's book,
and he talks about The four
principles that the Dogon said, where all matter came from.
These were the signs that represented them.
And the modern science is finding out
that the things that make up the, the, the,
the quantum elements, the way
that they measure 'em is they say, uh,
you have to rotate it.
And if you rotate it 90 degrees and it looks the same,
or you have to rotate it 360 degrees for it
to look the same, or this, this one over here, you have
to rotate it twice around for it to look the same.
And he was talking about how, uh, that that talks about,
um, something spooky happening in that realm, you know,
like spooky, like Einstein would say.
But something spooky happened in that realm to
where why would something only look like itself
after you turned it around twice?
You know, how does it skip the first turn
If, if that makes sense.
But that, that's how science is measuring these, you know,
the up particle, the down particle, the muon, the glue on,
uh, you know, the, the, the, the basic building blocks
that become, you know, that the, the stuff
that they're finding in CRN when they smash the atoms apart.
Yeah. Yeah.
But they see how that has half circles,
diagonal lines, you know, uh, vertical lines
and horizontal lines in that one.
And that almost says to me, you know, the, the, those
fundamental particles and, and four different motions
or four different ways to spin it so that you can see it.
And there are many different systems of theory.
You know, that, uh, uh, four elements of nature
for cardinal directions, there's different
Mm-hmm. Have you guys
Heard of mirror, mirror organisms
or mirror particles that they think are gonna end the world?
Now, I obviously had
to think about hilarity when I read that yesterday.
I've heard of anti-matter.
Um, not that there's, uh, new particles and,
and scientists who are studying this are actually calling
for the ban on its study, the ones
who are actually in the process of studying it
and realize that if they start to make molecules
that are rotated the wrong way,
like DNA is always a right-handed twist, I guess,
and proteins are always left.
And they said that they now have the ability technically
to reverse that.
However, it would make a nearly, um,
a nearly unstoppable microbe, for example,
because the, the human body would have no way
to attach protein.
It would be invisible, literally is
how they described this form of life
that we can now maybe theoretically create,
is it would be able to invade a host live in it.
And that host's immune system would never do anything
because it couldn't see it, it couldn't latch onto it.
Yeah.
It's out of phase. Yeah.
So it kind of reminded me of negative polarity just in that
it's just so antithetical to, to nature, you know,
that it's just incompatible.
It's, it's the exact opposite vibration as the vibration
that we are made up of.
Exactly. If's.
If you had a sine wave going like this and you started up,
but this one started down, you know, they, they would, uh,
they would like push off of each other
and negate each other type deal.
Right. Which I also read,
NASA just discovered maybe a parallel universe they
described as quote right next to ours
where time is moving in the opposite direction.
That was due to an experiment
and an Antarctica. Yeah. That starts,
That starts getting crazy.
'cause the, the best way I've heard that described is
that there's infinite dimensions,
universes, whatever you wanna call it.
There's infinite realities happening at the same time,
but just like your tv, until you tune the TV to a certain
frequency, it brings in a certain image.
And that's the best way I've heard the,
the different dimensions and stuff. I
Think it's doing that in time as well,
because we experienced time in one direction.
But I kind of mentioned that to
Mike the other night in a text unrelated,
but still, I, you know, I can't help
but wonder if time in both directions is always
realigning itself.
And that even the things that we believe
to be the case today, that we've accepted into our reality,
I'm not entirely certain that, you know, within the span
of the reality in which those have developed, that,
that they actually did,
or that they would have had we not expected
them to manifest.
And I mean, like, like the, I used to think as a kid,
does it strike anyone else that the size of the universe
and the speed at which it's expanding only seems to increase
as our ability to look at it and look farther
and farther away has increased.
I'm not saying that it's quite that productive,
but I will say that the expansion of consciousness
or conscious evolution itself has to have a relationship
with the physical expansion of the universe to me,
because it is all conscious.
Yep, yep. There's no end to our beingness, no end
to our experience of the cosmos.
