SOURCE_FILE: Ra Uru Hu - Advanced Mechanics I - 251p.pdf TITLE: Ra Uru Hu - Advanced Mechanics I - 251p PAGES: 251 --- PAGE 1 --- Advanced Mechanics I Post Graduate studies in the Human Design System Ra Uru Hu International Human Design School --- PAGE 2 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation ii Statistical Graphing/Adrian Kobler Cover/Mau Cattaneo Transcribed/Patricia Balentine Proofed & Layout/Becky Markley The original course illustrations are included in this book. The Rave BodyGraph™ and Rave Mandala™ are registered trademarks of Jovian Archive Corporation. --- PAGE 3 --- ADVANCED MECHANICS I Table of Contents Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation iii TABLE OF CONTENTS INTRODUCTION TO ADVANCED MECHANICS I .................................................. x Lecture One........................................................................................... 1 The Fourth Color ........................................................................................... 1 The Monopole Simply Captures .................................................................... 1 Everything Carries Some Kind of 4th Color Value ............................................ 2 The PHS 4th Internal Color is a Universal Principle .......................................... 3 All Things are Externalized Out of the 4 ........................................................ 4 Everything is about Getting the Tone to the Line ............................................ 5 The Master/Novice is the Universal Element .................................................. 6 Color Brings the Cognitive Information ......................................................... 8 The Homogenized World is Furniture ............................................................ 9 The 4: The Great Furniture Number............................................................ 10 The Importance of the Correct Relationship of the Color to the Line................ 10 The 4 Brings a Certain Flavor .................................................................... 11 The Wave of the 4: Kindness/Meanness ...................................................... 12 The DreamRave ....................................................................................... 13 Without the 4 There is No Frequency for the Monopole to Capture .................. 13 Living Your Lines ...................................................................................... 13 The Journey Demands Much of the Individual .............................................. 14 Standing Alone is Very Courageous ............................................................ 15 Two Ways to Live Life ............................................................................... 16 The Consequences of Seeking Differentiation are All Social ............................ 16 Look at Your 4s........................................................................................ 17 Lecture Two ........................................................................................ 19 The Four-ness of the Future ......................................................................... 19 The 4 Controls the Way in which the Frequency is Released .......................... 19 The Angle of Neutrino Reception Shifts the Release ...................................... 20 The 4 Holds the Mystery of the Evolution of Cognition .................................. 21 A Rave History Course .............................................................................. 22 The High Ground is Very Important for the Rave .......................................... 22 Nervous Eating ........................................................................................ 23 The Heating-Up Process Since 1781 ........................................................... 23 The Culmination of the 4 in its Cycle .......................................................... 24 The Return to Eden .................................................................................. 25 The Door is Closing .................................................................................. 26 We are the Library ................................................................................... 27 The Turning of the Wheel .......................................................................... 27 The Trans-Auric Aura ................................................................................ 28 The Potential of Cognition ......................................................................... 29 Be Ready to Help Someone Else ................................................................. 29 The Rave Children .................................................................................... 30 --- PAGE 4 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation iv The Nature of Penta ................................................................................. 30 The Conscious Penta ................................................................................ 31 We Have a Responsibility .......................................................................... 32 This is the Best Time to be Aware .............................................................. 33 What We Don't Know by 2027 We‘ll Never Get to Know ................................ 33 Outer Authority ........................................................................................ 34 The State of Religion ................................................................................ 35 A Deep Shattering is Coming ..................................................................... 36 The 16 Variables ...................................................................................... 37 Embrace the Knowledge as Deeply as You Can ............................................ 38 Lecture Three ...................................................................................... 39 Link Nodes and Variables ............................................................................. 39 Seeing History through Incarnation ............................................................ 39 The Program Sets Up All Circumstance through Incarnation .......................... 40 The Variables (2008–2027) Graph .............................................................. 41 The DLL-PLL (1781–2027) Graph ............................................................... 43 The DRR-PRR (1781–2027) Graph .............................................................. 44 The Plutonic Interregnum .......................................................................... 44 Incarnation is Orchestrated ....................................................................... 46 Link Nodes and the Incarnative Purpose...................................................... 46 Design Rules the South Node - Personality Rules the North Node ................... 49 The Four Transformations ......................................................................... 50 The Uranus Opposition .............................................................................. 51 Nodal Definition: No Linear Way One's Perspective Develops ......................... 52 There are Endless Areas to Explore ............................................................ 54 The 40.3: A Denial Body ........................................................................... 54 The Perception ......................................................................................... 55 The Moon ................................................................................................ 56 Base is Deeply Integrated into Every Design ................................................ 57 The Nine-Centered Uranian Life ................................................................. 58 Signposts for Conditioned Beings ............................................................... 59 Dietary Regimen is the Key ....................................................................... 60 The Variable Process has to be Lived Deeply................................................ 60 Two Kinds of Approaches in Human Design ................................................. 61 You Can Only Become Aware by Yourself .................................................... 62 Q & A ........................................................................................................ 62 Timing of the Development of the Nodes ..................................................... 63 Signpost for Design Node linking to the Personality Node .............................. 64 Nodal Phases—You Can‘t Go Back .............................................................. 64 Lecture Four ........................................................................................ 67 North & South Tonal Transposition ................................................................ 67 The Link Nodes ........................................................................................ 67 Base Orientation ...................................................................................... 68 Design Rules the South Nodes; Personality Rules the North Nodes ................. 69 --- PAGE 5 --- ADVANCED MECHANICS I Table of Contents Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation v The Archetype of the Holistic Being ............................................................ 70 Tonal Transposition .................................................................................. 71 Linkage between the Body and the Personality ............................................ 72 The Cognitive Architecture ........................................................................ 74 Tonal Transposition is the Key Ingredient for Life ......................................... 75 The Nodes are the Instruments of the Monopole .......................................... 75 Significance on the Surface ....................................................................... 76 Be Careful about the Attention Paid to the Personality Nodes ......................... 77 Frequency: View Affects the Body which Affects the View .............................. 77 Subtle Differences in the Way This is Interpreted ......................................... 78 Synthesizing the Elements ........................................................................ 79 The Hierarchy in Nodal Transposition .......................................................... 79 Look at Your Life Story and How You Get There ........................................... 80 Everything is Built on the Link Nodal Formula .............................................. 81 Operating Out of the Mind Distorts Tonal Cognition ...................................... 82 Advanced Analysis ................................................................................... 83 Alignment to Orientation Changes Aspects of the Perspective ........................ 84 Look at the Non-Linked South and North Nodes ........................................... 85 The Point is Navigation not the Design ........................................................ 86 The Adjectives: The Backdrop of the Story Line ........................................... 87 The Link Nodes: The Inherent Intelligence .................................................. 87 Seeing the Surface from the Cognition Point of View .................................... 89 Lecture Five ........................................................................................ 91 Story Line and Cognitive Potential ................................................................. 91 Link Nodes: The Instrument of Creating the Holistic Life ............................... 91 Variable .................................................................................................. 91 The Life Force of the Independent Variable .................................................. 