WEBVTT
Well guys, welcome to another Law of One Deep Dives.
In this episode, we'll be talking about the archetypes
of the experience of mind, body, and spirit.
There's are three tarot cards of the major arcana,
the original Egyptian symbolism is
what we're gonna be talking about.
And you know, we, in a previous episode, we talked about the
experience of the mind, which is called the Emperor.
And we'll, we'll touch on how
that relates based on our suggestions of combining of each
of these, well, of the category
of experience looking at them each together experience of
mind being the emperor experience of body
being the enchanter experience
of spirit being the moonlight.
So I'll, I'll show those symbols soon,
we'll talk about this, but maybe we could start with, um,
a little bit of philosophy to try to narrow down
what we view experience to be as opposed to something
that might not be experience such as the choices
that we're making through our lens of perception
with experience, which might be more related
to the significant or the, the nature
of catalyst is something we talked about last month
or a couple months ago with Catalyst being something
that is feeding experience.
So there's still a choice system that has to come into play
with experience where
until we've upleveled in some other way,
we're not gonna have the experiences that we're seeking.
We have to, we have to find the manner
of seeking being something that we're, we're taking hold of
in order to give ourselves a purified
or enhanced experience through new levels of perception.
Um, but it's also interesting to think about how, you know,
the, the earliest of, of the, of the, of the experience of
the, the first type of experience is talked about is
experience of mind, then experience of body,
then experience of spirit.
And I'm, I'm wondering, do you guys think it's even possible
to have experience of the body without experience
of the mind and
or maybe this is something that is like a subset
of experience that's just processed differently in the mind
than thoughts or the normal train of thought?
That's a great question. Um,
I often think back when I think of anything of the mind to,
again, what we were sort of, um, chatting about earlier,
western esoterism and the hermetic principles
and the first law of that universe being mentalism.
And so it's really difficult for me to not see all things
as springing forth from the mind of God.
And so the body itself is a projection
and an expression that comes from the mind of God,
and, and everything does.
We're, we're all just in it, swimming in it of it, uh,
moving and having her being in it.
And so it's hard to see anything coming before that, though.
The spirit is a tricky thing.
It's, uh, particularly with raw,
because it's, I think, not to be confused per se,
with the monad or with the truest self, to be honest,
it might be more an aspect of the energetic bodies,
the soul bodies that, that are, that's here to, to
transport us and move us through this experience.
And I like what you said about the manner of experience,
because to me, the manner of experience is very much linear
and we've chosen this
and this, I have a hard time not also incorporating the
construct of time, time itself has
to live within the archetypes.
And we've chosen to have what seems
to be a very linear experience.
And it's hard to also not see experience as
somewhat having a causal and effect, uh, relationship.
And that, and that there's reflection, there's assignment
of meaning via the significant that comes from it.
And so, um, I do feel like the mind, um,
is projecting the body and the spirit.
I don't think that these are also linear,
that these three complexes are
wholly separated from each other,
but perhaps more like an intricate lattice work
of relationships between, um, all of the archetypes
because it's, you know, hence we have a holographic universe
and we've projected a, a three dimensional reality
by these aspects coming together.
You remind me that they did actually ask Grat to try
to separate the definition of mind, body, and spirit.
This was an, it's such a fun one to, to come back to.
I'll, I'll, I'll just start with that right now.
Um, the question
Was, remember the one I was thinking of there was if the,
'cause the body is the creature or the, uh, yeah.
Creature of the mind basically there
where you can't really separate it Well,
Yep. They said,
would, the question was, would you define mind,
body, and spirit separately?
And RA said these terms are all simplistic descriptive terms
with which equal a complex of energy focuses the body
as you call it, being the material
of the density you experience at a given space
time or time space.
This complex of materials being available for distortions of
what you would call physical manifestation.
The mind is a complex which reflects the inp pourings
of the spirit and the upp pourings of the body complex.
So it's interesting that they can have these, these in
and up kind of relationship concepts.
It contains what you know as feelings, emotions,
and intellectual thoughts,
and its more conscious complexities.
Moving further down the tree of mind, we see the intuition,
which is of the nature of the mind more in contact
or in tune with the total beingness complex.
Moving down to the roots of mind, we find the progression
of consciousness, which gradually turns from the personal
to the racial memory to the cosmic influxes,
and thus becomes a direct contactor of that shuttle,
which we call the spirit complex.
The spirit complex is the,
is the channel whereby the ip pourings from all
of the various universal planetary
and personal IP pourings may be funneled into the roots
of consciousness and whereby consciousness may be funneled
to the gateway of intelligent affinity through the balanced,
intelligent energy of body and mind.
You'll see this series of definitive statements that mind,
body, and spirit are by this series of definitive statements
that mind, body, and spirit are inextricably intertwined
and cannot continue one without the other.
Thus, we refer to the mind, body,
spirit complex rather than attempting to deal
with them separately for the work, shall we say that you do
during your experiences is done through the interaction
of these three components, not through any one.
So the body and mind are necessary to be balanced.
And then through the spirit you funnel that to back to
the source intelligence, the infinite intelligence.
And so, so I've perceived the spirit
as being like this interface, it's the shuttle,
it's the communicator, it's the interface between the mind
be in a finite sense,
and then the infinite intelligence
that the mind is just contained within as, as a small piece
of it with this seemingly limited, uh, ability
to communicate until you're activating the spirit.
So it's almost as though I,
I wonder if the spirit could be seen as an extension
of the body that is simply a form of body
that we can't perceive
because it's more linked to the nature of time space.
It's more linked to the nature of the, the universal
energies that are everywhere
that we're all interconnected through.
Um, so the body is something that we can easily, um, process
with on this, on this tiny small scale to learn the lessons
of balance that open us up to the spiritual.
Can we look at when raw addresses, um,
the physical being the yellow ray body,
because I, I feel like I've got a, a real good grasp of
that first, second
and third, um, density body as they relate
to the physical body.
And then I have sort of this intuitive
or, you know, educated guess, I suppose that the bodies
above that are the energy bodies, which I think I,
I really want to have aligned pretty well
with the eastern understanding of the same
because there are, uh, an emotional body and,
and spiritual bodies.
And, and then raw also of course talks about the,
what is the, uh, indigo rape body?
What is that called? It's the,
They call it the etheric body.
The etheric body. So, you know, we're like a,
a an amalgamation of, of seven different, um,
energy bodies really.
And, and the first three are the ones
that we are physically able to perceive,
but to, to beings like raw
and beings that are not in physicality
or maybe to, to people even that have, um,
super wide open third eyes.
There's no, there's no, um, line between the third
and the fourth and on up to the fifth and sixth,
and it's just, we're we're a complex of,
of energies and yeah. Okay, what do you got here?
Yeah, they started out saying that the,
the red ray body is your, is your chemical body.
However, it is not the body which you have
as clothing in the physical.
It is the unconstructed material of the body,
the elemental body without form.
And then they go on to say, the orange ray body is
the physical body complex.
This body complex is still not the body you inhabit,
but rather the body formed without self-awareness.
The body in the womb before the spirit bind complex enters.
And then the yellow ray body is your physical vehicle,
which you know of at this time
and which you experience catalyst.
This body has the, my body spirit characteristics
and is equal to the physical illusion as you have called it.
And then it gets a little bit harder
to process when they say the green ray body, uh,
could be called the astral body.
That body in which, which would may be seen in seance,
what you call, what you call ectoplasm, is furnished.
That's a whole other subject.
This is a lighter body packed more densely with life.
You may call this the astral body
following some other teachings.
Others have called it the etheric body.
However, this is not correct in the sense
that the etheric body is that body
of gateway wherein intelligent energy is able
to mold the mind, body, spirit complex.
So I also also have to wonder if this is just like, there's,
there's gonna be a more physical, uh, manifestation
of the green ray body that we just aren't using yet except
for those people they call the dual activated bodies
who are coming in for learning lessons of love in a,
in a broken world, but you don't really see
them as different physically.
Um, so it's almost like, yeah,
We can perceive 'em or the, or the blue, right?
We can't perceive anything above the yellow ray,
but it doesn't mean that they're not always present
and always active and always expressing as the
the, um, the lower bodies.
I mean, to me, I actually see them as almost like, um,
nested, uh, Russian nested dolls or something like that
because, you know, we are sort
of like manifesting in this cascading, you know, kind
of downward into density,
into physical reality manner in the
fool's journey, obviously.
And then we seek to, to move back up, which, um, the,
the other sort of, um,
gnostic teachings rather than have that be so much
of a return as it is a bringing of that reality
that is our core true self all the way down
into physical reality.
So it's kind of strange, it's like relative
to our starting point, we're kind of going down and back up,
but, but these other teachings would actually teach us
that we're going down and then actually bringing the
awareness of the true self into physical manifestation.
And that's a real important, um, thing here
that raw also just echoed in the previous passage
that you pulled up, is that you cannot undergo this journey.
You cannot accomplish this journey without, in fact, uh,
a total integrated experience across the mind, body,
and spirit complexes.
And we all know people who might be
in balance in those ways.
Some people, and Mike, you
and I have talked about this a lot in other groups around
people have wide open third eyes, and I'm sure Nathan
and Nick, you guys have,
have met people maybe along those lines too,
where you might be like, gosh, the, this person sees a lot
of things, but even, you know, having studied so many things
as we have, you stop
and ask yourself, um, even if you take
what they see at face value, you start
to wonder are they interpreting it correctly?
Do they have the context to to turn, you know, um,
imagery or symbolism
or what they might see even in an etheric way, um, into,
you know, something that's tangible
and that they can, um, reconcile or,
or, um, bring together into an understanding?
And I don't think that's very
different from dreams either.
If people have crazy dreams,
they could be teaching 'em the deepest secrets
of the universe and they might just not
go looking for that kind of thing.
Speaking of which, um, on the heels of something
that I sent you the other day, Mike,
I actually woke up yesterday from a dream,
and you guys may remember that I, hey, just about,
never ever remember dreams, but I actually woke up
and remembered basically the context of this dream.
And yeah, it had, it didn't quote make sense.
Uh, you know, in a nutshell, I was literally trying
to help a guy figure out how to display his collection
of either tool belts or, um,
or gun belts like old, uh, old out west,
you know, gun belts or whatever.
Like that was, that was basically it.
And I haven't really kind of sat with it to go like, gosh,
what was really present there?
And there was something in my eye, it's like,
as I looked down, I had this like, kind
of this real bright flat line.
It's almost like when you first wake up
and you're like kind of vision's a bit distorted.
It was like that. And so that was present in the dream too,
but I mean, it's just like, I woke up
and I was like, Hey, I remember
what I was just dreaming about. How interesting
Dude, write it down. 'cause
I always intend to write my dreams down
and never remember to, but I have so many
and I, you know, I, I can remember 'em and all that,
but if you have so few, write that one down
so you can go back and look at
It. Yeah, maybe I'll,
It's hard for me not to immediately say, oh, these, these,
these tarot cards are the tool belt that we're working with.