So seems seems that we're always gonna get more
and more, more we look for it.
Mm-hmm. Well,
and if everything was happening at the same time,
and here in the Milky Way galaxy on one
of the outer spiral arms in this solar that we call Earth,
we had the experience of life with a tongue as opposed
to life without a tongue, as the law of one says, then
the entirety of the experience with a tongue would happen,
produce the data, and then that data could then fuel
the, the experience like, oh man, life
of the tongue was wild.
Let's, let's try that again. You know, that that
Right becomes part of a catalog at the logo levels.
Like every upward level of a logo is a catalog
of all the sub logo underneath it,
and presumably any new logo that would form beneath it,
which I don't know if that happens still or happens in time
or if it happens retroactively when we decide that it does.
Um, yeah, I dunno man, it's inception.
Well, coming back to the, the blueprint,
I guess I could try to discern, um, yeah,
I I I was still unable after searching over
and over what, what these four spikes on the head can mean.
I couldn't find anything specifically in Egyptian, um,
lore or anything that would relate to this.
Um, and maybe that's just meant to remain a mystery.
Why, why is there a a four and, you know, interwoven or,
or four aspects.
But the, the, you know, I, I imagine that maybe the fact
that it's on top of the head is some,
at least some hint to us.
Um, and maybe the, you know, the idea
of something on the head could mean something relating
to the crown chakra or something about the cosmic
or divine energy that comes into the head.
I was just thinking of that. Is there anything at the base
that would suggest a root flow of energy?
I mean, just the ba there's just the actual, uh, structure
that we've been talking about, the, the
Right Platform,
But the box with the squares on it, didn't they say
that the squares represent anything
that has a checker pattern? Like that represents
Physical, That's physical reality polarity. That's
polarity. Yeah.
The boxes represent the physical reality
and the checkered pattern represents polarity.
You can't have one without the other in that, in
that physical box that we're in the, the physical reality,
you're gonna, gonna gonna get polarity black and white.
So the figure sitting on the polarity,
the physical reality is putting its root chakra directly
on the physical realm.
Yeah. Hmm.
That could be the up flowing.
I wa I was So could the feet be planted?
I was amused that the feet were on a,
a platform that has stars on it.
I'm not sure if that's astrological thing
that they put in there or not,
but all these lines and then stars,
That's the same on this one too,
except the colors are inverted.
Mm-hmm. And I was gonna ask about the gray,
I think I've asked about that before
and we have a little bit of a hard time telling whether
something was maybe originally depicted as
black, white, or gray.
Or if it, if it doesn't matter,
if it's not perhaps clearly one
or the other, then it's neither.
Hmm. Yeah.
It might not mean meant to be mean anything if it's gray.
Um,
Oh yeah, definitely. The
figures definitely got boobs in the, uh,
in this one in the back of the book.
Okay. Definitely email
Confirmation.
We, we didn't talk Mike about the sword there.
I was kind of curious to get some interpretation of that.
'cause to me it seems like she's there ready to strike
and it seems tied to, uh, the scales at that point there,
where if something of the bodily, uh, whether it's desires
or disease or something on balances, those scales should,
he's ready to strike in that same sort of format when it's,
I guess when the scales are unbalanced from there
Until that makes sense Rebalance.
But I think you were maybe commenting on the sort
before at one point, or if you were thinking
it was maybe something else.
Well, it was interesting that we were, we talked about in
with card number seven, there was a
sword that they ended up removing.
They switched the sword out to be the sphere. Yeah.
Remember that? So I was
wondering if that would be the same thing.
Even if they, if, if, if raw had actually got into this,
if they would've said, we, we prefer to see the, you know,
the sphere of magical power or potential.
'cause maybe that's the same kind of, you know,
we could infer that the sword represents a kind
of power of, of, and it's,
It's also on the right. Yeah.
You see how the, so the swords held on the right side,
whereas with magician, both hands are on the left.