92 The PHS Side of the Independent Variable .................................................. 93 The Personality Side of the Independent Variable ......................................... 93 Tonal Transposition .................................................................................. 95 An Analytical Formula: The Story Line ........................................................ 97 Tonal Transposition Brings a Way Design and Personality Can Align ............... 98 Tone Infuses Everything with Cognitive Potential ......................................... 99 The Design of the Cognitive Potential: The 30.6 ......................................... 101 Tonal Transposition of the 55th Gate Design South Node ............................. 102 Cognitive Potential is Tonal—Story Line is Shaped by Color ......................... 103 A 20 Year Story Line............................................................................... 104 The Example: The 55.4 ........................................................................... 105 The Underlying Theme of What the Story Will Be Built On ........................... 106 The Personality North Node 29.6 Story Line............................................... 107 The Design is Always Going To Tell the Story ............................................. 107 You Cannot Compare Yourself with Anybody Else ....................................... 108 Everybody's Process is Unique: You Need Your Own Signposts..................... 108 Inner Authority ...................................................................................... 109 --- PAGE 6 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation vi When You're Correct You Can Just Sit and Watch ....................................... 110 Q & A ...................................................................................................... 111 The Phases of the 6th Line: The Environment is their Roof ........................... 111 Is Distraction Important Before the Saturn Return? .................................... 111 Distraction from the 1st Line to the 4th Line in a Child .................................. 112 A Question on the Story Line and Cognitive Potential .................................. 112 A Question on Cognitive Potential............................................................. 113 The Emanation Coming From Nodal Connectedness with People ................... 114 Is the Sun/Earth the Costume of the Role Play? ......................................... 115 The G Center Itself is Not the Identity ...................................................... 116 What is Key for Teenagers to Understand? ................................................ 116 North Node Migrating to the Unconscious Side? ......................................... 117 Lecture Six ........................................................................................ 119 Story Line and Nodal Statistics .................................................................... 119 The Two Sides of Link Nodes ................................................................... 119 5,000 Basic Story Lines .......................................................................... 120 The External is a Duality ......................................................................... 121 The Information is for Those Deeply Involved in Human Design ................... 122 Story Line does not Transpose ................................................................. 122 Resonance to Your Story Line Happens Only When You're Ready ................. 123 Valleys: Seeing the Possibilities within the Environment .............................. 124 The Need to Live the Basic Theme of Color ................................................ 125 The Design South Node in the 56th Gate .................................................... 125 2nd Line Body has to be Very Careful to Answer the Right Call ...................... 126 The Personality North Node 61st Gate ....................................................... 127 The 6th Line Personality ........................................................................... 128 The Chart of Ben Affleck ......................................................................... 129 The Story Line Sets Up Your Life .............................................................. 129 Cognitive Potential ................................................................................. 130 The Personality South Node 62nd Gate ...................................................... 131 The Design North Node 60th Gate ............................................................. 132 The 2nd Line .......................................................................................... 132 We All Have a Story Line and Cognitive Potential ....................................... 133 Resonance ............................................................................................ 133 Statistical Charts .................................................................................... 134 Nodal Tone Transposition: Design to Personality (2008-2027) ..................... 134 Nodal Tone Transposition: Design to Personality Left-Right ......................... 135 Nodal Gate Activations in Defined Centers (2008-2027) .............................. 136 Nodal Gate Activations in Defined Centers Pie Chart ................................... 137 Nodal Gate Activations in Open Centers (2008-2027) ................................. 138 Q & A ...................................................................................................... 139 Link Node Chart in MMAI ......................................................................... 139 Linking of the Bases ............................................................................... 139 Personality 4th Tone ................................................................................ 139 People with the Same Variable/Brown Study ............................................. 140 --- PAGE 7 --- ADVANCED MECHANICS I Table of Contents Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation vii The Relaxation of the Body when Sitting Beside the Same Variable .............. 141 The South Node and the Story Line .......................................................... 142 Attachment to the Not-Self...................................................................... 143 The Work on the Psychological Side .......................................................... 144 Distortion on the Personality Side ............................................................ 145 Distraction after the Saturn Return........................................................... 145 Lecture Seven ................................................................................... 149 Variables: Following the Story Line, Part 1 ................................................... 149 Exploring the Way a Fractal Works ........................................................... 149 Secret of the Fractal is Visible on the Surface ............................................ 150 A Synthesizing Holistic Process ................................................................ 150 A Surface Frequency .............................................................................. 151 The Four Journeys .................................................................................. 152 The School of Enlightened Selfishness ...................................................... 152 The Left/Left, Left/Left ............................................................................ 153 The Right/Right, Right/Right .................................................................... 154 Variable Represents the Road Map for the Transformative Journey ............... 154 The Archetypal Journeys Bind Us in a Very Special Way .............................. 155 Deconstructing the Left/Left Variable ........................................................ 155 The Surface is the Place Where We Can Actually Meet ................................ 156 Planting Your Cross ................................................................................ 156 The Graph: Variable 1781-2027 ............................................................... 157 The Blue Zone ....................................................................................... 159 What are We Looking At? ........................................................................ 160 Seeing the Way the Program Controls the Way Life Develops ...................... 161 No Single Variable Carries all Possible Story Lines ...................................... 161 A Gateway of Understanding How to Decode a Magic Square ....................... 162 Every Variable has to be Anthropomorphized ............................................. 163 The Way in Which Evolution is Controlled .................................................. 164 Lecture Eight ..................................................................................... 165 Variables: Following the Story Line, Part 2 ................................................... 165 Developing the Integrity of the Authority of the Individual .......................... 165 The Seven Year Marker is Very Important ................................................. 166 The Nine-Centered Being is Here to be Aware ............................................ 167 Planting Your Cross ................................................................................ 168 Hundreds of Thousands Differentiated Story Lines ...................................... 169 The Movement between Saturn and Kiron Sets the Foundation .................... 169 Story Lines per Cognitive Family (2008-2027) Graph .................................. 170 The Evolutionary Pattern: Moving Away from the Left to the Right ............... 171 The Interconnectivity of the Variables to Each Other .................................. 173 Crosses Distinguished by Where They‘re Planted ........................................ 174 Post-Kiron ............................................................................................. 174 Following Your Own Inner Authority ......................................................... 175 Everything is Within Variable ................................................................... 176 --- PAGE 8 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation viii Q & A ...................................................................................................... 178 Variable Represents the Synthesis of the Synthesis .................................... 179 Variable Relationships ............................................................................. 180 Interactions between None-Resonant Variable Types .................................. 181 The Program Dictates Everything ............................................................. 182 Practical Surrender ................................................................................. 183 Comfort Level with the Rights .................................................................. 184 Study of the Students over the Last 19 Years ............................................ 185 Colors of the Charts ............................................................................... 185 Design Left/Right Nodal .......................................................................... 186 The 16 Bundles Related to the 16 Families ................................................ 187 Left Personality and Design with Both Right Nodes ..................................... 187 Maintaining the Dignity and Integrity of What We Are ................................. 188 Lecture Nine ...................................................................................... 189 Dependent Variables and Angle ................................................................... 