You're helping me so much right now.
Oh, it, it was interesting,
but obviously you can tell, I mean, I was just giddy,
you know, it's, I mean, it might as well have been a,
a psychedelic journey by itself.
You know, it was just like, oh my gosh,
like I was somewhere else just now.
I know for all of you that, you know,
dream every single night, it's like
that's just par for the course.
But, you know, for those that don't dream very often
or rarely, if ever at all, like,
it's, it's very interesting.
And to your point, Mike, there's still left the opportunity
to interpret it.
And I think that raw teaches that our experiences
and dreams are also catalyst.
I think we have multiple experiences and dreams
and we are talking about experience.
And so I think it's, it's relevant
to this conversation whether this is experience of the,
of the mind or one of the energetic bodies or of the spirit.
I think that there are multiple kinds.
There's sort of like astral travel, right?
That's like one thing where you might literally be going
to accomplish a task somewhere.
Uh, and then there's also like sort
of just the energetic experience of, of, of a, of a vignette
or a scene or, or this thing that plays out
and causes emotional reaction and response.
To me, I think that that's what raw describes
as just the catalyst that we make available
to ourselves while we sleep.
And we're like, Hey, like you can have this experience in
real life and have an emotional reaction
and then seek to balance it.
Or you can do that in your sleep. Literally.
You can have a really frightening or scary dream
and then have a, a big, you know, emotional reaction to it
and then sit and do the exact same thing.
You still have the same opportunity to balance it.
And I think if you're following along
that Russian nesting doll idea, the the big doll
that they all fit inside of is,
has within it the ability for everything but is spirit.
And then you open that doll up and the next one comes out,
and that one might have spirit and mind,
and then you open 'em up a couple more and they have spirit
and mind until, 'cause.
If this whole thing is the first nesting doll being
the one consciousness wheel come from, then as you get
to the smaller and smaller nesting dolls, it's just
that one consciousness playing with the possibilities.
And so it figures out let's do spirit
with another mind, you know, another aspect of the mind.
It's like spirit and mind go on for a while,
and then physicality is thought of.
And then the next ones have spirit, mind, and physicality.
I think that spirit is imbued with all, uh, mind is imbued
with separate mind is imbu imbued with to everything
after the first step.
And then the body, it, it's, it's implicit that the spirit
and mind are in it because it came from
within those other nesting dolls
that were spirit and and mind.
And the the dreams are like,
to me, the dreams seem to be like spirit
and mind having the experience as closely tied to
you in the physical, but it is very much spirit
and mind, just like within the brackets of, you know,
Andrew, Nathan, Mike, Nick,
Let's talk about experience as I know we're talking about
as archetype, really,
but I mean, in, in more fundamentally speaking, um, do you,
um, see experience
as sort of the effect of catalyst
after, um, significant has weighed in on,
or, you know, evaluated
or, you know, reacted to in some way?
I mean, I guess I want to contextualize it across the three
complexes, but if that's, if that's going too far and,
and they do function differently, like we talk about, um,
the matrix of the, the body
and mind, for example, um, operate, um,
quite a bit differently or look differently, um,
so does catalyst, um, between body and mind,
but I think that sort of like their functional role seems
to be still, um, congruent.
So I, I think, oh, go ahead Nathan.
Oh, I was just gonna add, 'cause I was,
I was gonna bring up after Andrew's, uh, comments on some
of the dreams there too, that I think,
at least my interpretation through what, what Ross's saying
as well is that not all catalyst results in
experience as well.
'cause you have to actually put in that effort then to try
to interpret it, to, to change something at that point
or to maybe integrate what, what that catalyst is.
'cause you can have those dreams,
but you could just set 'em aside
and not do anything with it.
And then potentially you have no, you didn't use that,
you know, opportunity maybe to grow from
or, or to learn from.
So I guess the way I look at it then is the experience is
actually that integration or going through
and breaking down what came up, whether that's
through the mind physical body experiences
or maybe more spiritual.
Um, but it, it's that work that that creates the experience
Integration. What
a great word for that. That's like, I think perfect.
'cause here's the significance, seeing the catalyst
and then deciding what does this mean for me?
And then that becomes made manifest as, you know,
our experience in our archetype.
That's in that 92.34 that Mike, uh, sent in the email
at the last line of it, he says, the experience
of the significant or the potentiated activity is
of course dependent upon the acuity of its processes
of catalyst and experience.
So I looked up acuity
and it is the keenness of perception.
So keenness of perception is saying like,
you don't just get it, you have to
dial yourself into it and process it and integrate it.
Like you said, it, it can happen,
but it can just be a surface thing non-integrated if your
keenness of perception isn't there.
Percept. Yep. Yeah.
And I, it's interesting how,
and I don't know the, the process by which the text was, um,
transcribed and edited,
but um, I think it's important the capitalization here
where, you know, the experience at the beginning
of this statement is perhaps experience that
as we might refer to it as, um,
and then it gets more specific at the very end.
It's the processes of catalyst and experience,
And that's the choice probably by, by Jim McCarty Okay.
Of the, of the, the capitalization.
Sure. Yeah. It's, it's interesting.
It matters though. I mean,
because yeah, if those were somehow reversed
or if they both were, we might, you know, read a little bit
something um, differently into this.
Yeah, it's interesting. It is very interesting that they
experience is, is so commonly used in law of one in
so many ways because it's so at our conscious, the front
of our consciousness is, is just experience.
And, and so to say
that the significant is the one having experience is
to imply that there are really, you know, the three facets
of significant having experience, the experience of the bo
of the mind processed for the, uh,
significant significant of mind,
and then the experience of the body processed
for the significant of the body, which in this case is,
um, the hang man.
And then the, the, the experience of the, of the spirit
is processed for the significant of the spirit,
which is the sun and the experience of the spirit is the,
the most subtle and hard to pinpoint.
And they said the ex, the significant of the, uh, of the,
of the spirit, the sun is the hardest to become for any,
for the even aeps to become able to look at and process and,
and realize this is the nature
of spirit is this pure radiant light.
And so, so simply ident, simply knowing the self
through experience is a challenge in that sense.
I like the previous part of this paragraph too.
Um, and this came up I think when we were talking about
transformation of the mind.
Um, but here it is again saying that matrix is recorded, um,
or the, um, um, yeah, each potentiation, um,
by the matrix is recorded by the matrix
and experienced by the significant.
And I remember asking you guys what is transformed
by the archetype of transformation,
and I think we kind of went round and round a little bit
because the matrix in its archetypal form seems to be, um,
via the other passage, the, um, the unblemished, you know,
the, the unbiased, you know, this sort of thing that seems
like it's pure an archetypal.
But then I'm like, well, if it's not the matrix and,
and particularly the matrix of a mind that's being, uh,
transformed, then, then what is it?
And, and I'm still not sure, and
unless it's really the energies that are at play between all
of these archetypes, these archetypes
and their archetypal form are literally identical.
They are all pure, they are all more
or less exactly the same.
But the energetic relationships between all of them, sort of
where our conscious focus
or awareness is, um,
is perhaps what's changed the relationships
between them within our own personal
experience is what's transformed.
And so, um, I just, I, I really like seeing these kind
of things and it really makes me ponder though, um,
you know, when the, when the matrix is recording something
to me that's being recorded in the energetic field, um,
the energetic field is sort of the energy
that exists in its ambient form built around the construct
of the archetypal framework, which, um, you know,
in the kabbalistic sense would be the tree of life.
Whether you subscribe to that or think it's shaped like that
or, or whatever may not matter.
Would you consider that like something like the Akashic
record then possibly like in that sense of,
of the mind kind of being recorded
At a personal, at a personal level?
Absolutely. I think that the energetic field
that we carry is, is effectively the hard drive.
That is all of our experience.
It's all of everything that, um, it's our karmic workload.
Uh, it's what we, uh, what we incarnate with, um,
and what we work on
and is transformed, you know, throughout the processing
and balancing of catalyst.
Yeah, because I think that's a step down possibly, oh, my,
my me pulled it up here then from the archetypal mind is
like the Akashic, uh, record mind of,
of the unconscious there, uh, with planetary racial
and personal unconscious below it then.
So maybe, well, I'll I'll let you read this mic add,
but if you had something more to add to that.
Yeah. This, this Akashic planetary mind
or racial mind, it's interesting, that's a synonym.
Akashic planetary and racial mind is indeed a root of mind
and may be seen in sharp differentiation
with the deeper roots of mind, which would be like the,
the archetypal archetypes.
And I guess it's interesting that, you know, the,
the way in which someone like Edgar Casey,
I think this was about Edgar Casey, the way in which
Edgar Casey, that was the previous
one, they talked about Akashic records.
But those, so apparently in order to be even even able
to consciously perceive the, this level of the mind,
I think it would imply that it's in the spirit field
because you have to go down, um, down the tree
of mind into the roots, and you have to be able to
consciously explore the unconscious mind and then,
and then retrieve that, that information.
That's why Edgar Casey, I think, had
to be in this altered state where it was like he was asleep.
Like that's why they called him a sleeping prophet.
He could go asleep, but still have just enough conscious
awareness to plant a seed.
I want to go get this information from this much,
much deeper root of consciousness and bring it back up.
So I don't know if you know,
the sic mind should be called more like the spirit,
but I guess they're saying the spirit is like
what you tap into at the deepest roots
where you're going into the infinite.
Um, and maybe this is just one level above that,
or two levels above that.
The, I think I talked about it Michael,
on one of the public ones.
I don't know if I spoke to you two guys about it, it,
but one of the coolest analogies I've ever heard was, uh,
A DVD and on the DVD is all possibility
and all potential for anything, right?
And, but when you put the DVD into the DVD player,
the DVD player reads it in a linear fashion.
So basically the DVD is the matrix,
and you are living each track in a linear fashion.
And if you have an experience within that track
and fully take it on you, you find, uh, you have your acuity
of it, of the process, you figure out what
that experience is trying to tell you, then that that line
skips to another track where that track involves everything
that came before.
And you learning that lesson
and then everything that can possibly happen after it,
after you've learned that lesson.
If you didn't learn the lesson,
you'd continue on the same track until you learn
that lesson or another lesson.
Then you jump to the, to the track that has all
of the possibilities that have
happened and then that lesson.
But the, the big thing is that the CD itself
holds everything all at once.
That's the matrix. But then you start to have the experience
and you start to have it in that linear form,
like the DVD player reading the dvd.
That's how I've always seen the Matrix.
Yep, yep.
It seems like there's an infinite potential of the reaching.