Yeah. And with the, uh, the matrix
of the spirit as well.
Both are kind of pointed to the right though.
I'll say that that right hand seems relatively centered
in the character, but the matrix
of the body definitely has it from the right.
Yeah. Yeah. So it was card number seven here.
That was originally, I'm gonna pull up the image here
was, was redrawn.
So it was this sword here,
and they redrew it to this sphere here.
So that looks pretty close.
Yeah. It's the same sort and in the same position.
Yeah. And the sphere,
what did they specifically say that the sphere was,
because my notes, oh, here we go.
Is that the sphere, which indicates the spiritual nature
of the object of will of one wishing
to do magical acts within the manifestation of your density?
Yeah. So if the sword originally
was there and they said you could swap out the sword
for the sphere, can we then infer that the sword
and the sphere carried the same meaning?
Right. For our purposes, we could say maybe that's true.
That, that's my best guess.
I guess I've looked at the sphere there representing more
like maybe the magical ability
or ability to use the unconscious mind.
So if you were, if you place it on this one here,
I guess I'd have to think a little bit more maybe on, on how
that would potentially relate to matrix
of the body in this sense.
Well, it says specifically indicates the spiritual nature
of an object of will of one wishing to do magical acts.
So it might not have an action,
it might have an intent more than an action,
like the person wishing to do magical events as opposed to,
you know, actually doing the magical events.
Well, we could say we're, we're
maybe providing the resource for the potentials to exist
with the, with the matrix.
And if, you know, science is finding out that the observer
impacts the outcome, that the, that, you know,
it was written on the Egyptian walls.
They have like a guy looking a Pharaoh
with a headdress looking and hands coming out of it.
Meaning, you know, like you're, you creating with your,
with your being, with your observation, with your thoughts.
Like the physical, the the physical through use
of the non-physical is creating the physical.
And that might be what that sword represents.
Like, uh, um, you know, like you,
you could cut things with the sword and the physical
and that that serbian back
and ready to move could be decisions and action.
But then on the other hand, it's like, okay,
well if you're gonna cut, make sure it's a balanced action.
You know, like if you're gonna make moves in the physical
realm, make sure you, you have constant know, uh, constant
frame of reference with the scales.
Yeah. So,
and maybe if this is an object of the will, you could say
that the, you know, e every individual item that needs
to be acted on by the body to bring into alignment something
that's outta not a balance is, is
that magical same magical
potential that the mind is working with.
Yeah. And to go back to your cancer, um, example,
oncologists are saying more
and more that like, you know, it, it's the person's
mentality that helps them get over cancer more.
So like the treatments can be done to the same type
of thing, but if the person is more
mentally in the right space, the
treatments seem to work better.
Like of what you think you create kind of
Yeah. Kind of thing. There
We had some state, uh, statements from Dean.
Maybe we could talk about, uh, some
of these longer statements a after the, um, recording here.
But, uh, Dean says, the symbol to the left of the sword
above the guardian is a symbol
of wisdom from source.
That energetic flow pattern is represented in things
like the eyes to the mouth
or a reproductive
tractel says the turtle
and bird above raw show the balance between pragmatic truths
and exploration as the character of source.
That makes sense. And this, this, uh,
I still wanna talk more about this funky thing
that we're saying as the, the fractal
of the lo lotus flower.
Um,
That's my thought on it could be completely wrong.
Yeah. Um, there's another thing that came to me, uh,
which is that when they were describing the, the,
the way in which the energy centers look, they said
that the one that's above the head, the energy center
is the least variable
and is sometimes described in your philosophy
as thousand pedaled as, as it is the sum of the mind, body,
spirit, complex distortion, totality.
So maybe the fact that this thing is so far
above the head could be a partial reference to the,
the violet energy center
and the thousand pedal aspect of that.
It's a half circle.
Um, hold on, I'll be right back.
I'm gonna grab my, uh, my, my yoga, uh, study guide.