189 Through Angle the Passenger is able to Align to its Perspective .................... 190 Human Design Incarnation Cross Orientation Graph ................................... 190 Personal Destiny .................................................................................... 192 The Voice said Jupiter was the Center of the Solar System .......................... 193 The Link Nodes Bind the 2nd and 3rd Transformations Process ...................... 194 The Four Quarters of Saturn .................................................................... 195 The First Saturn Quarter ......................................................................... 195 The Second Saturn Quarter ..................................................................... 196 Teenagers ............................................................................................. 196 The Dependent Variable Drawing ............................................................. 196 Personality Fits its Angle into the Story Line .............................................. 197 An Incredible Cognitive Potential in Every Human Being .............................. 198 The Whole Individual Program ................................................................. 199 The Dependent Variable & Cross Angle (2008-2027) Graph ......................... 200 The Last Generation with the Nodal Cycle of Inner Truth ............................. 201 The Greatest Signpost of All .................................................................... 202 Q & A ...................................................................................................... 202 Kumud's Comment on Her Story Line ....................................................... 202 South Nodes Dominate at the Beginning of the Journey .............................. 204 Teenagers and Design ............................................................................ 204 The Basics for Teenagers: Type, Signature, Strategy and Authority .............. 205 Individuality and Melancholy ................................................................... 206 Planets in the Nodal Positions .................................................................. 207 Both Nodes and Design Sun/Earth in 43/23 ............................................... 208 Left Nodes with a Right Mind ................................................................... 208 Melancholy in a Double 3/60 Design ......................................................... 209 Discussion Groups .................................................................................. 209 Intellectual Information for the Passenger ................................................. 210 Right Angle and the Ability to See Oneself ................................................. 211 Question on DRR/PLR ............................................................................. 211 --- PAGE 9 --- ADVANCED MECHANICS I Table of Contents Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation ix Environment and Personality Nodes.......................................................... 212 Lecture Ten ....................................................................................... 213 Variable Statistical Graphing ....................................................................... 213 Variable is the Key to Order .................................................................... 214 Evolutionary Views ................................................................................. 214 The Variable and Reflector Graph ............................................................. 215 The Variable and Projector Graph ............................................................. 219 The Variable and Generator Graph ........................................................... 221 The Variable and Manifesting Generator Graph .......................................... 222 The Variable and Manifestor Graph ........................................................... 223 The Independent Variable DL-PL and Cross Angle Graph ............................. 225 The Independent Variable DL–PR and Cross Angle Graph ............................ 226 The Independent Variable DR–PL and Cross Angle Graph ............................ 227 The Independent Variable DR–PR and Cross Angle Graph ............................ 227 The Independent Variable and Cross Angle Graph ...................................... 228 Q & A ...................................................................................................... 229 Seeing, Seeing, Seeing ........................................................................... 229 Changing the Future ............................................................................... 230 Anomalies ............................................................................................. 231 Generators and the First World War ......................................................... 231 A Quad Right Manifestor ......................................................................... 232 Manifestor Children ................................................................................ 232 A Quad Right Manifestor: Sensitive and Closed Off ..................................... 233 The Program and Profile Numbers ............................................................ 234 BG5 and Variable? .................................................................................. 235 Manifestors and Penta ............................................................................ 235 Statistics Beyond 2027 ........................................................................... 236 Results of the Breakdown of the Cross of Planning ..................................... 236 The Stock Market and Neptune in the 49 ................................................... 238 Will the Markets Ever Come Back Up? ....................................................... 239 The Source of the Crash is Housing; The Tribe in the 49 ............................. 240 ~ --- PAGE 10 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation x INTRODUCTION TO ADVANCED MECHANICS I A 15 Lecture Post Graduate Program This program is dedicated to the elaboration of themes introduced in advanced pro- grams during the last two years (2006-2007). Each of the five weeks of this pro- gram features a specific theme examined in the two, 1½ hour consecutive classes of that week. In Advanced Mechanics, Ra continues the exploration of diverse themes from Base Orientation and Link Nodes to Variable and Capture Theory. This program is open to PHS and Rave Psychology third year students, PHS & RP Graduates, DreamRave Analysts, and students who have taken Base Theory, The History of Geometry, Variables, and Lunar and Planetary Color. This is a transcript of the original course taught in the Fall of 2008. ~ --- PAGE 11 --- Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 1 Lecture One The Fourth Color As I said, I'm going to start you off with a blockbuster. That is, one of those things that is really deeply fascinating and it has to do with the nature of life itself, it has to do with the nature of the illusion of this life that we live. This illusion that's us, it's the Monopole that does this work. It's the Monopole, and we've had enough discussions of this, the Monopole that holds us together in the illusion of our se- parateness. And how does the Monopole do that? It does that through capture fre- quency. What is it capturing? This is really where it all begins. If you go back to my earliest discussions about the nature of Color and my earliest comments about the various Colors, one of the things I stressed from the beginning is that the whole nature of transference, all of that, and the fact that it is the transference that allows the cap- ture frequency to operate, all of that is because of the 4th Color; all of it. The Monopole Simply Captures Let's think about it for a moment in terms of what's really going on here in this illu- stration. You have something taking place at incredible speeds at a subatomic level. It is graphically simple for us to be able to do Base, Tone and Color and say entry frequency, inner frequen- cy and exit frequency. But it's something to really un- derstand that at that level, at that dynamic, at that speed, that the exit frequency, it is going to be incredi- bly difficult to distinguish any difference between the exit frequency going out of one of my crystals and the exit frequency going out of one of yours. This is the first thing to grasp. In other words, there is a generic frequency, if I can put it that way, a quality perhaps in frequency that is what, in fact, the Monopole is going to connect to. One of the most difficult things to grasp about this illusion is --- PAGE 12 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 2 how does that actually work. It‘s not like the Monopole is distinguishing between nuances of Color. It isn't. The Monopole is simply capturing. It's not intelligent; after all, it's just a mechanism. So it's capturing. It has the ability to capture some- thing. That something is a quality that is inherent in that exit frequency. But that exit fre- quency, as I said, would be extraordinary difficult, other than with the knowledge that we have, to actually be able to tell the difference in the exit frequencies because every single exit frequency, regardless of what the Color is underneath, all carry the same quality, a quality that is essential otherwise it can't be captured. And where does that come from? Let's go back a step. This is the 4th Color in this schematic. And there is something to grasp about the 4th Color, what it means for everything else underneath and what it means for everything else above. Remember, this is deeply nuanced, this know- ledge. One has to be careful about the way in which you translate this. Everything Carries Some Kind of 4th Color Value But the first thing I can say to you is that there is only one Color. That's the thing that's so interesting, isn't it? It isn't to say there aren't variations. But in essence everything carries some kind of 4th Color value. And that 4th Color value, it's that value that the Magnetic Monopole recognizes and the Magnetic Monopole captures. The thing to understand about the 4 is that everything is of it. So the themes of 4 transference that we talked about, the way in which the 4 can transfer not simply to the 1 which is opposite to it, but it can transfer in all these different directions not because it is going to them, but in a sense they are already of it. In order for the Monopole to be able to do its job and to be able to capture, it has to have this quali- ty. --- PAGE 13 --- LECTURE ONE The Fourth Color Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 3 Think about that. Think about what that means about the 4s wherever you see them at any level that you see them. Let's talk about the hexagram and the construct of the hexagram and the way in which there is a shift in the hexagram between the 3 and the 4. One of the things to grasp about the 4 is that it is a marker. It is a marker that, because of what it is, by the time it gets to the surface in line structure, it is in a sense creating the trigram. Everything comes from below. The PHS 4th Internal Color is a Universal Principle When you think about the 4th Color, let's think about it in universal terms for a mo- ment. Again, remember this is an intellectual indulgence, this journey. Let's just enjoy the journey before there are any conclusions. Think about the 4th Color on the Design side. Think about the 4 as it relates to dietary regimen. And let's think about this as a universal principle, not simply a specific circumstance of dietary re- gimen, but really something universal because, in fact, the 4 is a universal element. It is a grail element. Everything is in it. Everything, in a sense, is deeply, deeply