Ra Uru Hu - The Senses of the BodyGraph.pdf

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

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

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

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

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LECTURE ONE The Senses of the BodyGraph

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

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

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RAVE ANATOMY I A Digital Book for Students

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

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

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LECTURE ONE The Senses of the BodyGraph

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

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

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

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

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LECTURE ONE The Senses of the BodyGraph

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

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

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

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LECTURE ONE The Senses of the BodyGraph

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

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

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

Rave Anatomy I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2007 Jovian Archive Corporation

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LECTURE ONE The Senses of the BodyGraph

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

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RAVE ANATOMY I A Digital Book for Students

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

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LECTURE ONE The Senses of the BodyGraph

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

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

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

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RAVE ANATOMY I A Digital Book for Students

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

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

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LECTURE ONE The Senses of the BodyGraph

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

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

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

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RAVE ANATOMY I A Digital Book for Students

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

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

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LECTURE ONE The Senses of the BodyGraph

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

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

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

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Illustration Library Lecture 1 The Senses of the BodyGraph

*Pg. 1 (* Refers to the gold book page #, not the pdf page #.)

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The Senses of the BodyGraph Related to Tone

Pg. 3

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