Alright. Because they list how many pedals are in each, uh,
each chara and whatnot.
Mm-hmm. And another thought I
had was, um, this could be somewhat like a sun,
um, but it's like a tethered, it's a tethered
kind of star or sun.
Like on the left side here, it's got a,
almost like a pole sticking up that comes out,
or maybe it's a flower stem.
It looks like it has sort of like a, a flower,
a lotus flower thing on the bottom.
Yeah. I think it's interesting where you and
and nick are going with that there,
because I just simply thought it was a flower before
and had something to do with maybe natural growth
or naturally working through some sort of a processes
and what the potential is to, to blossom
or bloom at that point.
But, um, the energy center one is particularly interesting.
The thousand petal load is
Too, no. So
is that an equal arm cross?
Looks like it, Yeah.
Which also represents physical reality, the crossroads of
the outward third dimension
and the inward, you know, personalization of direction
really fitting right there where it is.
I in a number way.
You're breaking up a bit. I,
I assume you're just talking about this
cross here in the center of this
And that it's the equal arm, right?
I didn't get it. You asking if it was the equal arm
cross, I guess, right, Andrew?
And that it represents physical reality.
Yes. Yep. Yep. That makes sense.
Yeah. And uh, um, all the ancient religions
that were sun worshipers
and even the ones that are covertly sun worshipers
use the cross, you know,
and, uh, if, if the, if the
sun is the closest manifestation of the logos to us,
and it is creating this solar system,
and we're having this experience guided by the rules of the,
that the sun is chosen
for this solar system, that would make sense.
Yep. Because it, it, within it, it would represent
the entirety of the physical world within that purview of
that sun in the purview of that sub logo or sub sub logo.
Yeah. All right.
So we're down to 15 minutes now.
Uh, I, I think we should touch on some of the matrix
of spirit symbols here.
Wow. We're never gonna be able to, maybe not 15 minutes.
Maybe we should just, we just say this was a discussion
of card number eight and we'll get onto
card number 15 another time. Um,
This is, yeah, I think like having them up all together
while we're discussing the one that way we can,
because one of the things I kept getting was they're all
refer, they're all located looking to the left.
Yeah, yeah. All three of the matrixes.
Yeah. Um, I
Did too. That's why I felt like
the distortions were more primordial
than the archetypes, because the archetypes
and the energetic body, the tree of life, are created
as a guarantee to get back.
And so it's only created because we choose the other path.
So, I mean, it makes perfect sense to me that all three
of the matrices are looking less.
Yeah.
And I think maybe I could bring up
what I said in the email about, uh,
the way these may be related.
Um, I had said,
um,
So I guess what we're, what we're trying
to figure out here is, is why is it that Umrah wanted us
to see these ma matrices together in, in,
in all the different ways that,
that these potentially are related.
And these are all related to the, you know, the, the,
the structure or the, the, the medium in which we're,
we're having potentials for experience.
And I think that these may represent the, the,
the ways in which we can come back to the,
the fullest understandings of our potentials for experience,
such as with the consciousness.
And you're coming back to the new mind, you're coming back
to the potential of infinite opportunities
for experience of consciousness.
And when you come back to balance in the body, uh,
appreciation of the, the balanced working, uh,
the balanced potentials of, of, of physical experience,
you're coming back to appreciation
of the infinite nature of that potential.
And then it's the potentiator that, that is needed then to,
to draw forth some, some form of, of use of
that infinite potential.
And, and dipping into that then leads to the catalyst
that leads to the experience.
And then with, with the, the deepest darkness, it seems
that we're, we're talking about the, the deepest potentials
of spiritual experience, um, being represented
by this deepest appreciation of darkness, which is the, the,
the lack of light, which, which, which is
awaiting like a painter on a canvas awaiting for that,
that light to be thrown out some in some form.
Um, so, so
I think we should talk about it maybe next time too,
but the, um, you know, the, the chain is something
that I was, is Trying to process.