connected to it despite the fact that they display other attributes. So, when you think about it on the Design side and you're looking at the internal and the moment you think about calm and nervous, the first thing to understand is that everything else came out of that, because that's the universal principle. We tend to look at things the way in which the hexagram gives us the construct from the 1 up to the 6. So, we see an evolutionary pattern, the way I describe it to you, that evolu- tionary pattern that always is moving in that configuration. But there is a deeper evolutionary truth, because here within the crystal, when you see the 4 this way, you see that calm and nervous is the starting principle that di- vides the binary of what we are as a species. It is a vast, vast generalization. Not just simply that it is specific for anyone who is a 4 on the Design side, like me, as an example. But it's more than that. It's like global cycles as a background frequency; it is a background frequency because everything is connected to it. Oh, at least it took all kinds of very refined insights into the way in which dietary re- gimen is going to operate. The fact is that we know calm and nervous is a left/right phenomena. So, in fact, whenever you look at anybody's dietary regimen you should also look at the left/right for their calmness/nervousness. Because those conditions, because they are universal, will always apply and one is going to be bet- ter for them than the other, even though it is not specific for them. It's quite something to think about. When I was first laying out the foundations of Color, the last thing that I wanted to do was explain what the 4 really was, because then you get caught up in seeing everything through its lens, which is very danger- ous, because it doesn't work that way. Remember, I'm deconstructing, I'm showing you how something works. Yes, the phenomenon is there. But the natural 3-2-1-5- 6 that is the natural Color of somebody's design, that is going to stand on its own. It's just important to understand that it is connected, that it's relevant, that it is a source and as such, you begin to see the basic elements. You begin to see how the --- PAGE 14 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 4 basic elements, if we look at them through Variable, how this 4 is establishing a cer- tain mean, if you will, because it's the bedrock. All Things are Externalized Out of the 4 It is out of the 4 that all things are externalized. I think only now can you really be- gin to grasp why it has this keynote—externalization. That's its whole story. It is the externalizing instrument. It's what the Monopole recognizes. It's what the Mo- nopole captures. It is what is inherent as a quality of the 4, this quality that is there in every distinct nuanced frequency of the other exit frequency of the Colors. Every- thing is the 4. So that the Monopole can recognize it and the Monopole can pick it up. Environmentally, we know it's Mountains. It's interesting—take the high ground; the high ground is really the root of things. It's interesting about that because the re- duction of oxygen is something that benefits clarity of mind, inspiration, and aware- ness. Everything is out of the 4, everything. It gives the 4th line, as an example, a whole different value when you're looking at it. And what do you see? The want, the motivation of need. If you put all of the ele- ments of the 4 together, what you have is a basic foundation blueprint for existence and order, to externalize the cognition, to externalize the differentiated potential, to externalize the living consciousness field, to externalize all of it. [A list of ‘4’ key- notes are at the end of this Lecture.] And every element carries this externalizing engine because it's the only thing that the Monopole will capture. It will not capture anything else. This line that's here, this is where the whole story is. This happens to be a specific mapping. These two illustrations [below & page 2] are part of a package of illustra- tions that I used in The Complete Guide to the Human Design System as a way of illustrating basics, the way in which programming takes place. But it is really some- thing to understand how pro- found the influence is of this. And to understand that every- thing else is dependent on this because this is the only thing that gets across the barrier. Nothing else gets across the barrier. So, what does it tell us about the 4? What does it say about the 4? If you begin to distill everything that we understand about the 4s and the various keynotes, if you begin to look at this, this is where—there is a life program. There is a basic, basic life pro- --- PAGE 15 --- LECTURE ONE The Fourth Color Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 5 gram. It's why the 4 is the master and the novice. It's the basic life program. It is something very, very special to see, to see it in this context, to see it as more primi- tive, in a sense, than anything else because it is the basic frequency. It is what the Monopole captures. It's why everything can be so easily distorted. It's why it's so easy for transference and distraction to take place. It's built into this. But to isolate it, to take it out of context, to deconstruct the 4 is to begin to get very, very close to the life program, because it's what we're looking at. Very close to that basic binary that is going to drive the juxtaposition that is life. And that basic binary that is going to be deter- mined by the left-ness and the right-ness is going to be determined inside. Everything is about Getting the Tone to the Line That frequency inside is the most complex of all the frequencies. Not only is there a frequency, but there is even an echo because it's taking place within an interior structure with many ways in which the frequency can be distorted, reoriented, what- ever the case may be before the actual exit. Again, I have to caution you at what level all of this is taking place. Yet, it is here within the Tone, the tonal architecture, the tonal cognition, everything about the program is to get us to a place where the cognition can be realized on the surface. --- PAGE 16 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 6 Everything is about getting the Tone to the line. This is the whole story. And the Tone itself is at the mercy of the Color, everything is. When you get right down to it, everything that determines our existence, ultimately, is rooted in what the 4th Color is; everything. It's one of those, for me, fascinating little items. Think about all these crystals. Think about all the life forces that are held together in the illusion of their existence. It's not like there is some kind of bizarrely unique instrument for each of the captures. There isn't. These are formulas. It's the combinations that create differentiation. All of this is based on just logical pat- terns. There is a mechanism. It's what makes capture frequency so extraordinary because here is where the mechanism is. But what is it capturing? It's not just a matter that it is cap- turing or distinguishing, it's not awareness. It's not distin- guishing the unique potentials of the frequencies. It isn't. It is simply capturing. And what it is capturing is a unique quality that is both arche- typically expressed in the 4, but is present in everything else. As far as the Magnetic Monopole is concerned, everything is a 4. It's the distortion in the nuances we live out as a problem. That's our thing; we have to deal with that, don't we? We're programmed from the bottom up. This relationship between Base and Color, both of them are basically one thing. It's what makes them both so interesting. Base has this space as an illusion in its core. There is always, regardless of whether you're looking at from one side or the other, going to be an element in the core which is the juxtaposition, the whole that's greater than the sum of all the other parts. You can see that the Tone is the place where, in essence, the diversity of possibilities truly emerges. There is no—well, there is actually, it's not even correct for me to say that because you all know in our tonal architecture that we have all of those six elements but there is the seventh which is the unifying element of sound. In fact, all of them are rooted in some kind of an oneness. And in fact, you can take that jour- ney through them; take that journey through that particular singularity that ex- presses the root of the nuances, because it's really what it is. It makes the 4 very special. The Master/Novice is the Universal Element I don't think, frankly, in an analytical sense that it adds significance to the way in which it's lived out in any kind of personal level. But in a transpersonal level, it's very powerful. Think about the master and the novice. Here you have a classic 4 --- PAGE 17 --- LECTURE ONE The Fourth Color Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 7 theme. In thinking about the master and the novice, to recognize that if, in fact, what I am suggesting to you that there is only the 4, that the master and the novice becomes the bedrock upon which everything about our evolutionary awareness de- velops, and it seems like an obvious, doesn't it? Everything comes out of that mas- ter/novice. All the other trajectories, all of the other plays that are there are rooted in the master/novice. It is the universal element. Wherever you look at the 4s it is what you're going to see. So, we, all of us, regard- less of our roles, regardless of our designs, the master/novice is something that we need in our lives on all sides. It is one of those basic elements because we are a communicative species and everything about the way in which our evolution is sup- posed to take place is as much cultural as it is biological. Every day that I do my work I come to a place of deeper and deeper recognition of how profound the seven- centered consciousness permeates life on this planet. It permeates it, locks it in, and doesn't allow it to breathe, because it doesn't really allow it to breathe. The Program is an incredibly dense thing. These elements in the 4 are ancient ele- ments. They are ancient elements that were the bedrock of the rise of the seven- centered being. We have a real problem in being able to shed the raison, the reason for existence that we've inherited from the seven-centered being. We don't know how to take that burden. And when I say we don't know, I mean the homo- genized world does not know how to take that burden off. And the doors are closing. Everything about the sev- en-centered being was about fear; fear at every level you can imagine, fear, fear, fear, fear. And every sin- gle attribute that's here, every single attribute that flowed through the mas- ter/novice—because remember it all flows through the master/novice—what do we learn, what are we taught? The homogenized world has taken hold of this universal theme and it chokes us with it. What are they taught? Who are their masters? Where are they being lead? I'm a dualist. I can see the good, the bad, the holy and horrendous in anything. And I can see the horrendous in this as much as I can see the holy. Whenever you smell the nasty side, you look to the homogenized world because it takes everything out of balance. These basic themes have been distorted. This is what we have. We have a world in which the underlying magic, the underlying beauty, the underlying magnificence of what it is to be a nine-centered being, we are incredible creatures. --- PAGE 18 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 8 You know those wonderful flowers, you wait for them and you wait for them and you wait for them and they come, and they don't stay long. I have a pond. Every once in a while there is a water lily. There's nothing more beautiful, at least in my eye, than a water lily, fresh, just opening up in the light floating