That's why I think when you go back to the new mind,
they say, then you're full of all the magic
of the logos from that, that position of having no,
no specific seeking yet in that, in that archetypal energy
of the pure, um, without bias, without blemish
Background. Yeah, I
think that, I think that when we,
when we begin the process of separation from one,
when the one becomes aware
and has that lightning dark night of the soul,
where it just starts the process of experiencing
through spirit, through mind,
and then eventually through physicality,
that step from the one to, to the
infinite experiences is when the DVD is printed.
So like before that it was everything was one,
and then the DVD is out there with every single possibility,
and then the experiences become the tracks
and the lessons allow,
and the transformation would be you skipping from track
to track because of the lessons.
Well, they, they actually sort of, um, mentioned
that even just in the previous statement there
about non-ST 80.
And, and I think it's, while it's, I mean, it's important
and challenging at the same time
because we're talking about experience
and something that we seem to, um,
interpret as linear.
I think we're all in agreement that the, the truth is
that everything is all happening now.
And simultaneously, I had a, a really,
really strange experience, um, last weekend
in which I seemed to become aware
that I was a, a manifestation of my partner actually.
And that like, like literally whatever it was
that I had sort of thought of as quote unquote, like my past
or whatever, might
as well very well have materialized from this moment
backward, um, for the purposes
of, you know, this moment.
And, and in all moments, I think that that's actually, uh,
quite probably the case.
And I, I've read a, uh, a handful, I suppose,
of physics articles every week that also,
you know, non-linear timelines
and parallel universes, um, that scientists seem to think
that it's more likely than not.
Yeah. And if we were applying that to the DVD thing,
like all, all the tracks are on the dvd,
and without being confined with this, um, the reality
that we're in, you know, when you, when you,
when you go from space, time, time, space,
then you're taking a step back and looking at the whole DVD.
So it's all happening at once.
It's just where are you in when you enter into that?
You know, you fall out of the, uh, space time and you go,
or you fall out of time space and you go into space time,
and it's is, it is basically space time.
Space time is the one we're living in where
you're experiencing any multitude
of things at any one given time.
And then time, space is all things happen at the same time.
And it's just kind of like you would jump from
jump around between them.
I would also contend that space time is the only place
where change is possible.
Mike, can you correct me if I'm wrong,
but does the caution miracles sort of reflect that, um,
uh, it doesn't call it the monat,
but sort of everything that exists outside
of this is changeless that the truth is changeless? Yeah,
Because everything outside
of this is the infinite possibilities of this.
And, and when you're in, this is the only time you're having
the experience because when you fall out of this,
all the experiences are all laid out in front of you,
and then you dive down in to have the experience.
But I think even the experience
of change itself is ethereal and it only happens here.
It's being experienced by the change list.
And yet here it is in this ever present moment,
having an experience of what it conceives to be change
and linear experience itself, which is
what we're, we're talking about.
This is the way of, of moving
through this completely muddled, totally inverse,
insane reality that is born in separation.
The law of one is called the law of one,
because it's here to teach us
that the most fundamental understanding that we have
of our entire reality is completely false.
And it's just there to have
that experience, to contemplate
The experience is how you move through this
absolute insanity.
It's what allows you to make choices
and experience ramification and then choose again
and again and again.
Have you ever been to like a place, I I've been
to a couple zoos where they had, um, um,
the meca and you can stick your head up through a hole
and look at the exhibit, and then you put your head down
and you crawl over to the next hole,
and you can put your head up through the hole,
and then you can look at the exhibit.
So it's like when you duck your head down,
you're going back into the infiniteness
and everything's happening all at once,
and then you move to a hole and you put your head up
and through the hole and everything becomes linear.
You're looking through that hole at, at that path,
and then you can pull your head back down again,
you're back in the infiniteness,
depending on the experience you had in this hole,
you can choose the next one and then reality shifts.
But the whole time you're just ducking into it,
and then you can just pop back out, duck into it.
This is the observer principle, I think,
and the, the seat of consciousness, the observer,
the the one, uh,
quote unquote having the experience is, is changeless.
That's what Ray was just mm-hmm.
Talking about the manifest self, the energetic body,
the karmic, um, energetic field, if you will, is what we
perceive to experience as change and experience itself
because we're, we're under the impression
that one thing can be separate and isolated from another,
and therefore it can exist and then cease to exist.
The entire notion of death itself, the concept is,
is one such that we can no longer exist
and the death of the physical body is anything but a death.
It's, it marks a transition at most.
So where's the, you said that's the hanged man, right?
Is that the martyr? Mike? The martyr, yeah.
Oh, but that's, uh, that's not the experience.
Oh, that's the significant, okay.
Yeah. So the barter is the one having the
experience of the enchanters.
I, I'd love to start diving into these.
I think that we've got so much to unpack.
We can get, get started on these,
and I th I thought the easiest starting point would be
what little clue we have about, um, the relationship
between the matrix of the mind or the, the catalyst of mind
and the experience of mind,
which was the empress and and the emperor.
And if we, I would like to start seeing if, if what we see
between these two, what we know about can also apply
to the differences between the catalyst of body
and the experience of body, the difference
between the catalyst of spirit and the experience of spirit.
So the fourth archetype called the emperor seems to have
to do with the experience
of other selves in the greenery energy
center with respect to other selves.
Is this correct? And Ross said this is perceptive.
A broad name for archetype four may be the experience
of the mind and the tarot.
You find the name of the emperor.
Again, this applies nobility.
And in this case, we may see the suggestion that it is only
through the catalyst, which has been processed
by the potentiated consciousness that experienced may ensue.
So this is thusly is the conscious mind ennobled by the use
of the vast resources of the unconscious mind.
So there's vast resources coming from the potentiator,
we're beginning to dip into this and,
and something that can come to us in our,
in our experience in a useful way through the catalyst.
And then the emperor is,
is a male principle here, which seems to be doing, reaching,
and this was talked about a little bit in the, um,
the previous question here about the empress, the catalyst,
um, it represents the unconscious
or female, the catalyst of mine is the unconscious
or female portion of the mind complex being first,
shall we say, used or and doled by the male, male
or conscious portion of the mind, thus the noble name.
So the, the male kind of represents consciousness
and kind of represents the reaching into the potentials.
So the male of the emperor might be the one that is
reaching into the catalyst and,
and has reached, uh, a chosen a catalyst for, for bringing
to the forefront of the conscious mind that which
that which is to be seen
as the experience, if that makes sense.
It does. I like this, going back to
what Nathan was saying earlier about, um, catalyst
and whether or not it's actually processed.
And there is now that I think about it,
something quite noble about this opportunity
and selection process of choosing catalyst and evaluating it
and balancing it and,
and actually applying, um, the, the knowledge of the adapt
to, to embark on the fool's journey
and ultimate transformation in the great way.
But it kind of makes sense
because in the absence of that, it's not very noble, is it?
It's, it's, um, it's very common. It's very mundane.
It's very ordinary and passive
and unimpactful frankly, uh, unprocessed catalyst.
Um, there's so much potential there.
But if it's not chosen to be interpreted as catalyst and,
and used as an opportunity for growth, then,
then it's not very noble.
But I think this is probably one
of the first times I've really attached that
or, you know, like even connected that
to the nobility of it.
It's like, yeah, this is how you're using your mind
and your archetypes or your advantage,
and that is a, a very noble function
within your own consciousness. Yeah,
And it's interesting, you could take it a little bit
further here, where it says the, the empress is considered,
perhaps confusingly called the empress, is, is understanding
that it represents the unconscious being first used or nod.
So it's, it's essentially like,
because even catalyst that is
so vast in our potential experience is still such a limited
filter down representation of
where our will started to take us.
It's still a very noble thing to have all this catalyst
that is in the potential of our experience
because of this, this, this,
this incredibly infinite potential
that we're narrowing down into the catalyst
that we're, that we're choosing from. You
See, it's not quite a noble
until it becomes the chosen catalyst, right?
Is that what you're saying? It's like, yeah, yeah.
As long as it's in sort of the infancy of potential,
there's nothing particularly more noble or impactful
or meaningful, um,
or potential about it until it's, it's actually chosen
and selected, and then as soon as it is,
it becomes the spotlight is here.
Like, here's your opportunity, this is it.
Like, you know, this is what we train for. Mm-hmm.
When I think of that catalyst too, I, I tend to think of
that iceberg analogy as well.
Like what, what we see is like that top, you know, 10%
of the iceberg there, where the rest of it's
so much more is coming on behind, in, behind the veil
and the unconscious mind with what we were trying
to maybe learn or what the
potentials are to learn from there.
That it's, it's so great,
but you're only seeing that small little pinpointed version
of it that you can focus on,
but you can't grasp maybe the full nature of it,
or it's much more difficult to, I guess, um, a lot more,
I guess, experience to, to maybe process there.
Yeah, That's another really great analogy,
because that tip of the iceberg is that aspect
of the entirety to which you are exposed.
It's the part that you see,
and again, nobility sort of in a society
or in something like that, is sort of supposed
to represent the greatest, uh, potential, right?
Or the, the, the, the highest representation, I suppose.
Now, not so much in a, in a cast
or class system, I don't mean,
but you know, to call something noble again would,
I think be generally mean
that it represents the greatest potential.
And so how you just described that anything matches
that perfectly when you see the tip of the iceberg,
that's basically all you see, but, but choosing to see it
and select it is what opens up the remainder of
that potential, which is what makes
that little tiny piece so darn noble.
And if you're keeping with the, the iceberg analogy,
I don't know if you guys have ever seen videos of
icebergs rolling over
because their weight distribution changes.
No. So like the unconscious mind that's
below sea level is the, the potential for anything,
then the tip that you see is the portion
that you're enacting, but then you have a catalyst come
along, you take it in, you actually imbue that thing,
and then the iceberg rotates
and a different portion of the
infinite sticks out the top again.
Oh man. Yeah, it's transformation.
Yeah, exactly. So I think I'm ready
to start, uh, comparing these a little bit more, um,
and we could dive into the symbols here soon too.
Um, so the only statement that we have from Rah about
the enchant was in session, um,
80 81.
Um, and that was 81 12,
the 11th archetype.
The question from John, the experience
of the body represents the catalyst that has been processed
by the mind, body, spirit complex
and is called the enchanter
because it produces further seed for growth.
Is this correct? And Ross says this is
correct, and that's all we have.
Not in R's words, but in Don's words,
Man, go don. Sometimes
he just nailed it, right?
And like, so well sometimes that you're like, wait, Don,
could you have expounded on that a little bit?
I wonder where he, he got that.
Well, let's, let's look at it.
So we have a woman now, so this is no longer the one
that reaches, this is the one that awaits the reaching.
And it's interesting that, that we had some male presences
on the, on the catalyst of the body.
Um, so the reaching is what the, the catalyst
of the body is doing with this wheel of fortune archetype.