Why is there a chain between the two entities in front
of the, this figure and nowhere else?
And are, are these two entities
representing polarity in some form?
One is pointing down, one is pointing up.
Normally we have polarity representing left and right, but,
but these here are pointing down
and up, which could suggest that maybe in, in the cost
of con context of darkness
and light, really both polarities are dependent upon
seeking the light in an upward fashion in order
to utilize either the service itself
or the service to others potentials of being.
And there's really no potential when you're, when you're,
um, pointed down or,
or is this, that there are, um, those entities seeking
to pursue a path of darkness
and they have to be pursuing, uh, a a way to get more,
uh, use of the darkness than the other
when you're on a negative path than the other entities
around you are pursuing that,
that darkness in a different way.
Um, but this might be too deep
of a discussion now to get into with, with, uh,
just 10 minutes remaining.
Um,
Yeah, I'm not sure about the parallels between positive
and negative and lightness and darkness.
I mean, we talk about left
and right all the time, obviously,
but I don't remember touching on one
of the cards in the mind archetypes.
It was up and down.
Yeah. I've always thought of those as polarity
and that the, the reason that they were chained was
because this is the matrix of the spirit,
if I'm, if I'm correct.
Right. And so matrix of the spirit in my, in my mind
and in the analogy that I use to explain it, is the ether.
It is the primordial soup from which matter
begins to manifest.
And you know, Lucifer is the light bringer.
He is the morning star, you know, he is got this, uh,
he's got bad rap over the years,
but it, it's like the beginning of the experience.
And at that, at that point, at, at, just
before the, the physical world manifests, right?
Just before the matrix of the mind comes into play
at the point where we're all one,
and the thought is beginning to come, like,
let's have an experience.
You don't have polarity at that point
because polarity hasn't even come into existence yet.
You, the, the first thought to separate.
It's, it's like at that, that moment,
I agree there, I don't think there can be
polarity in that moment.
Right. And that, I think that's why it's chained.
Like it's representing polarity on, uh, the potential
of polarity, uh, that hasn't been unleashed yet.
Yeah. You can't have polarity until you have duality.
And I think that polarity, uh, exists as an expression of
a choice to attempt to make or experience duality.
And that might be why the figure is both male
and female, uh, you know, because it's it,
and again, look at the wings, like we were saying earlier.
The wings of the bird go up for the beginning, potential
for flight, and then it pushes down to elevate.
So, and that has the outstretched wings like about
to become duality.
That's interesting. Duality, I would say is separation,
which is why, you know, the law of one was first broken.
I didn't think of One thing
To be separate nick from that kind of level,
because I, I, when I was thinking of the spirit previously,
it was more of, um, our connection
to the one infinite creator
and how strong, I guess that is from
that sense is your connection to spirit.
It's like a metaphysical, um, characteristic there.
But I guess you're taking it back even further there, which,
which could be whole other avenue, I guess to explore.
In my mind,
I'd like to know which archetype represents the monad
or archetypes even.
Where's the monad? That's, well, it's different.
Uh, it's a different tradition.
Well, I mean, where, where I think it probably comes from
gnostic, well, from the, I think, um, the monad is more
of a gnostic, uh, concept,
and it's the true self, the divine self.
And it makes me wonder whether it's the matrix or the spirit
or the significant or the spirit.
Well, I don't know if you,
my guess would be that it's the matrix.
I mean, I think all of these are the self,
and I don't know if there's any way out of the self.
Oh, nonsense. These are all the energetic body, man,
all this stuff you didn't even have
until you incarnated here.
Like there's a section of you that is some of this stuff.
There's a section of you, I believe there's none
of you, none of this stuff.
And in fact, the monad may not be
represented anywhere in the 22 archetypes for all I know.
Well, you, well, yeah, yeah.
Before, before the archetypes, you could say, if there,
if you wanna talk about the, the self, which is
beyond all form.