on the water. It's a mag- nificent thing. Then it's gone. That's us. That is where we are. That is what the nine-centered being is about. We are transitional form. We are walking out of the human process, entering in to a rave process. This is the end. It doesn't matter that it takes one thousand plus years; it's not the point. In evolu- tionary time this is absolutely nothing. It's about now. It's about understanding that if we don't take this shroud off our shoulders we are going to be tormented by the primitive root of all capture, the distortion of it that we must bow down, that we are either novice or master in the way the homogenized world moves over us. We‘re caught in it. How distorting it becomes. And it's dangerous. It's infective. It's the great externalizing agent. So, everybody is concerned about need. That need just sits there. And the homo- genized not-self world rides that. Oh, do they ride that. Incredible. But there are other things, as we know. The denser the conscious, the less able it is to be able to live out the sophistication of the nuances. What it means to be able to live out your design, this is really something. In the homogenized world all we get is distorted themes. Oh yes, it is wonderful to see the way it actually works. Yes, this is the way the Monopole can capture, but what a price to pay when the world is unaware, shrouded in their seven-centered fears and doomed with them. Do you see how those fears are alive today? It's a separate issue, we know that, global cycle; times are changing. The bottom is falling out of the great bargain that has held this age together. And these themes that sit there, how they become dis- torted, how they become totally wrapped with the homogenized world's ability to simply coat this over everybody and give this to everybody as their patina. Most of them out there, because they are transferred, because they are homogenized, they have no access. They're thriving on transference. This is where the 4 lives. This is how it gets to put its quality into everything. And that quality becomes an underly- ing theme. Think about it. Think about the way in which the homogenized world sees the differ- ence between those who are high up and those who are low down. It feeds off the tensions of the calm and the nervous. All of that becomes an underlying theme in the way homogenized humanity is held to a dumb frequency, a soup of a frequency that the Monopole captures because the quality is there. But the distortion is built into it and the not-self transferred distracted being is loose in the world. Color Brings the Cognitive Information It's quite something. I look at the surface and what I see on the surface is theatrics. I don‘t mean to be literal or anything, but when I look at the line or I look at the --- PAGE 19 --- LECTURE ONE The Fourth Color Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 9 gate, I am looking at a script. It's about what you bring to the script that make it different and brings it alive and creates its uniqueness. And how you bring things to that script? You bring them with Color. It is Color that is carrying the cognitive in- formation. How else can you bring beauty to your life? There is no other way. The Homogenized World is Furniture Think about the homogenized world. And when you think about the homogenized world and you look at all the beings, you notice something right away. When I'm rude, I call it furniture. Many years ago, long before I was Ra Uru Hu, I was a mag- azine publisher, a fashion magazine, actually. I was doing a particular spread, what- ever it was, and I had hired a photographer and his team and they brought in all kinds of models and whatever. At some point I came down to the studio to see what was going on. As I came in, the chief pho- tographer, the director of all of that, I heard them shout to some- body, I need furniture. I was young; I was in my 20s. I was rather naive. I was wonder- ing what furniture and from where. I was ex- pecting sofas and couches. No, no, lo and behold his assistant walked in dragging two or three models behind him. That was furniture. It stayed with me, obviously. I found it so astonishing. It is on- ly in all of these years since, which it has taken on almost a comic level, a tragic comic level, I guess, is the fairest way to say that. This is what the homogenized world is. It's furniture. I love the metaphor of a movie. Movies have their stars. They have their leading characters. They have those people who actually speak. They have talking roles; that kind of stuff. But in every single scene, in order for a scene to have any sem- blance of life, there is furniture. There are people in the background doing things, seeming to be talking to each other, involved in activities, or whatever. They don't say anything. They're lucky if they're remembered at the end of the film. And quite frankly, most people never watch all those credits to even know they were even there. It can be one of the tragedies of life. --- PAGE 20 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 10 The 4: The Great Furniture Number I think this is what the 4 really brings. This is the—I hope you're laughing out there, I can't hear you—this is the great furniture number. This is what creates that, creates this homogenized way in which you bring that spirit to what is fundamentally a performance. Think about this whole business here. When you come into Human Design you think lines are really important. I'm not suggesting they're not. But when you come in you think you have it, you know your lines, you dig down below the surface of your definition and your Strategy and Authority, here are all these little nuances and you think, ―Yes, that's me.‖ You take any line and you know that there are zillions of people who have that line. They all have that line. There is no such thing as a unique line. There is a unique performance of that line. I've seen so many people play Hamlet. I really have. I think I've seen in stage, film and television I guess maybe 20, 25 perfor- mances. I only really remember one or two. I think that this is one of those things about the nature of a line. It's how you deliver it. It's what you bring to it. It is the intelligence behind it. It is the feeling behind it. It is the awareness behind it. It is the experience behind it. It is the depth that's behind it. It's the purity; whatever it is. The Importance of the Correct Relationship of the Color to the Line Have you ever seen one of those terrible audition scenes where you have 20 people who are going to read the same line to try to get the job? This is what the line is; it's a line. This is the mask. This is the way the shell interacts with other shells. It's the script you're given. But what do you bring to it? The only thing you can bring to it, there is only one thing that is going to make a difference and that's the relation- ship of the Color to that line. Because we know that if the relationship of the Color to the line is correct, everything else from beneath is going to move through. --- PAGE 21 --- LECTURE ONE The Fourth Color Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 11 So it's this relationship between the Color and the line. When you're dealing with homogenized society, they're all doing the script the same way. They're all doing the lines the same way. There is no life there. When I began as a professional doing readings, it was an amazing thing for me—after all, I wasn't into any of this kind of stuff—that I could just read people. It was even more amazing that they saw themselves. This was the beginning of a process. But I noticed something right away. I noticed that the vast majority of the people I worked with, their particular activations always carried the same flavor. For me, this is really what the 4 does. It brings a certain flavor. The 4 Brings a Certain Flavor We can begin to examine it. We can begin to go deeply into the way 4s operate at the Color level in terms of the Cross of Life, both the Design and the Personality lev- el, internal/external, the Variable configuration of it, because what you're really see- ing is the way everybody is being controlled in that way in which their script is being performed. They're not bringing their unique cognitive creativity to that expression. They're not. Those kinds of people who pretend to be something in order to act something, they're not. They don't have it because what makes the great perfor- mance a great performance is that you don't think of it as a performance at all. You fall for it hook, line and sinker. It's a living thing. I had a fabulous example the other day, and I do recommend this film. It's called Mongol. It was actually made in the Mongolian language by a well-know Soviet film director, Sergei Bodrov. A number of years ago I think it was nominated one of those Best Foreign Film categories, that kind of thing. It is a sub-titled film. It was gorgeous. It's the story of the youth of Genghis Khan, Temujin. It was beautifully, beautifully done. It's spectacular film. The themes that were there were alive, these themes that are archetypal, that are the way in which you control society, all of these things, all of them were emerging. You could see them. It was all about this. And one of fascinating things in watching this is that I didn't need to look at the subtitles. I saw them anyway, if you know what I mean. I was so taken in by the magic of the performance, what certain crea- tive beings can do when they fully embrace a role. I love the metaphor. I do, truly, love the metaphor. This is what life is about. The thing is that we don't have to develop acting skills, because that's not the point. The point is that we need to liberate the inspiration that is going to bring those lines alive, that's going to fill them with their differentiated potential because that's what it's all about. Then you get the performance. This is the thing about people and their crosses. I have a thing about crosses, I really do. There are mornings I wake up and say, I shouldn't have told them. Crosses, whoa, yeah, I know they're inter- esting. I know all of that. But what it is to be on that cross is that you have to have been able to find the spirit of your lines. This is what it means to differentiate, to express as a character outer authority, the beauty of what's possible in that. --- PAGE 22 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 12 What a journey it is to get there. And to see that we are always handicapped by the phenomena that gives us existence, this 4. Everything else is beholded to it, and in most cases, trapped by it. So there is this deadness in the way in which the drama of the lines is lived out. There is a banality to it that is purely this and that, the left- ness and the right-ness of the transformative 4s, because that's what it is. And this becomes the "this and that" of the mundane homogenized world, everything caught in that balance sheet. They're not interested in anything else. It isn't to say those beings who have this Color and that Color—remember I told you not to jump to conclusions—it doesn't mean that that's the thing. We studied all that, we know how that works. What I'm showing you here, the reference I gave, is to think about this in the same way that you would think about the background global frequency. It all comes out of this. It's there. The Wave of the 4: Kindness/Meanness Recognize something deeper than that, the wave of the 4. Have you ever thought about the wave of the 4? In one of my Mechanics of the Maia TV shows coming up, I'm going to do the wave mechanics, the wave mechanics beyond the emotional system, the wave me- chanics that are there in the way lines oper- ate. The wave me- chanic of the 4th line is kindness/meanness. I want you to think about the way in which 4s lay out a foundation for a background frequency for homogenized hu- manity. Their "this and that" is kindness/meanness. This is the polarity. They don't have any authority. And this is the externalizing force. They don't have any unique authority, they don't have au- thority that they can stand on and resist the power of this. And by the way, obvious- ly, it is something different if you're somebody who has the 4 Color, wherever it may be in your Variable construct; obviously you're intended to align to the power of this. But again, you're here to live that out in a cognitive way, not to live that out with the distortion that transference brings. Nobody is getting the correct cognitive feed when they're in transference. So the way that 4 operates at that dumbed-down level --- PAGE 23 --- LECTURE ONE The Fourth Color Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 13 is very different than what its actual potential is. But it's that dumbed-down level that dominates and it's that dumbed-down level that is the source. It's funny about things. The DreamRave Something I discussed in my advanced DreamRave program, something that fasci- nates me, is when you look at the DreamRave you're looking at a five-centered crea- ture. So we have an evolutionary process in which we move from the five-centered mammalian root and never fully left it. We were five-centered when we would sleep and for hundreds of thousands of years we were seven-centered when we woke up. We are five-centered when we sleep, and we are nine-centered now when we wake up. The evolution is in the waking rave. We are still deeply primitive and one third of our life is lived out in a lunar body that is deeply, deeply, deeply, deeply primitive. So much of what we are is deeply primitive. It is something to understand the way in which the homogenized masses are controlled. After all, all of you have taken enough programs in Human Design to have seen so many different ways in which conditioning is at work. And yet, to see that there are these broad homogenizing systems that are built into it. The homogenizing had to come from somewhere. I hate to point fingers, but you know. Without the 4 There is No Frequency for the Monopole to Capture Without the 4 there is no frequency for the Monopole to capture. What to do. It is the tradeoff. It is an interesting thing to consider, isn't it? The world is controlled by a very, very limited frequency. This is how the not-self operates. It's controlled by this very, very limited frequency, this background frequency. Think about what Color does. Color is the instrument of information that dictates whether you are going to eat properly, live properly, see properly and be aware. It's all in the hands of Color. And in the distortion through the dominance of the 4, you can see what that's going to do, the limitation that it locks humanity into, not gaining access to the cognition and at the same time being given a very, very limited palette in ways they can express the potential of the line that is there. Living Your Lines Ah, the beauty of living your lines. I always remember people saying to me that they didn't like their detriments and I would look at them like they were just simply nuts. No line means anything until it's lived. And it's only in the way that it is lived that its value and essence emerge. I don't think there are too many people on this planet who truly understand the Rave I'Ching. The Rave I'Ching is not a text. It --- PAGE 24 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 14 isn't. It was. I guess you could call it, automatic writing or whatever these funny names are because I had no references or anything. I just sat down and wrote it over a period of 28 days. It is poetry. It's not detail in that sense. I think so many people get lost in trying to figure out what a line means rather than living the line. To live it, and to live it in the sense that you're not doing anything, you're observing out of your awareness because you can understand the mechanic within yourself, because you are able to recognize that mechanic at work. This is what everything about awareness is all about. It's not about what the line is. There are a zillion people who are going to have that line. It's not about that. It's everything that's underneath. It is the orien- tation and it's the sensory system. It's all these things that are there. It's the magic of the depth that's possible for us as nine-centered beings. It's not like the 4 is to blame, even though I love to point a finger at it; it's not. It's just the way these things work. But the way they work obviously have a deep, deep impact. The thing is about how you escape in the end, and what you can learn from it. When I first began my mystical process before my encounter, I was rather wild and strange. There were people who liked to label me a black magician, whatever that meant to them, these terms that people like to bandy about. If you really understand the 4, you understand how all human beings can be basically manipulated. That's quite spooky when you think about it, be- cause they can all be ma- nipulated to the mean. And that mean is estab- lished through the 4-ness whether it is left or right. You can always move them by using those instruments, because that's what they're used to. It's the way their whole existence is framed. It is the great limitation of what it is to be homogenized. It's not simply that one does not have access to the cognitive architecture and all those things that are underneath, the fact is you have an incarnation in which you are damned to being furniture, and nothing to be done about it. The Journey Demands Much of the Individual When you look out, as I do, at the way the global movie plays out, what you see so clearly is that the whole world is trapped by the homogenized drive towards the edge. And it is not in the interest of the program to release humanity from the thrall --- PAGE 25 --- LECTURE ONE The Fourth Color Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 15 of fear; it is not, not at all. It has worked perfectly so far. I finally have a place where I can sort of begin to draw a line. I'm beginning to see certain things about what's possible for people in Human Design. I've always understood that if the basic elements of the knowledge, Strategy and Authority, were embraced that that, in and of itself, is a great service and it is something that will always be appreciated. But more and more I see there is a journey here and a journey that demands so much of the individual. It is something that is obvious to me, that in order for any- one to truly break free, you have to break free at each of the points of your Variable. We're going to have some nice Variable moments in our journey. Variable is every- thing. When you finally get to the place where you want to see how everything is organized you go to the top, you see the Variable. If you want to see what makes it possible for the Variable to be distorted, you go to the 4 because this is where you're going to see it. It means one of the things that needs to be seen in order for anyone to be able to move through this process in terms of what is possible mechanically or what me- chanically is pointed to, is that each of those points in the transformation process, each of those four transformation processes, literally, has to be embraced at as deep a level as it possibly can. There really isn't any other way. There isn't. It‘s obvious to me. I see the Program. The Program is so explicit. The Program says this is the way it works. If you're a nine-centered being, you're raised correctly, you have your PHS, you're raised according to your type, when you're 30 you find your environment, by the time you're 50 you have honed your perspective, and post-50 you have your op- portunity for the expression of your outer authority. That's the formula. Not ours. It's the formula for babies now who are lucky enough to have parents who are ready for that commitment, for them and for themselves, but not us. That movement be- tween what is environmentally correct and the development and the honing of the perspective takes 20 years. Standing Alone is Very Courageous If you're fully going to walk this road so the expression that is there in the way that line emerges is truly unique, it is quite a journey. And one you have to take alone. I'm not a group person. I don't like masters, in that sense, the guru version of it, these kinds of things. I don't like dependency. It's so obvious to me that dependen- cy is a disease, it's a sickness. It's very difficult to stand alone. It's the most coura- geous thing you can do. There isn't anything that is more courageous, everything else by comparison, no. To stand alone, to stand within your own authority, this is not something that you look around and you see everywhere. This is sheep planet. Everybody homogenized; the brotherhood/sisterhood of hu- manity, the 4 theme—let's all be brothers and sisters. I don't want to be brothers and sisters with everybody. I don't. It's not who I am. Just because people think that's a nice theme is because they've been deeply conditioned to 4-ness, and 4- --- PAGE 26 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 16 ness is everywhere, after all, everywhere. Ah, what it means to be able to do this alone, what it takes. You know your own lives. You know what it's like. You came somewhere in the middle of it, got all that stuff behind you, got all that stuff that's still with you. You have all that stuff that's controlling where you're going. It's human beings, after all, human beings lives, not-self lives, wow, the tangled webs. And then to truly trans- form your life you have to be ready to embrace what, in fact, may be very difficult for those around you and those that you're connected to and all of the social conse- quences that come with being yourself. Enlightened selfishness, what it takes to be selfish, what it takes to be able to stand up to all that. Two Ways to Live Life It doesn't matter what you are, whether you're a 4, as an example, or whatever. It comes back to something very basic in this knowledge. There are two ways to go. One way is you take Strategy and Authority into your life and you just go through your life. You go through a natural seven-year deconditioning process and you let your life take you where it takes you. It doesn't mean you have to go any further. For most human beings that would be an enormous reward in and of itself, and it is. But there is another way. But this way is the way of the elite. It's a deeply, deeply personal process. It doesn't mean you can't have beings in your life. But it does mean that life has to be on your terms, not anybody else's; what to do. If you do not look after yourself, nothing will. If you do not take control, nothing will. Nobody is going to do it for you. Nobody can take you by the hand and pull you through this, you know that. You can educate people as best you can, you can share with others as genuinely as you can. But it doesn‘t mean anything. It doesn't mean any- thing in the sense that it doesn't guarantee anything. It doesn't mean that that's what it's going to be for them, that it's going to work, that it's going to click. The Consequences of Seeking Differentiation are All Social How rare it is, how beautiful it is to have this opportunity. I was mentioning yester- day in my PHS and Rave Psychology third year programs that the consequences of seeking differentiation are all social. To make decisions in a way that is not general- ly understood or recognized, to demand your own space, and to sleep in your own bed already creates an enormous difference in the way you operate in your relation- ship to others. And then to eat according to what is correct for you. The two great bonds of social interaction—food and sex—get highly disturbed by sleeping in your own bed and eating according to your dietary regimen. Sharing the bed and sharing the table, these are