It would seem then the experience
of the body is awaiting this, reaching from the external
and what this is,
and maybe to be distinguished from the nature of the mind
experience, the body experience is
that which is seemingly taming a lion.
If this is the way we, we could look at this
and we have, uh, you know, one hand on the top of the lion,
one hand lower down, perhaps controlling the jaw, the,
the bite of the, of the lion.
And, you know, if, if a catalyst
of the body could be something like hunger
and there's a hunger pain, you might have have to
put some attention on how you're, how you're associating
with this experience of the body.
And maybe that's what this is relating to.
You wanna put some attention on the need for food and,
and hold that jaw in, in a position that, that your,
your own jaw is eating food
and not causing the great pain of hunger,
of being bitten by that jaw.
Do you think that they've used the lion here specifically
because most catalyst of the body,
um, is sort of existentially,
um, you know, an existential threat of some sort
or, um, you know, the, the balanced working
of the body was, that's the matrix.
Um, yeah, yeah.
Even, even functioning, balanced working is the matrix
of the body that the female
Would be anything that seeks
to perhaps disrupt the even functioning
and balanced work of the body.
It could be disruption on one hand,
and it could be maybe something, um,
empowering in, in a different way, energizing, like
A forced reflection.
Well, I mean, I mean an injury,
but I also wanna say like,
how does a massage fall into this?
You know, a massage would be something
that's arguably pleasurable
and yet, um, catalyzing for the physical body.
And I do wanna point out this point
that this is when I typically start to blur the lines
between the yellow ray body
that we were talking about earlier, or are all aspects
of the energetic bodies subject to catalyst, and
therefore is the lion represented as a physical existential,
um, interrupter of balance working
and even functioning, um, just the physical representation.
But there's, there's similarly, uh, energetic, uh, catalyst
for energetic bodies as well.
Yeah, it's interesting.
This is, this card is not just a lion.
This is the one who is taming the lion too.
So it's as though the, the finding the usefulness
of the energy coming at us and,
and how to keep maintain that balance in the midst of that
whatever's coming at us, uh, seems to be the, the,
the primary function here of experience.
And the other thing that's worth No, go ahead, Nathan.
Okay. I, I was just gonna say, I, I look at it too
as like instinctual.
So when you're bringing up like the food analogy there too,
like, you know, you need to eat,
but there's different foods that are better for your body
and different foods that have maybe more
consequences to 'em.
Or like, why do you crave things that are not good for you
or have detrimental effect to your body as well?
So it's like that processing then at that time too.
So taming a lion taming that maybe instinctual, um,
drive for food or something
that may not have a positive effect on you as well,
that it's kind of processing that maybe,
and learning, learning those lessons there too, to,
to be able to grow from it and be able to, um, yeah.
Have a better, better experience
of the body there using it in the best way possible.
This is experience, right? You zoomed in a little bit.
I wanted to make sure we weren't, wasn't looking Yeah.
Experience hear. Yeah,
Yeah. You know,
I think it does kind of go back a little bit to
sort of like the, if, if the matrix is the balance working
and if catalyst is sort of, what was the,
can you pull up the catalyst again?
What was the catalyst of the body?
Okay, that one's relatively complex,
but if we were to, if we were to infer for a moment,
and yes, I remember going round and round with that one, uh,
but if we were to infer for the moment the catalyst
of the body is something that would, um, interrupt
or alter the balanced working
and even functioning of the body, then the successful
experience of the body, I think as is reflected in the card
with the lion, is the taming of the things
that would seek to interrupt.
And I would, again, if we were to extend this
to the energetic bodies where I believe sort
of the karmic field is, this would also, um, make a lot
of sense here because choices and,
and, um, choices that we make, uh,
and things that we encounter
that might insert themselves like trauma into our energetic
field are what ultimately call more opportunities to us
to learn through whatever lesson was available there.
And as we work through those lessons, as we process
whatever it is, it's calling that similar feature
or frequency or experience to us, um,
we are returning the body to its normal balance,
even in even functioning.
And so it does seem to me that almost all experience
of the body needs to lend itself toward a, a realization
that the energetic body seeks to be made whole
and made healthy and made, you know, um, uh,
purified effectively.
And I suppose you can have an experience of the body
that in which it is more, um,
that goes the other direction,
but if it does, it always has to come back
because the, the entire system of the body itself is
to be this sort of experience, this vehicle,
the the sole body, all these things to go down
and come back through, which means no matter what,
you are always returning it back to its normal functioning.
So in that I actually like this one a lot better
and can certainly at least draw some logical lines more
so than I can in the catalyst of the body,
which is just a very confusing image to me.
Perhaps the, the intense catalyst
of this world is confusing to everyone,
all the things coming at us.
Yeah. Um, but uh,
When they show the, the empress of the emperor, it,
it always seems to be talking about the, the mental
and the spiritual side of life like that, that one step
before physical experience.
And the fact that it's a lion
and a male lion says a lot to me
because the lion is of the physical world.
And so it's the male property of the, as of representative
of the physical world, almost like going back to the empress
for, for, you know, which would be the, um, the um,
before the physical realm, you know, it's, it's the mind
and the mental and the, the physical happens,
and then the physical, the lion, the body goes back
and can contemplate and,
and achieve that acuity by thinking about the experience.
And it's almost like, you know, if a,
if a your dog was hungry
and they came over to you, they're looking
to you like, Hey, what are the options?
What are the options here? You know, can we eat now?
Do we have food? So the lion is going back
to the more etheric portions of the experience in the mental
and the spiritual because they, they represent all of the,
the stuff usually with the, the male
and the female character until they get to this
where they're showing the body
and they're showing it as a male, something
of the physical world, instead of she's just like holding,
uh, the male's the emperor's head.
It's a lion's head. It's something of this world.
You know, what becomes sort of apparent to me as you say
that Nick, is that the interplay again between the masculine
and feminine is effectively the 22nd archetype.
Because when the, the masculine portion
reaches ever deeper into the feminine, uh, potentiality,
it's selecting something, right?
It's choosing something of this realm of, of potential.
And so intrinsic to every experience
or interpretation of every archetype, I think
that choice is almost always present
because it's, it's sort of the, the engine that
moves the process along.
If you're not choosing something, whether that's choosing
how to interpret something
or choosing how to experience something
or choosing what something means, let alone choosing
to do something, choosing to activate something, choosing
to create something, it's all choice.
And so it's really interesting that you bring
that context in
because I, I mean, to me that makes again,
all the more sense and another lens
through which I think I can probably start to
or continue to look at a lot of these archetypes
where there is both present.
Um, and even when there's not for that matter,
I think perhaps contextualizing everything within choice
might be helpful.
I I want to dive into the birds now. Alright.
This is, I just learned about as, as I'm searching now,
thanks to the reasoning ai identifying for me that this,
this one of these birds has the hat that looks like
what you would get on Horace.
And we have the concept of the,
the falcon, uh, of horse.
And we have something
that would be potentially called the vulture,
but this is clearly a falcon still,
but it has what the, the vulture of
neck bet has on its head looks very similar.
And this is a feminine goddess.
Um, and,
and it is interesting that, so there's,
there's a history here with the difference
between upper Egypt and lower Egypt.
Yeah. Where the upper Egypt, um, most
of Nile River, south of Delta,
and this came from upper Egypt, this feminine,
uh, bird symbol and then the lo the
Horace is the other end of this.
So we essentially, we have male and female
Go back to Horace.
The, the big thing that point out here is you see
how Horace is hat there has
that little earned like thing in it mm-hmm.
That is not present in the card.
'cause that was when I was watching the things they showed
how, like without the earn in it, that means like the womb
ready to be receptive of the spirit.
I don't exactly remember.
I've been trying to go back
and watch everything I have on Egypt
and I have not found this one spot
where they specifically talk about that hat
with the curly cue
and not the urn means something then
that different than when it has the urn in it.
Research for that one without the hat
that neck bet's wearing, that's just the u with the,
with the leaves on either side means
something totally different.
That's interesting. You're right. That shape
that's in the center of the other half is what's missing.
Right? The first one.
Um, also for context, um, for anyone watching
or listening to this, um, to be clear, upper Egypt is
actually southern Egypt.
Um, and that's how that's usually referred to there in Egypt
because it's at a much higher altitude. And so
I see, yeah, that confused me when I saw that.
Yeah. Lower Egypt is actually Northern Egypt where Kairo
and Alexandra would be.
Yeah. So let's see if I can,
I'm, I'm gonna keep searching for that one.
But, but essentially I feel like it's, it's useful to say
that we found there's a male
and female relationship, I think at least.
Mm-hmm. Even though these are the same kind of bird here.
And um, then we have this a device which
maybe is storing something.
Are those flowers
that have fallen over or is that a part of the handle?
You think those lowest flowers that fell over it
Lo it looks like the handle, but stylized like a flower.
Yeah. Yeah.
So, and all this is also on the crown, so we have
something sitting on top of the head.
We also have the, the, the serpent,
the res cobra at the brow,
which could represent the awaken kolini kolini.
And then at the top of this we have
birds, which can be protective.
They can be representing flight,
but here their wings are not outstretched.
And they said it's very important to
consider the position of the wings.
Mm-hmm. So just experience,
Address has a big wing on it too,
Right? Folded down.
Yeah, folded down also.
Yeah. So, so in, in theory, this is suggesting something
that could take flight that hasn't taken flight yet.
It's not caged like the matrix.
We're no longer boxed in a cage
like consciousness that is not fed.
But we have this potential for flight in the,
both the masculine and the feminine,
and then something that is either containing something
above our crowns or,
and maybe the container is representing experience
because experience is itself a container for for what?
For what it is that we'll be using as the fuel for further
processing of what, what this means to us,
to our understanding of ourself, to understanding of
a choice that could be made of, of greater acceptance,
greater transformation through through choice male
and female, maybe being a part of
that choice in this instance.
And to me, the, the, the birds on top of the head of, uh,
to me in this, that, that empress is pure potentiality
and the lion is the path that you're on
reaching back to the pure potentiality
to have the experience, the one experience,
and then possibly coming back
and recording it into the pure potentiality
to then go forward into the other experiences.
And the empress has like, you know,
the male and the female, the real
and the, the non-real time space and space time.
She, she has, you know, the things on her head,
which represent all possibility.
And then is reaching out
and creating the one possibility, the the body,
the male lion coming back and,
and um, you know, just recording the, the experience
of the body into the, the choices made.
What's at the bottom there, Mike?
I see ducks and butterflies.
Oh yeah, I'll see. Yeah,
I was, it is also just occurring to me that
the experience, um, more
or less is depicted by the significant, I mean,
isn't this significant as the one that decides
what the experience means, right?
Yeah. So you, you might say that
what we're looking at here, the experience of the body is
as seen by the significant of the body.
Yeah. And it's not upside down. Would you think?
It might be since it's the hangman? Amen.
Um, I wanna see if I understand what these symbols are.