Yeah. That's the only self to identify with.
That's the, that you are
the one that you are with everything else.
And what we're talking about
The, the, the question is, are the, are we able
to find an appreciation of that?
So without uprooting the attachments of appearance of self
that are less than archetypal,
and this is something I've debated, you know, we've,
we've got a lot of teachers on the,
out on the internet talking about
what they call the direct path,
and they don't teach on archetypes.
And I've wondered if that's, uh, if
that's, um, more helpful.
Um, and, and many of them cer certainly think
that there is simply one experience that we're seeking
that is the experience of the ultimate supreme self.
And that the archetypes,
they don't, they don't touched on that.
But it seems as though raw, even though acknowledging
that the cosmic mind or the all mind is, is deeper and,
and in the tree of mind than the archetypical mind,
that there's still e extreme great usefulness
and study of the archetypical mind.
Uh, because ultimately, you know, you know,
I think all the distortions of the society
that we're in are patterns of distortions
of the archetypical mind, which could be traced back, uh,
with, with, with a deeper appreciation of, of this layer
of the mind, which we're navigating through, um, and,
and trying to comprehend this, this massively complex aspect
of manifestation that the, the planet represents,
that the galaxy represents.
Um,
So yeah, if we could,
if we could in a moment come back in
appreciation of witness, that'd be nice.
The, the, yeah. 91 20,
I, I think there's a forest trees.
Sorry, that was, was very, you were talking there, Mike.
Is that, yes.
So think our types are extremely helpful, important people
that engage with their exploration consciousness at this
level, which I would suggest is actually a fairly
intellectual exercise.
And for those that are most comfortable in that exercise,
it's perhaps fruitful, though I would probably suggest
that in RA's introduction, you know,
as a reminder about this is all about the law,
the trees here,
like trying,
I suppose in the forest,
30% Of your words are lost.
It. Yeah. We're losing you a little bit. Um,
Oh, sorry.
It's all right. Um, we'll keep on,
There's just forest increase. That's it.
Yep. Yep. Um,
The, uh, right. Put
a note in your, uh, in your, in your stuff, like
for the 91 session.
91 20 when we do the matrix of the spirit.
Yeah. I had, I did have other quotes on that
that was discussed a bit more than the
matrix of, uh, body was.
Um, and, uh, yeah, I,
I, yeah, I'm hesitant to know how to break this up,
but we're, we'll keep on coming back to these circling back.
And ultimately this is, this is such a big discussion.
I just feel like this discussion hasn't really happened
with depth anywhere on that I've found yet.
So I feel somewhat obligation
to at least dig into these images.
And, you know, I, I certainly wonder about this, this, uh,
thing that the, the devil is holding.
Um, the best I could come up with was that this is
a modified onk where, you know, instead of having the,
the straight lines straight out and the circle on top, uh,
or rounded shape on top, you have the, the,
the rounded shape sort of sandwiched
inside of these, these lines.
Almost as though this nature,
it was representing the time space,
although they say this nature spirit
is more in, in time space.
This, this symbol at least is suggesting
that there's something pushed more in that direction.
And maybe that's what that means, is that the, the pushing
of the arms of our, uh, understanding
of the illusion are more pushed in that direction.
Uh, does that make sense?
Pushed in which direction?
The direction of the, the what?
The, the circle representing the spirit.
If you had the on with the arms left
and right here, you have it, where the arms are,
are more upwards in that direction
where the spirit was represented by the, the circle.
But we also have a double line here, uh, below it.
Um, and I dunno if that's
because of the, the onk is sort of needing,
still needing its line there too, but now it's double lines.
And is that, yeah, it's just a, a hollow circle.
It can't be, we can't take that as a sphere.
And, and the symbolism that goes along with the sphere,
Well, I think you might be able to, the circle is, is
what they, they basically described the sphere
as the spiritual, um, component of the object of the will.