fundamental social elements in the way in which the bargain has been construed between the male and the female, as an example. The moment you begin to break down these particular controls, you're going to meet --- PAGE 27 --- LECTURE ONE The Fourth Color Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 17 resistance. It takes strength to be able to establish your own unique life. And you establish that through your dietary regimen, and beyond your dietary regimen to the environment that is correct for you, which is the final, in that sense, socializing phe- nomena in that you may really belong someplace else as far as that's concerned. You can't do any of this. You can't get to the awareness until you do a full-time job on everything because we are the ones who are deconditioned. And for us, there is no luxury of things unfolding as they should. There is the headlong embrace in order to correct as quickly as we can the dysfunctions that are there within our system. But I want you to be able to see what the 4 brings. It is quite something to under- stand it and to begin to reflect on it. To begin to reflect on the way in which it is an underlying theme that permeates everything so that everything can always come back to something. The thing that makes the Monopole so interesting, that attraction, it only attracts, the capture frequency, this pulling in, this taking in, it is here that it makes it all possible. I assume that it has to do with the way in which something in the nature of the facet—not something that I was told, so I don‘t know—this quality that is there that the Monopole recognizes, this quality that is inherent in all of these other aspects. Look at Your 4s But it leaves you with something truly to ponder. That is, look at all those elements of 4-ness. The other thing is, look at your own 4s, particularly if they're either Sun/Earth or nodal and understand that that's a challenge in that it's very easy to get pulled into the mainstream and you have to be quite vigilant. But it's something to ponder. Well, I'm not used to doing 90 minutes. I kept on wondering what time it was. That's an interesting experience. We'll start off here. I'll see where I go; I'll wait until tomorrow to sort of figure out where I'm going to take you in our ongoing ad- ventures. But I'm certainly glad to see all of you; it's nice to see all of you back in the classroom, particularly at this level. I think we're going to have an interesting time. Anyway, to all of you, keep those 4s in mind and enjoy that. Until next time, bye for now. ~ --- PAGE 28 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 18 --- PAGE 29 --- Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 19 Lecture Two The Four-ness of the Future The 4 Controls the Way in which the Frequency is Released Welcome to all of you. This is really an incredible subject. It is the last day that I will spend with it, at least this time around. But it is one that is really deserving of a lot of thought, the nature of the way in which the 4 operates. Let me give it to you in a context that is really different. Let's look at it in the evolutionary context. In the evolutionary context, we have what we distinguish as a transition between the seven-centered and the nine-centered being that took place in 1781. The seven- centered being, according to this, is a left-oriented creature. Where we're going, theoretically, is to the eventuality of the rave which is an exclusively right-oriented creature, of which we nine-centered beings are the transitional form that takes this movement from one side to the other. --- PAGE 30 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 20 It's a very interesting thing to think about in relationship to the way in which that actually works. For example, how was it that Homo sapiens did not display, as an example, the tonal qualities that are there in the 4 and the 5 and the 6? In other words, how is it that the purely strategic was purely strategic? And the answer is here; again, over and over again we're going to see. This is the transmission. It is this connection that is everything, this boundary be- tween the way in which the crystal is programmed and the way that programming is going to be captured by the Magnetic Monopole. Everything is in the frequency, that is, the exit frequency we call Color. Yet, we already know that the exit frequency itself is actually what we refer to as the 4. In other words, in- herent in all the other Colors is a quality of 4-ness that al- lows those Colors, in essence, to be moved forward. However, the 4 controls the way in which the frequency is released. What's interesting about this is that if you think about the seven-centered be- ing, the 4 was not allowing what we would call right-ness to be transmitted to the capture frequency of the Mo- nopole. It also means that it is because of the nature of the 4 that we, for example, have access to both the left and the right. And it will be the function of the 4. The way in which that is going to operate relative to the rave is that it's going to cut off its potential for left-ness. All of that is in the exiting frequency. The Angle of Neutrino Reception Shifts the Release Now, the question arises: What makes the difference? And the answer is the way in which the neutrino literally goes through the crystal. Over time, on an obvious scale, it would not be something that would even be possibly noticeable. One of the ten– ants of the programming inherent in Design knowledge is that we are programmed by the neutrino stream one neutrino at a time at an 88° angle. Now, that 88° angle is a lot of arc, if I can put it that way. In other words, one of the things that's so in- teresting, at least for me—and only something that I am beginning to understand now, so many things in my own process I'm only beginning to understand now—is that the angle of the neutrino information, the angle of reception is what changes the way in which the 4 releases the exit frequency. And this angle, as far as I can tell, is something that has moved several times. Now of course, when I say it's moved, please understand, if you're talking about one neutrino at a time and a shift that moves from one neutrino at a time to the one --- PAGE 31 --- LECTURE TWO The Four-ness of the Future Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 21 that's just next to it, that is a measurement that is so tiny that most human beings are incapable of thinking of something that small. So, please don't think that it's suddenly going to be 89° or 87°. Is it arcane? I don't know what you call this kind of thing. It's one of those odd pieces of information I have that allows me, because I'm always looking for the me- chanical solution, to really be able to see and understand why the 4—it's ok that the 4 is responsible for that, that's easy to understand—but why there is the shift. And the shifting of the reception is something that is really quite remarkable, because I think that is tied to much larger cycles that, in essence, is the closest I've come in the star work that I did in Rave Cosmology. This angle, the way the angle works is very much connected to the way in which the star field moves. But that's really a— yeah, we have a lot of time in these classes, but still that would be a long way to go, so I'm not going to go there. Maybe one day, Deborah, you go there. The 4 Holds the Mystery of the Evolution of Cognition Everything about the 4 is that it holds the mystery of the evolution of cognition, be- cause it is expressive instrument. Let me take you away from this illustration for a second. Let's think about Tone. When we think about Tone we know that 4 equals Right; we know that. The moment we understand that 4 equals Right, we have to see something about the inherent evolutionary trajectory of an expression system that is rooted in 4-ness, is that it leads here. Speaking of Obama—this is where it goes, this is where it came from. And we know that there was a cycle before. We know that this is an ongoing process. And what we know is that it's here. But what is very, very significant to us now is that it's going here because it gives us a deep insight. Let's go back for a second. I've men- tioned a few times; I always mention it when I'm dealing with thinks like the WA or dealing with any kind of transper- sonal aura because I have a certain discomfort with them. Speculation is about the nature of the rave. And when I say the nature of the rave, I'm talking about a uniquely different biologi- cal version of us, one with the potential of Solar Plexus awareness, and obviously many other things about them that are going to be different. But I want to show you --- PAGE 32 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 22 something. Look inside this red box. What you're looking at is, in essence, a de- scription of the world to come. That is, the rave world to come. And if you look at the other side of it, the left side of it, you will see our history and where we came from. Now, I'm not going to get into that today. A Rave History Course By the way, I have to share it with you. I have been inspired by many of Adrian's statistics and I'm particularly interested in evolution. Evolution is one of those things that fascinate me. I think more than anything else I feel privileged to be able to see the mechanism unfold over time and be conscious of it while I'm in the middle of it. I'm going to give a rave history course next semester. It's going to be based on looking at all of the nodal cycles between 1781 and 2027. It's fascinat- ing. It's just fascinating to see the magic, the beauty and the complexity of the Pro- gram, the way in which incarnation is manipulated by the Program, the way funda- mental themes are manipulated by the Program. But anyway, I don't want to get into any long digression. I want to get back to this box here, because what you're looking at here is 4-ness. You're looking at 4-ness at many levels, obviously. There is a line level that slips in there. There are also ex- pressions of right-ness that are there, clear expressions of right-ness that are there. Four-ness carries many levels to it. But I want you to think about this not in the sense of what it is to be us, but what it will be for those nine-centered mutations who arrive with only right-ness who are designed to live only right-ness, and the description is here. It's really something to see. The High Ground is Very Important for the Rave The first thing that I found fascinating is thinking about it in this. In my own private thoughts, my musings, when I was doing that whole Rave Cosmology on the rave, basically how the consciousness Penta works, because the human element is really negligible, in that sense. I guess that's what bothers me about it. It is the Penta that rules. It was clear to me that—I don't know, I kept seeing them on the high ground. It's so interesting just to see it in that way. In other words, I think that the high ground is very much where they will go to and quite literally, in that sense. I think that oxygen reduction is something that is going to be very, very important for them. It's just interesting. Not only oxygen reduc- --- PAGE 33 --- LECTURE TWO The Four-ness of the Future Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 23 tion, but obviously it's cooler up there the higher you go. It's just interesting to think about environmentally where it's pointed, where that it goes. Nervous Eating They are going to be opportunists who are going to be ready and able to wait. The part that is the sacrificial lamb, what the rave is, giving of themselves, always sacri- ficing of themselves. Yet, thinking about the 4s of wanting and need—doesn't that look funny in there. It's like if you were looking at the left side, you would see calm in that position. Does it look funny to you? It says so much about these creatures, that eating will be