So It would seem
that these are ducks and butterflies.
Um, ducks, um,
evoke bodily fluids.
This is something the AI was suggesting.
The flow of emotion, the ebb
and flow of emotion could be symbolized by the ducks
and butterflies, butterflies, creatures of metamorphosis.
Point to the body's capacity for continual renewal.
So obviously the body can be continuously reformed
and reformed and the experience shifted
and transformed on that level.
So, I mean, if, if this is another symbol of transformation,
you could say there's a little bit of transformation
in the way we're experiencing things in the body.
Do you think it's maybe of the un unconscious as well?
'cause it's like, it seems like it's below that level there,
so it's maybe below the veil,
but the wings are out at that point too.
So it's like that maybe infinite potential
or infinite ability, uh, to access from, from
that unconscious mind.
And it is kind of recursive in that
the experience may very well be what's obviously leading
to the transformation
and the allowance to move on into more catalyst.
So ducks, it's interesting.
So is is duck here because of the water connection
and it's also flying, so it's like, I wonder if the water,
it's implicit that there was some water
that was the back backdrop too, that,
that the duck is flying away from.
What's the significance of the water
element in this case to you?
Well, maybe the fluidity of, of what?
Of what's being processed.
Um, there's also this aspect of the duct,
I'm just reminded it was in Boston a few weeks ago,
and they have these duct tours on these amphibious buses.
And it actually took me a while
before I realized that they call it a duck tour, not
because they're taking you to go look at ducks.
Yes, folks. That's what I initially thought.
I'm like, gosh, there's a, there's a big operation here.
They must have a lot of really cool ducks.
And it's like, nope. I ended up putting
that together after a little bit.
It's like, oh, it's called ducks
because of this bus that literally drives up
and picks you up and then,
and then drives off into the water.
So it's got this amphibian, um, feel to it though.
It also takes flight.
A duck does, I mean, gosh, a duck is a pretty interesting
animal for that matter.
I mean, there's a lot of other birds I think that will,
there's like king fishers
and there's things that will submerge themselves.
But, um, a duck is just as comfortable in the air
as it is in the water, as it is on land.
How neat is that?
Yeah. So even these shapes here, uh, the,
uh, the ai, this was oh four dash mini dash high,
did this analysis, which I think is pretty spectacular.
It said, it said that this particular kind of, of, uh,
shaky shrub could represent something like the myriad neural
and vascular networks beneath the skin surface.
Because that's literally what our body is,
is all these trees of networks, of nerves.
And, and all this is connected with the experience
that we're having these, these many,
many branching patterns of, of energy.
And it does seem that the butterfly, I mean,
if we don't read transformation into that,
or at least metamorphosis, which, you know,
I guess would also be transformation, um,
in one, one direction.
Uh, crucially, I think which is also helpful.
Um, again, going back to the overarching concept
of the journey itself, that we are always headed back
to the same destination.
So I, yeah, I have
to feel like anytime we see butterflies we're,
we're looking at transformation.
Yeah. And the, the plant in the middle here seems
to be sort of going in every direction, um,
radiating outward like a fan.
Um, so I guess that, I mean, that could speak
to the diversity of the,
of the opportunities for experience.
It seems like the, the plants growing outta the bottom
are representation of the physical world.
The duck with the outspread wings being like the
consciousness, having the experience in the physical world
and the butterflies significant.
At any point in time, you can completely change your view
of the world, your experience in the world, you know,
the next step that you take in the world.
'cause the ducks are facing in both directions.
So it's, it's like the duck is flying out of the
is is taking flight in the physical world,
almost like comment by butterflies saying like,
even if you take off your experience to the right
and then you have an experience that you fully in,
in imbue into your, your person, then you can have
that transformation like the butterfly
and decide to fly left.
What does is transformation of the body
That is death.
And you could say there's a death
and rebirth happening every moment
of every day in some form, I think.
And cells are dying all the time too. Yeah.
That was at, um, NASEM Herriman quote that I always say,
where nasem herriman is like, you're, you're made up
of a hundred billion trillion cells
that rejuvenate at a rate
of like a hundred trillion trillion.
The fact that you keep reincarnating as you every second
of every day with these trillions of trillions
and trillions of transformations happening every second is
phenomenally exquisite.
That you keep the continuity of yourself as you move
through this world continuously turning over
Be. Has anyone else noticed
that Nick bears a little bit
of a resemblance to na herriman?
I see it now. It's only when the hair's pulled back.
Yep. Mike, could you, could you flip back
to the catalyst of the body?
I was curious if there was a, okay, so they have the bird,
I guess the wings in this one as well too,
because we're kind of talking about the birds a lot there.
And I see it in the mind,
at least from the catalyst of mind.
You see the bird almost coming at you as
that potential catalyst.
And then the experience, it shows it on the heart,
like it's within the clothing there.
So like as in that exper
or that catalyst has then been processed,
or as we were kind of saying maybe integrated from there.
So I was kind of trying to maybe relate that to the body
or, uh, look at it from the,
from the wing standpoint there as well.
Yeah. Also, if you zoom into the shift
that holds up that wheel again in the catalyst of the body
and you go down it, see
how all three different plant types are in it.
Is there one more? 1, 2, 3.
Oh, I guess the, the lotus isn't involved,
but it, again, it's showing the two different,
the, the plant life.
Yeah. Sort
of spiraling outward in some simple form.
Yeah. The plants just become
so much more intricate in the experience.
Mm-hmm.
I wonder if there's anything else we should touch on
with this, this image.
Um, basically the clothing is
patchwork different kinds.
What about the feet?
All those pebbles seeds, what's that about?
Yeah, I looked at that earlier when you zoomed in.
It's not that way on the, in the book.
She got legit feet in the book.
I feel like we've seen a
pebbles somewhere else. I'm not sure though.
Yeah. Um,
I should have a printout in front of me.
But the dress is, uh, uh, different, different, uh,
patchwork of things.
And whenever they show stuff like that to me,
especially when they're talking about the mental and the,
and the spiritual realms, it just says,
'cause it's going in all different directions
and it's just representative of the different vibrations
of the world and how they're constantly able to change
and, uh, you know, just become a different frequency
at any given time.
But all the frequencies are possible.
Yeah. Going every direction.
A good point that Ray just pointed out, too important
to keep, um, polarity in mind as well.
And that transformation, uh, of the body
has to be available, uh, in both polarities.
I mean, I mean, all the archetypes are clearly present in,
in both polarities
and harvest ability is available in both polarities.
And so while the focus
or the, um, intentional use of the archetypes might,
um, look or feel very different, it's so important
to realize that, um, that they're all available,
I suppose on both paths.
And I've, I've, I've, you know,
my friend Jade has talked about the possibility
of perceiving the left and the right hand of the woman here
in the position that she's chosen to put her hands in.
And the left hand could be, you know, the, the receptive
and the right hand, the service to others outreaching.
And it could be that there's a, there's a more there
receiving nature with the jaw somehow,
but it's as, I feel like it's very open interpretation
how you go with self-service
to others based on the two sides of this head.
Yeah. And, and that can is also represented in the,
like I, what I was saying about the, uh, the ducks below
and the duck takes off on the left, has the transformation
and then decides to fly over to the right.
I mean, that's just polarity, that's the experience
inducing, uh, introspective work on yourself
and then you choosing whether you're gonna keep going down
that path or go down the other path.
Hmm.
All right. We've done a lot of processing on this one.
I'm ready to jump into the moonlight
and see if we can draw connections
and then maybe at the end also try to drive more parallels
because the, yeah, the,
we're encouraged to look at these parallels.
Um, we didn't, we didn't touch again on the
symbolism of this one.
We've kind of covered that a lot.
But, um, the experience of the, of the mind,
but I I, since we haven't touched on the,
actually we did at one point talk about the
details in this, I think.
Um, but oh yes,
maybe it was, oh yes, I remember.
Maybe we didn't, I think we talked about the,
all the crazy symbols that they put inside of this.
Uh, many detailed symbols inside of the potentiator
of spirit has like this window into the pyramid
with three different layers, uh, of rooms inside.
And then in the experience of the spirit, it's almost
as though that's very similar.
Um, is that the, is that the same though?
We have the, the wings at the top room in there,
and we have the wings at the top room in here
and the potentiator of the spirit.
That looks pretty much the same, doesn't it?
Maybe it's simplified down a little bit.
Um, so it's basically like to
Each other, Mike?
Yeah, I can pull up a, let's see if I can open it up here
talking about number 16.
Okay, there we go.
And I do remember that Ross says that the,
is it the lightning that was the,
the most relevant component of the
Right, right?
They wanted to put the lightning and focus as the pot,
as the potentiator, but inside of that potential,
and it's almost like they're showing this, this,
this could be like the physical, um, representation,
the physical world in these boxes.
The squares represent more the
physical structure of reality.
All right. Zoom 'em out again. So I see them,
But, and interesting on the
darker pyramid, we don't have that.
It's on the lighter pyramid. We do have that,
that light being shown into what
this potential may have revealed
When I'm, when I look at those two there, it's like,
when you think of the pyramid, it's like a maybe a place
of spiritual initiation
or a place of accessing the spirit from within.
Um, and seeing the white one having that, I,
I know we talked about it before,
but I guess I kind of, I see that more as like a doorway
as well to, to be able to access that.
And it's easier to do on the service to others pathway there
through, through that love and that it's no longer,
or it's not available, I guess,
than on the service to self path.
Therefore they don't have that doorway
or maybe that potential there being a much more, um,
difficult path or get to get to that level of 95% service
to self purity to be able to, uh, graduate there.
So yeah, coming around, I, I think it's, I I look at it
as maybe the ability to access the spirit
through, through that doorway.
Yeah, that makes a lot of sense
To me. The, the
window as we're calling it in the pyramid
is showing the, like, there's so much going on in there.
It's showing you the infinite potential that you could have,
the infinite potential of experience that you could have.
Uh, and then when you look at the pyramid that's dark,
following along the lines of what Nathan was saying, like,
you can't reach full potential
choosing the service to self path.
You know what? That you can only go to,
you can't ascend past five, that density. Was it
Mid sixth? I think it
Six. Okay.
I always wanna say five,
but yeah, so like, you, basically,
your experience is 1, 2, 3,
and then you springboard over four to five,
and then you can go mid six, so you're missing four
and seven, you know, so that's, that's, I think
that's why they're not showing all
of the potential in the dark pyramid.
But the, but the dark pyramid
and the light pyramid, both representing experience,
you know, like you can have the dark experience
or you can have the light experience
and look at everything that's possible on the light
experience, whereas there's not all
that possibility in the dark experience.
You're, you're cutting yourself off from having these levels
of experience if you choose the dark.
Do you think that the moon is depicted as dark
because to have an orb that's lighter than the background
would automatically indicate the sun?