And they described the onk as having the, the,
the rounded part on top of the square part,
the rounded part, representing more of the time space
and the spiritual side, the square part representing more
of the physical illusion.
So I think the sphere and the circle are very connected.
And it said that the, a curved line is, uh, feminine
and a straight line is masculine.
So it could be representing both the masculine
and the feminine in one image,
Maybe. Yeah.
Plus, I, I gotta, I gotta look into it further,
but when we were talking about it in the public session the
other day, uh,
and we read that footnote, the bleak angle of the arm,
and they talked about that having a meaning.
And, um, I was listening to a guy talk about how,
um, like box V right, it, it,
it is actually this,
and it's like, uh, it's part of, um, symbol what he said.
It's the kohanin, K-O-H-A-N-I-M,
or C-O-H-A-N-I-M.
And it's a Jewish blessing.
And that's why I was looking at like, if that were a sphere,
and it went along the lines of everything
that is sphere is described as,
and that it said that the spheres is, is the,
the person wanting to do magic.
And it's like the beginning of the process
of doing magic is the will to do it.
And if it were like, you know what I mean?
Like, if it were the magic was about to happen,
and this is a blessing, like good,
good luck in your choices, good luck in your magic,
because this to me represents the, the point
of total potentiation.
It is, it is the beginning of duality.
It is the beginning of experience
and that, you know, the bird's wings are up, it's about
to take flight, but it hasn't even taken the first
stroke to take flight yet.
And he's holding this staff that could represent, uh,
you know, the, the, a blessing in your choices,
a blessing in your magic, a blessing in your
thoughts and experiences.
Mm-hmm. So we had some
more comments here in the chat.
We, Dean says, double lines in
that use represent transduction for voltage
or energetic regulation.
I guess that'd be the modern use of symbols.
Uh
Oh, yeah, yeah, yeah. In
like, uh, uh, an electrical diagram. Hmm.
The staff is a symbol of manifestation.
Why do they have it and for what purpose?
Oh, and also he brought up the,
the Rams horns being one is curved
and one is more, uh, rounded.
And that, that may have more of a, a meaning in,
in Egyptian, um, symbols.
I, I may have to research that more.
I feel like that, that that's more of a clue definitely as
to the nature of these two different beings with one of the,
the one that has it hands up has the more rounded, um,
almost like, uh, Fibonacci kind of spiral.
Yeah, exactly. That's, that's what I was gonna say.
The Fibonacci represents like, uh, life manifesting.
Yeah. And you could say this is more evolved
or more older, uh, in the, in the Rams development.
Um, the middle
of the v at the top of the staff is a s scaler reaction.
I'm not sure what that means, but, um, we, yeah,
we could actually, uh, close this discussion
and open it up to the, the part participants for a while.
Um, yeah.
And, and yeah, I'm, I'm happy
that Ross says this is just the beginning of the study.
These archetypes that they recommended,
they didn't expect people to have it figured out.
Uh, these are mysteries upon mysteries of,
of coming back into appreciation of the, the,
the more fundamental aspects of our, of our beingness that,
that mind, body, and spirit represent.
And we kind of we're floating
around having all these experiences in mind, body,
and spirit, forgetting to take a step back
and analyze the, the, the structure
and the foundations, the environments in which we're having
these, these experiences, which, which are,
are possibly one day more something
that can help us illuminate our path in, in, uh,
appreciating what is not the, the most balanced path,
what is not the most direct seeking of light.
As, as we're often thrown off by shadows
and by vagaries of consciousness, we can,
we can eventually find within our, within ourselves,
we could find the path back to the, the most direct way to,
to know the creator as the self, to know the, the oneness
of creation through the opportunities
to have minds, bodies, and spirits.
So I guess if, if, if you guys any, any,
any closing thoughts, I can hear 'em now.
Otherwise, we'll close this out.
To close the recording, open it up to the people
who are paid participants,
I'd Say open it up, didn't wait long enough.
Alright, thank you guys for joining. Till next time.