I mean, do
Maybe, Well, you have the stars also though,
so if you do have the stars, I still am a puzzle
of why the moon is, so
I think that they also had to put wispy things around it
to indicate that there's like more
of a nighttime ambiance, um,
Clouds and stuff, right? Yeah.
Yeah. Looks like clouds in the, in the book.
And it's not completely black.
I guess it's gray-ish. Um, so, but it
Could be white and it would absolutely look,
and that could look more like the moon
with a gray background and the stars and clouds like,
But I, I absolutely think that there,
there's a attempted emphasis here that this is dim lighting.
This, this car represents the dim lighting.
And that's clearly discussed when we start talking about
what they say about this card.
Fortunately, they say a good, a good bit about this,
this moonlight concept.
And so I might as well go through those now.
Um, it, so the question here was,
as an entity, they're talking about this,
this came up in the context of talking about the negative
entity that was greeting them, um, increases his power.
What, what, what is the power that he's increasing?
And then Ross said, the power of this, of this
negative being that was messing with them, um,
is a spiritual power.
The power that's they're, they're attempted to increase
the powers of the mind as such, do not encompass such works
as these you will
with some fruitfulness consider
the possibilities of moonlight.
You're aware that we have described the matrix of the spirit
as a night, a dark night in the soul.
The moonlight then offers either
a true picture seen in shadow or kymera and falsity.
So yes, the two options are a true picture seen in shadow
or kymera and falsity.
So a, a distortion of what is the truth
or perceiving the truth from within a shadow,
the perception of a shadow.
So that's what moonlight represents, is this,
it could go either way with what you're able
to see in this, this lighting. It's
Like perception. Like
you could be afraid of what you can't see
and read all kinds of things into a shadow.
Or you could be thankful that you have the moonlight to,
to guide you and simply see what you can see is what it's,
Yeah.
And the fact that it's this spirit, it is, you know,
in my mind, the, the, the mind
and the spirit precede the physical
and the moon instead of the sun.
You know, the sun would be a male representative.
It would be the physical world.
And they're talking about the moon being the female
representative, talking about the spiritual world.
The adapt is working with the power
of hidden things illuminated by
that which can be false or true.
It's so fascinating that they, they go on to explain that,
to embrace falsity, to know it, to seek it
and to use it gives a power that is most great.
This is the nature of the power of your visitor.
And may, may shed some light upon the power of one
who seeks in order to serve others as well.
For the missteps in the night are Oh, so easy.
Yeah. That's the, the service to self. Right.
And that's falsity the service to itself is the belief
in, in separation.
I mean, to be super clear, it is the absolute dedication
to the notion that you can be equal to
and outside of the one infinite creator.
And they're saying that there's a lot of power in
that if you embrace that falsity to know it, to seek it.
Um, yeah, I mean, it has to give you great power.
I mean, in order to be harvestable, you'd have to have,
you know, some level of power available to you since you're,
you're, you're literally seeking
and believing in that which is not true.
There's gotta be a, an affect.
It's gotta be a, a mechanism by which you can learn from
that, because otherwise you would just continue
to spiral down and down and down.
That's why they can't get past mid six density
before they figure out that, oh, wow, I,
I actually can't ever be truly separate.
I think there's another interesting point in here too,
saying that the edup can also become confused as well.
You can think that you are being of service to others
or seeing something in one way, which is true,
but you can be deceived
as well at the same time on that path.
So I think you can kind of maybe draw some parallels to some
of those great yogis or, or saints
or something who have kind
of gotten distorted in their message later
after they claim to be enlightened
or have realized something.
Maybe even like the Osho
or, um, I think Rod talks about maybe Alistair Crowley
or something too, that it's easy to then be deceived
and be led down that path where you think you are, um, being
of the light or of working of a certain quality there
that could be seriously distorted from that sense.
Well, yeah, think about that same thing.
The, the service to self, um,
being does not hate other beings.
And in fact, the service to self, the successful service
to self being is dedicated to the realization
that they are the very best thing for everyone.
And I mean, in the truest sense, you have to have that,
you have to be, that we have beings on this planet
that we're all aware of now, that they truly believe
that they actually believe that the very best experience
for everyone can't be had unless
or until they are in control of everything.
And so, to what you were just saying, Nathan,
that while you might be in a strictly service to self mode
and at a soul level dedicated to this, your,
your confused intentions are still sort of on the surface.
Like, I'm trying to help people. I'm trying to help you.
If you would simply submit to me and to my understanding
and my vastly superior, um, you know, way of being,
uh, then you will, you know, you will be able
to fall in line with that.
And, and the gifts of my choices will read down to you.
I mean, this is how it describes the, the, the control
and manipulation of the multitudes, right?
But again, it's not out of a hatred of the multitude.
It's, it's out of a real, a real belief
that the multitude can only benefit at the success
of the singular and of the singular who is separate from
that, which you don't even believe exists,
at least in this density.
Now, at some point, I think maybe mid sixth is when it
happens or whatever, but obviously at some point you can no
longer, um, continue this lie.
But right now where it's so richly available in polarity,
um, it's a very important factor, I think.
And we experience it as narcissism.
And there's a reason that narcissists become so completely
abjectly angry when the people that they are controlling
or manipulating don't appreciate their control
and manipulation, they don't appreciate the experience
that's being created for them.
Because to them it's like, this is the most obvious thing.
Clearly I need to be in control.
And if you would just let that happen, then you'll see the,
the, the beauty of everything that I seek to bring about
for you, what an important thing to point out.
Because we're in stark judgment, frankly, in our society,
over people who have chosen the negative path.
And I'm always reminding people about
how challenging that must be.
Um, and, and to have compassion for someone who's chosen
that at a soul level.
And yet again, I think really important for us to realize
that this isn't done out of hatred for others.
Others they actually do acknowledge exists.
The one infinite creator cannot exist in the, in the mind
of, of the being that seeks to establish itself as outside
of, uh, or equal to, or even above the notion
or concept of a creator.
And it's interesting how the dogs in front are
sitting like the, the dog,
the dark dog is sitting there with, with the, so it,
this is all stemming from the thought
of the moon is illuminating,
and then you can see in the moonlight the
truth or the falsity.
So the false dog is sitting in front of the truth,
but looking at the falsity
and the true dog is sitting in front of the falsity
and looking at the truth, meaning they're both sitting in
front of the same thing, but seeing it in a different
way. And they, and
One of them is seeing something true within it,
while the other is only seeing shadow.
Going back to what you were saying or, yeah,
Yeah, exactly. There's
one thing inside, right? Versus the other one.
All you see is darkness, which they explain over here
as being so deep.
The shadow of hidden things is an infinite depth in which is
stored the power of the one infinite creator. Mm-hmm.
I should read that one next. Um,
it was that 15 I wanted to pull up.
Yep. Um,
The 80 15.
Yeah. But yeah, it's interesting also the dogs.
What do dogs mean to us?
I mean, you have dogs that are very good at hunting,
dogs are very good at noticing things
and being on top of things, maybe being guardians and here,
What were they in the, in the Egyptian context,
like Anubis, what was he that got him?
Uh, the underworld. Underworld? And I
Think they were looking at him as like
jackals as well at that point. Yeah.
Yeah. Would You guys sort of correlate the underworld
with the afterlife in sort of a linear sense
as opposed to a relative
Sense?
As opposed to what?
As opposed to a relative sense?
The underworld, meaning relative to this world
or where we're at, in reality, it's somehow less favorable.
It's negative, it's hell, it's blah, blah, blah.
Um, more so than perhaps the underworld.
And they might refer to it as that
because of burial, um, traditions, frankly,
where you are put underground,
but the underworld is just as much the afterlife in a way.
So the, the big thing that, uh,
that I take away from the underworld and,
and their representation of it is not
the underworld and death.
It's like, uh, I, I believe most of us have seen
that pyramid code.
Um, it's on Gaia now.
It was on Netflix, but they have awa a adu,
Hakeem a butcher in it.
But he was, he was born
and played in and around and on the Sphinx
before it was even excavated, his grandparents,
his grandmother passed the knowledge on to him, right?
So this is all to give you the credibility of this man.
And he said, you people think we're obsessed with death,
and we don't even have a word for it.
We call it Westing.
Like the sun goes to the west and it goes under the earth,
and then it comes back up again.
So Anubis is the person
that weighs your heart against the feather
to see if you go back into the incarnation cycle,
it's not death, they're not dead, they're not gone.
It's just they've fallen back into time space are
going over the files of their life to see
what the experience was and all this stuff.
And then either going back into learn some lessons
or, you know, kind of staying
and folding back into the oneness.
It's, it's the place of infinite potential.
That's a really important point.
All of embalming and mummification
and all of that was a commitment to the, the
ongoing nature of the journey that,
that they call it maybe a transition.
Like we, I think we like sort
of lovingly call it a transition
or, you know, I certainly aligned to it as a transition.
However, they, they were committed to it in a way
that they spent lifetimes
and, um, thousands of man hours building monuments in which
to contain themselves in order to make it into
this next realm.
Um, interesting. I mean, that's a real belief.
That's not a hope. I mean,
we bury each other like literally in the ground with like,
well, that's where you'll find me for the rest of your life.
If you want to come say hello, like that's where I'll be.
But like, no, this is very much about like,
we're gonna put them in this chamber
and they're gonna be locked there in,
and they're gonna have all the material wealth and,
and um, you know, artifacts that they'll need to take
with them to, to go into the next phase of their life.
And it was just strictly a go forward thing.
Very important to point out. You're right.
So as we look at, because this,
everything has such a heavy Egyptian context,
I think it's important, right?
When we see intersections with or around death
or the underworld Exactly.
That it's more like, no, that was just sort
of the next, the next stage.
Um, Mike, can you pull up the
significant of the spirit also?
'cause I did kind of like that in the last, um, of the body
where we can kind of see one as deciding or depicting.
I go immediately back to the choice again
after what Nathan said earlier, sort of the presence of,
of the male and the female.
And all of a sudden I'm, my gosh,
is the 22nd archetype not way more prevalent
in almost all of 'em.
And our experience of them is really going to be driven
by our choice.
It's the only thing truly
that can change anything is choice.
And so you have a significant here again, who makes, uh,
a choice and then,
and then decides what this experience looks like.
And, um, crucially, I think in the experience of the spirit,
they do show, just as we pointed out,
that there is something to be seen in the light.
There's truth to be seen in the light,
whereas the shadow is just infinite depth,
though it did also say that therein lies the power
of the one infinite creator. Interesting.
And I think the two dogs sitting in front
of the two different pyramids has choice implied in it
because that dog sitting there choosing
to look at the dark one,
even though the light one is right next to its head.
Yeah, I think this discernment,
it may be represented here too.
They're, they're, they're reviewing, they're, they're,
they're, they're analyzing, I guess they're,
but it's also interesting, I saw that, uh,
jackals are considered proficient scavengers,
and they're omnivores, they, they look around for
what they can to, to understand, you know, how,
how to, how to survive.
Yeah. Yeah. And that's, that's Anubis, right?
But these look more like, uh, uh, I don't know,
maybe you'd look it up.
It'd be easier, Mike. Uh, they're like, there's,
there's Mexican hairless dogs
and there's ancient Egyptian, like greyhound looking dogs,
and these dogs look more like those as opposed to, uh,
like a jackal or a wild dog.
But like, there's an ancient breed of Egyptian
and Mexican dog that looks exactly like
Thatum.
I mean, that's, ITSs was the
Egyptian name for a hunting dog.
Um, Saluki Slowey,
one of several types of dogs in ancient Egypt,
having the appearance most similar to that
of a true sight hound.
But again, efficient seekers. Yeah.
You know, efficient finders.
Yeah. Hunting for that interpretation. Maybe
Mike, if you go hover over the slowey one again,
get that picture to come up.
So look at that dog.
Uh, remember humans crop dog ears
to make 'em stick up like that.
They don't just naturally stick up like
that. Like they, they,
They're sticking up in the image, right? In the tarot.
In the tarot, right? Yeah. But if you look at that one,
that picture of the slowey, if you took that dog
and took its ears
and stood 'em up, that would look pretty much like that.
Hmm. What about
the, uh, what about the scorpion?
I know we're getting there, but
Yeah, that's, that's good to jump to
That. Kind of see
these things and, and there's, yeah,
So the, so the dogs in that one don't look like that.
They don't look like a bu they just look like dogs.
Interesting. Is that the, um,
the book you're looking at, Nick?
Is that from the, the,
Oh, let me pull it up.
Oh, that's the one that they redrew?
Yeah. Well, they didn't redraw this particular image.
They're, they're just, they only
redrew the first seven cards.
And the, the rest of these were, you know,
whatever they could get access to to publish in their books.
It was like they couldn't get the originals.
They had to make compromises. But
If you, if you look that moon is light,
but you can tell it's a moon.
'cause the lines imply the darkness of knife.
But the moon is, is bright
A hundred percent. And
definitely there's the slight covering
of the right edge of the moon there.
Mm-hmm. Yeah. Peeking out from the clouds. Mm-hmm.
The scorpion is much more, um, centered.
It's pointed more or less straight up
and down in between to the point
where you may ask whether the, the tail curling one way
or the other makes a difference, but in, in the other image.
And, uh, is that the writer
or weight deck Mike,
that we're looking at again? Or the, uh,
No. No. Uh, but,
but yeah, you're right that the, the one
that I'm looking at was the, um, temple,
or was it Church of Light?
Um, CC Zane Church
Of, oh, the CC Zane one.
Yeah. So in that one, it's got
decidedly the scorpion pointed toward the left,
and also the area in which it sits is, is very light.
I mean, it's equally light in color as the white pyramid.
Yeah. I think the, the scorpion's tail,
while having chosen a direction, you had
to choose a direction
to artistically get the scorpion across.
Sure. You know, because if you tried
to draw the scorpion looking down on it
and its tail was curled up,
that's not gonna look like a scorpion.
Agreed. So they, I mean, yes, they chose to go one way
or the other, but you had to choose in order to
successfully depict scorpion.
And are those boats down below sailboat?
I do not have that in the CZ sailboat.
Looks like a sailboat
and then like one off in the distance
That is absent completely.
CCZ.
Can you go back to the CC Z one? Mike?
Does it have no panel down below at all?
It's just down to the scorpion, huh? Oh, wow.
See if I can get that. I don't know what this is.
This might be another ma do in the distance,
but this one definitely looks like a distant, darker sail.
And this is a lighter sail.
Interesting. Sailing through the night, I guess.
Um, so yeah,
the scorpion could represent some something that you could step on.
You know, you get stung by, I suppose, if the missteps
for the night are so, oh, so easy.
Maybe that's 'cause you hit a story scorpion.
Yeah. And it's oriented toward, um,
toward the dog that is black in color.
And you might also say it's oriented toward the white
pyramid, but, um, perhaps this a given
that a scorpion would be far more likely
to sting a dog than a pyramid.
This might be indicating, uh, that the path, um,
of negative polarity, which sees far more shadow, is fraught
with more opportunities for, for growth.
And this is experience of the spirit.
But I think that that could apply
almost universally.
Well, and to me, like you,
I know we've all met those people that are just
negative about everything, you know what I mean?
Like, they see the negative in everything.
Rain cloud, what? What's that?
Rain clouds, that's what I call 'em. Yeah.
Okay. That's a good way of putting it.
Because like, even if you try
and bring the sun out to these people, they, they are not,
they're gonna, they're gonna pitch posh everything you say
and indicate how your positive
could be turned to a negative.
And the,
the scorpion's tail being over towards the negative,
you know, that those people just kind
of seem like they're born that way.
Like they come from a negative portion of spirit
and their, their process is to see the positive.
So it's like that that negative dog is, is, uh, being stung
by the scorpion because they see the negative in everything.
Whereas the positive dog is like, oh look, a scorpion,
how about I just not touch it?
That is such an important point to bring up Nick.
And something I just want everyone
to always be a lot more aware of is what that general
outlook looks like, because it is a choice.
Again, it's the 22nd archetype.
And throughout all of these archetypes
and the experiences specifically, um, is where we see
how that choice plays out.
And whether or not we grow
or we get more catalyst of a more challenging nature,
or we release some need to learn through catalyst.
I mean, there is transformation. There has to be progress.
This is the fool's journey.
There is an origin and there is a destination.
And choice is the only thing
that will move you from one step to the next.
And in every case, every claim you make, every perception
that you claim, you are choosing what sort
of reality you want to manifest
and what you want to call to you.
And in this case, I would say you're calling
to you a scorpion.
You're calling more of a challenge to yourself
Against him.
Yeah. And, and life is all about
how you perceive it, you know what I mean?
Like, somebody, uh, sees the,
has the same exact experience,
but perceives it a different way
because they have a different perception, that choice
that they make on how to perceive the world.
And that's almost telling me
that if you choose the negative path
and you choose to see everything negatively,
and that's how you choose to experience the world,
the world is gonna sting you more often.
Oh, for sure. Mike, can you read this?
I wanna read the, I want you to read the question
And we, we have not been touching much on the experience
of the mind, but that's one we're wanting to compare it to.
And this beautiful one, we keep bringing back
up, but it's perfect for it.
Um, if the experience
of the mind has sufficiently chosen the right hand path,
as total purity is approached in choosing
of the right hand path, then total imperiousness from the
effect of the left hand catalyst is also approached.
Is this correct? And Ross says,
this is exquisitely perceptive.
The seeker, which has purely chosen the service
to others path, shall certainly not have a variant
of apparent incarnation experience.
There is no outward shelter in your illusion from the Gus
flurries and blizzards of quick
and cruel catalyst, which could be the wheel
of fortune that we're talking about.
However, to the pure, all that is encountered speaks
of the love and the light of the one infinite creator,
the cruelest blow is seen with an ambiance
of challenges offered and opportunities to come thusly,
the great pitch of light is held high above such a one so
that all interpretation may be
seen to be protected by light.
Man, I, uh, I'm just such a fan of that.
And that pitch of light is probably the spirit.
That pitch of light is the, is the light
that we're using from the, from the sudden.
Indeed. I just think it's so important,
and I'm glad that you brought it up, Nick,
because I mean,
we all encounter people like that all the time.
And you know, again, I call 'em rain clouds,
but it's like people walk around with, you know, sort of a,
of a rain cloud where the view is basically always of
what is, you know, more challenge.
And now they say challenge is offered, you know,
but that's more like opportunities than just, this is sort
of what my reality is.
And, um, gosh, it's so interesting
to encounter people particularly that, um, that might have
seemingly great awareness of like pulling up just the right
memes that spell out truth in this totally eloquent way,
and then go on to speak
of their own experience in this completely
victimized fashion.
And, um, man, to, to, to know the truth
or to at least recognize the truth, I think is perhaps
the light that you're talking about, Mike.
It is the opportunity to see the truth,
and yet the claim of the shadow is
what manifests the experience.
And so you might look at this
and go, oh yeah, I, you know, I, I believe in all this.
And yet your attention is constantly drawn back to
all the things that stand between you
and your own realization.
And I think that that's what calls more of the same,
because you get what you expect.
I've also keep, oh, go ahead, Mike.
No, go ahead. I keep thinking about the
Plato's allegory
of the cave too when we're talking about these things
because it's like, it's a perfect analogy that, you know,
if you're inside of a cave, you're looking at the backside
of the cave, you're looking at everything from shadow,
you're not looking to the light,
and all you can see is the shadows
that are cast from figures,
because you're not looking directly at the light.
You're looking at these forms
that are distortions of the true forms.
And as you begin to appreciate that,
you can turn up towards the light and look towards the light
and may be blinding, and you may turn away again
because it was too much for your process.
But as you begin to process that light more
and more, you can see everything in the truest sense
that there is no need for the shadow.
There's need, no need for the darkness.
You can continuously choose that path more and more and,
and see more and more because of your choice of the light.
That it is a choice.
And I look forward to when we get, obviously
to the 22nd archetype.
But I think even in, as we continue through these
and seeing more connectivity between the archetypes,
I'm even becoming more and more aware of the role that
choice is playing in transformation
and in our experience of the archetypes,
because it's not happening to us.
It's, it's never happening to us. It is simply us.
It's simply our energetic experience
and energetic bodies and our choices.
That's it. We choose, we reconfigure and we choose. Again,
That reminds me of the, the, um, I don't know, parable,
whatever that Alan Watts brings up a bunch,
and it, it's the, uh,
goes somewhere along the lines of like a farmer.
One day his, his horse runs away
and the town comes up of him
and says, oh my God, that's horrible.
Your horse ran away. And the farmer says, we'll see.
And then his horse comes back a week later
and has like six other horses with him,
and everybody's like, oh my God, look
how great your horse is back
and brought you six more horses.
And the farmer says, we'll see.
And then his son attempts to ride one of the wild horses
and gets kicked off and, and becomes paralyzed.
And everyone's like, oh my God, your son is paralyzed.
And he's like, we'll see.
And then the army comes through
and takes, uh, does conscription
and takes everybody that's an able-bodied person,
and his son is left home.
And everybody's like, oh my God, how lucky.
And he's like, we'll, see,
I, uh, I had an experience
of this literally in the last 24 hours,
and I'll try to summarize it extremely quickly,
but we had a, uh, customer once a few years ago that,
um, uh, more or less asked first
and then proceeded to hire one of our employees.
And first I asked my, my other leadership team, like,
does anyone have a particular problem with this?
And of course, some of the default angst was present, like,
well, yeah, it's in our
contract, they're not allowed to do that.
And I'm like, well, okay,
but still are you gonna, does
who wants to put up a fight for it?
You know? And everyone's like, well, I guess not really.
This particular person was not in,
not the most resonant with our team.
They did not vibrate at necessarily the same way
as the other people on the team that they were working.
And so I just shrugged and said, yeah, sure.
And, and then they left.
And then a few months later, another person on our team
who was also, um,
in a far more challenging way also found themselves, um,
somewhat non resonant with our collective culture
and also left.
And we found out sort of afterwards, went
to do some consulting for that customer
who shortly thereafter left our services entirely.
And again, I have this meeting with the leadership
and said, well, how does everyone feel about this?
And of course, there's energy that says, well,
obviously we gotta sue 'em.
And I just sort of laugh
and said, well, um, who wants to, to spend, you know,
whatever, uh, money we make in the next couple years paying
lawyers and who wants to spend all their time working
with lawyers and going to court?
And suddenly everyone kind of pipes down
and goes, well, I guess that's a good point.
I mean, not me. You know, it's like,
I might feel like this needs to be a fight,
but I don't personally want to go fight.
And so again, I shrugged and I said, this is no problem.
And so we didn't hold them even
to finish out their contract that they were under.
We didn't ask 'em for any early termination fees.
We gave them a, a perfectly, uh, professional offboarding
and, and off they went.
And then yesterday, uh, their two internal,
uh, IT people, um, they found themselves
with no IT staff anymore.
And they called us back, uh, teams me directly
and said, Hey, can we chat?
And I got on a call with 'em and said, Hey, how's it going?
And they said, well, man, we're in a real bind.
And they instantly had the full depth
and breadth of our resources there to, um, to get in
and, um, sort of mitigate the potential exposure
or damage that these, uh, past employees might represent,
and to get them locked out
and to take control over the network again.
And they already agreed to bring all services back in
before we've even provided them a
proposal and a quote to do it.
They're just like, obviously you guys need
to be back in here and doing this.
And it was like, there you go.
So as you said that, Nick,
it was exactly the experience that I have.
And now I point out to my other leaders
and other people who kind of observe those,
that if you just let things happen
and if you don't show up in resistance, if you realize
that every change in every, uh, new occurrence and,
and perceived challenge even is really just an opportunity
to know yourself in a new way.
On the other side of it, you might be really surprised, uh,
at how the actual benefit in the, in the actual result
actually feels so much better.
And also, you got to avoid that, that cesspool
of resistance, frankly,
to what's present when something seeks to change.
It's like, all right, here it is.
Like the universe is literally right in your face saying,
this is what needs to change right now.
It's not somebody coming in asking you, well,
if you could choose which of this, you know, would it be,
it's like, well, this is what's happening.
So you just go, okay, this is what's happening.
Let's see how it all turns out.
So I love the parable
and I also just got to live it this week.
I, I would love to jump into the, the quote about the,
the nature of the spirit a little more here,
because it really is like how, how often we doubt
and how often we question the goodness
and the perfection of the light that
that's coming into our reality.
And, um, we, we've read this a few times,
but it's, it's useful to go through the whole thing here.
Um, the question was about the nature
of the spirit being the devil in the dark, the dark Knight.
Um, and Ross said, we do not wish
to be facile in such a central query,
but we may note the nature of the spirit is
so infinitely subtle that the fortifying influence
of the light upon the great darkness
of the spirit is very often not as apparent
as the darkness itself.
The progress chosen by many adepts becomes a confused path
as each adept attempts to use the catalyst of the spirit.
Because we're working with the moonlight, we're attempting
to use the catalyst of the spirit from a dim lighting
of the moon few there are,
which are successful in grasping the light of the sun,
which is a significant, by far the majority of adep,
or you could say the self-identified as light.
By far, the majority
of adepts remain groping in the moonlight.
And as we have said, this light can deceive as well
as uncover hidden mystery.
Therefore, the melody, shall we say,
of this matrix often seems to be of a negative
and evil, as you would call it, nature.
But that's not the choice we have to make.
We have to make the choice, um, to see the light
that is always present, uh, to, to to be, um,
no longer groping in the moonlight, but
but to be seeing in, in the sun, in the sunlight.
And this other, oh, go ahead.
I was just gonna say that the, the whole, um, story
that Andrew told is, you know, if you chose
to be spiteful
and vengeful towards that person leaving,
then you become the black dog.
You put on the frequency
of the black dog looking at the negative pyramid,
and so you could have fought them, then they start
to hate you for fighting them.
You could have litigated the, the people that were trying
to take them then they hate you for taking them
or for, for fighting you, for fighting them, taking,
and like that negative path would've cascaded into more
and more and more and more negative, you know,
the bricks were being built on that negative pyramid,
whereas you chose to sit with it
and be like, well, let's see where this goes.
And it literally came right back to you,
like they left and they came back.
And that was the bricks being built on the white pyramid.
And, and the choice to see what is gently lit,
which is the truth that aller one,
even if we are in denial of that fact,
and people can make other choices,
and those are just as valid
and divine as opportunities for growth as every choice
that I make and everyone else makes.
And so it simply is what it is.
But to put it outside of the one infinite creator would be
to decide that this is my enemy and to now litigate
and to, to spend all kinds of time and energy
and resources to trying to fight this battle.
That to your point there is there is no winning,
there is no light to be had.
There, there is all more catalyst, more of the same.
So here we're looking at what seems like, oh man,
we're losing this customer when it turns out that like,
well, maybe we're losing the customer,
which maybe they needed to go learn
and we needed to go learn
through other other opportunities at the same time.
And, and in this this case, they came back
and now they're bigger than they were before.
And, um, it's gonna be a bigger contract.
And they, I mean, I'll be, gosh darn, they certainly learned
what it's like to try to do this type of work themselves
and realized why you work with a company that does nothing
but this because it makes us really good at it.
And you also have a lot of risk inherent when you try
to do this and anyone just gets let go
or leaves your company and suddenly all
of this important knowledge
that your whole organization depends on is now gone.
And they're like, oh, man, I guess we were being a little
bit pennywise and pound foolish.
We'd never done anything wrong.
We provided great service to them.
They just thought, well, maybe it's a little expensive.
And now they're like, yeah, you know,
it's a bargain at any price.
And their catalyst was to learn that the inherent value
and the services you were providing, you know,
and so they, when you choose, like if you had chosen
to be spiteful, choosing spite is
inherently saying separation.
It's because you don't spite your hand.
You don't spite a portion of yourself,
but you could spite the perceived
outside portion of yourself.
And if you just sit back
and you say, you know, like the farmer, we'll see, you know,
you're, you're going with the flow.
You're, you're, you're acknowledging the complex
interconnectedness of everything
and not trying to say, screw that thing.
Right. Just 'cause I can't see right now in this moment
how this is all gonna play out.
Yeah. I know that every single moment is architected
to perfection because of the archetypes,
because of all of these concepts that we seek to understand.
There's nothing that escapes 'em, there's nothing
that operates outside of these rules.
And so you can always rest assured
that it is operating in absolute perfection.
And in fact, if anything, you've just got an opportunity to,
to release an idea of perfection that was handed
to you by a collective.
It was handed to you by a mentor,
it was handed to you by a parent.
Whatever it is, it's whatever you think is perfect, is
what ought to be what should be
denies the inherent perfection in absolutely
everything at all times.
And so I would say in this case, what a great opportunity
to also bring a little bit more light to people on my team,
also to this customer.
Somebody who is in an industry
that is fraught with litigation.
I mean, they do not embark on their contracts
and they do government contracts,
and virtually all of them end in litigation.
Like them being in court is like them
going to the grocery store.
It's actually just completely normal.
And so for them to encounter someone
that was like, yeah, no, that's cool.
Yeah, whatever you want to do, yeah.
We're here to, we're here to help you make the decisions
that you believe are gonna serve you best.
And that's what I told him when I went
and met with him this morning.
I said, yeah, I mean, clearly that's what you're doing.
That's the only thing you can do, is
what you think is best in that moment.
And, and I understand that that's what you were doing,
which is why I, it didn't take it personally at all.
There was no problem. This is what you felt was best.
It wasn't like they woke up
and said, all right, we're gonna make this decision.
It's probably gonna bring a lot of risk
and maybe a lot of potential downtime or problems for us,
but at least we're gonna be able to stick it to that guy.
It was like, yeah, obviously that wasn't his motivation.
It just felt like he was gonna save some money.
And it was like, okay, well how can I, how can I hold
that against someone even if I, I might believe
that he is misguided, or he is, he is following the advice
of, of some people who are less experienced.
Um, even I don't get to decide.
It's like, I don't know, maybe he is gonna stumble his way
into some other really great, you know, situation
where everything is also really great.
I just don't know. And
so rather than deciding the way it needs to look,
I just shrug and say, well,
this is what's present right now.
And I can tell you what's present right now
for my business is that there's
opportunity frigging everywhere.
It's blowing up and it's falling down all around us.
And we're like, oh my gosh,
this is gonna be a lot to keep up with.
So, um, I like just letting that stuff happen.
Uh, I gotta go, Mike, can you pull the, the pa the session
that you had, the groping session groping of new
Light? Yeah. Um,
I'll find that back here
Real quick guys. I, I
got, sorry, I gotta drop off.
I've really been enjoying the conversation today.
So just wanted to say thank you again.
This one's been, this one's been a lot of fun.
So I, I look forward to the next one
and thank you all
for your beautiful insight as well. Thanks.
Likewise. Thanks Nathan. I have to jump off as well.
I had kind of a bit of a hard stop here, so,
All right. Uh,
I'm gonna have To do go done. Yeah.
Thank you guys. Sorry. Sorry to put that take.
No, no, you're good. I love it.
I, this whole understanding of the moonlight
to me was particularly helpful
because of this way of seeing shadow or light,
and it's always available.
So choose Well, my friends. All right. Yeah.
That mistake. See you guys. All right.
Nick, did you wanna say something else?
Well, I was just, thi I, they chose their words, so, uh,
you know, you hear it in, in, um,
the voice when she's speaking.
Rah chose words so well
and groping in the moonlight, just this, like,
I've gone camping with no moon.
I've gone camping with full Moon,
and you get up to go to the bathroom before the sun is up
and you are literally groping in the darkness if there's
no, you know what I mean?
And yeah. And you're, you're,
you feel very separate from the world,
world around you at that point.
But when there's good moonlight
and you can see you don't feel as separate.
Yeah, yeah. Yeah.
It's def literally like a physical act of, of trying
to just see, can I get something here?
Can I get a step Yeah. In there. Mm-hmm.
Yeah. Am I gonna get smacked
by a tree branch if I go this way?
Yeah.
All right. Well, I guess we can wrap it up.
Uh, yeah, that was a lot of fun.