something that is deep- ly agitating for them. Of course, it's under– standable if you're deal- ing with a right passive form that the nervous- ness is absolutely es- sential because you have to get something going in order to be able to break down the various things that are coming into the system in order to be able to provide the particular nutrition. But it's just so interesting in all this right-ness and the passivity in the mediation, in the inner vision and the receptivity, there is this nervous. We know what it's related to. But it also says something about the kind of systems these creatures are going to have, the dilemma they're going to have with trying to find a way to crank themselves up in order to be able to handle their food processing. The Heating-Up Process Since 1781 It's all in the 4. It is the thing that I find wherever you look that there is always a mechanism; there is always one of these keys. There is always one of these things that turn. If you think about the movement of the angle of the crystal as an evolu- tionary signal, the moment we entered into the nine-centered vehicle the macrocos- mic expression of that was heat. Perhaps the most incredible thing that has taken place since 1781 is heat. You can't imagine that, if you know what I mean. That is, we don't think that way. --- PAGE 34 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 24 We think of the world this way. We think about heating systems, all of these things. But the world is starting to warm up. In the late 1700s it really started to warm up. Oh yes, it started at the beginning of the Cross of Planning, the early roots of Indus– trialization, but like all things, it takes time to build that momentum. By the way, when you get to 1781 you have this enormous burst in heat, all the factories, all the mines, digging out coal, burning in all the houses in the Northern Hemisphere—the heat, more and more heat. And with more and more heat, more and more people, more and more heat. I find it so amusing that they blame global warming on us. I do. The ozone layer, the atmosphere is where the problem of global warming is. It's about methane. But if you think about the methane problem, 20% of the methane problem comes from the gas of cows. I don't see anybody running around saying let's ban all cows, be- cause if you did you would have the greatest reduction in methane in the atmos- phere going back a long time. It's all part of a heating-up process. It's absolutely essential. All of it is essential. Otherwise, you don't have mutation. Otherwise, you don't just have it. It's the one thing that I would love to have, because it would be one of those great ways scientifically of pointing to 1781, aside from the discovery of Uranus, and say, if you look at the temperatures of human beings going back the last 50 years and you look at the temperatures of children being born over the next 50 years from 1781, you'll notice that they're hotter. It's the most important thing that has hap- pened to us. The by-product of the heat is increased mutative potential, all of which is focused on what we refer to the histidine codon. This is the key to releasing all of this mutative pressure that has been building up so that we can get here. It's interesting to think about the 4 because in a sense, the 4 is in charge of whether or not any of this can exist because it's pushing everything like this. And what I mean by that is that the homogenized world is moving this way whether they know it or not. The Culmination of the 4 in its Cycle Think about what I just said. The homogenized world is moving towards this, whether they like it or not. And this isn't about that it happens to be the Cross of the Sleeping Phoenix and we're moving away from the 40/37 and we're trading it in for the 20/34 and so forth. Yes, we're well aware of those elements. But this is something else. This is the culmination of the 4 in its cycle. What's happening is that moment by moment we are moving away from the ability of those being born to have left-ness, that is, the rave mutations, in order for rave mutations to come in, in order for these rave children to be born they cannot display left-ness. That means that the switch is already in, if you know what I mean. It's already there. It's already set up. --- PAGE 35 --- LECTURE TWO The Four-ness of the Future Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 25 And it means that the support mechanism for that, the cognitive process, has shifted from the left-ness of it to the right-ness. And in shifting to the right-ness it's basi- cally going to its pure 4-ness, because that pure 4-ness is an element that is going to be carried in the 1 and the 2 and the 3 and the 5 and in the 6, because otherwise it cannot be recognized and captured by the Monopole. So, regardless of whether you're coming in with this, the background of it all, the way in which this is working in terms of the way the crystal is working, is that every- thing is being pressured to the 4. It gets harder and harder and harder. It doesn't get easier as we move forward. It doesn't get easier for those who are ignorant to find a way out. It is not going to get easier. The Return to Eden Think about this last nodal cycle. This is a very, very special time. For many, many years the Ibiza Event—this will be the seventh year coming up, and before that I did four or five years of them—its poetic name was always Return to Eden. It was a nice pun on the beauty of the island, I suppose, and the fact that this is where the know- ledge came into existence. But this Return to Eden is not about that directly. It's about the fact that we are in the time of the 61.1 in the precession of the equinox. This is the key to the lock of secrets. --- PAGE 36 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 26 The 61.1 is Occult Knowledge. It is the foundation of the deepest of knowing. And it is this foundation of knowing, this 61.1 time which began at the beginning of the 1960s, is that this era we're in now, and now in this final nodal cycle, this is Eden. But not in the way you ever imagined. It's so different when a door opens and when a door closes. If we're just going to think about it in mythological terms, if you think about Eden you have the Tree of Life and the Tree of Knowledge. You eat from the Tree of Knowledge. It's a hard trip because you start off with just one fruit, not the root. For the Tree of Life you have to go out and do your duty, you have to go out and multiply. So in a sense, when the door opens, Eden says: Go forth and multiply, gain knowledge, go forth and multiply. Now, I personally am a door closer. I think that's what "Hu" actually means, something like that anyway. Here we are at the Eden return. We really are. We are in the Eden return. This is the last time the se- crets, the inner truths can be revealed. It's been going on since the beginning of the '60s, and we're all witness to the enormous of inner truth that has been revealed, form knowledge that has been revealed. The Door is Closing But the door is going to close in 2027 and that key is going to go away. And it is not going to come back. It will be replaced by ambition. It will have nothing to do with truth, and when the door closes, the mantra changes. It says you've had your chance at all the knowledge, witness those of you who are here. Well, now is the time that it gets lost. And don't worry about multiplying; you won't. You won't at all. Lose the knowledge and disappear. That's what happens when the door to Eden closes. Obviously, it doesn't take place overnight and this isn't some kind of sad tale. It's just about understating that these kinds of things have happened over and over and over and over again. They're cycles. It says something very profound about this time and the need to embrace this knowledge so deeply. To understand what it means that these 18 years we have left are years where the background frequency supports the truth; literally, it supports the truth. How funny that's going to be when it's gone, isn't it? When it isn't in anybody's in- terest to care about the truth. By the way, humanity lived through many cycles in which the truth wasn't the point. They lived believing in all kinds of nonsense and never in any way fought against it. It's so easy to homogenize the sheep. What a thing it is to understand that this door is closing. What it says about the pressure that is here is to make sure the foundation is established, the one-person- at-a-time foundation. It's very nice that there is an organized Human Design com- munity and all of these things. We'll see how long in this way it lasts past 2027. --- PAGE 37 --- LECTURE TWO The Four-ness of the Future Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 27 We are the Library Everything about the future is about one being at a time. There is no other way. And it means that those of us who are part of this time who are part of this closing cycle, we have a responsibility to the future to carry knowledge within us, because we are the library. There will be no other such other generations. We are the li- brary. We are the potential depth for humanity in the future, and not all of us. On Thursday [Nov. 6, 2008] in Jovian TV I have a Clarion's alert for Projectors. It is so much connected to this. Everything about being a Projector is that you master the world through systems. And systems have been a by-product of this cycle. Not only that, but the by-product of this cycle has been the institutions that were estab- lished in order to be able to produce the system-knowers. Everything about being a Projector is about the development of systemic knowledge, which is supported by institutions that are disappearing these years now. What it means for those of you who are Personality receptive, this is an enormous responsibility for you to pay attention, just take things in. Take it in and take it in and take it in and take it in, because the time will come when it will be needed. We are not moving towards a strategic future. We're not. That's not what's in the cards. It creates and will create a tremendous amount of helplessness. Remember that everything about the frequency, everything about the way in which everything is moving is for the benefit of something that hasn't come yet, that is here to replace us. And that we and our kind, even though our kind will begin to diminish, we're going to have to live on this plane and we're going to have to live on this plane with a background frequency that does not support us. It supports what's coming, what's arising. And so it should be. It's not like it's the villain or anything. The Turning of the Wheel It's the beauty of the turning of the wheel. This is the turning of the wheel. It's what I meant when I said before that for me the great privilege is to be aware in an evolutionary process. I'm right in the middle of watching the wheel turn and I can smell it everywhere. It's incredible. It just is. The ugly part, the tragedy, is that for the homogenized being moving forward is going to get very difficult. Oh, I don't think—well, I've said it enough. The 40/37 has been supporting us for 400 years. Can you possibly get that? Four hundred years; the same frequency— family, bargain, community, schools, cities, police, banks, on and on and on, one frequency consistent decade after decade after decade, century after century. It's going away in 18 years. Now, that's really something. It's just going to go whoosh. You can't know. I understand that. You can't know what it's going to feel like when it's not there, but oh boy are you going to feel it and you're going to see it every- where. You're going to see it most in the homogenized voice; the great homoge- nized voice is the political voice of any group, culture, and nation. You'll see inter- --- PAGE 38 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 28 ests change. The thing you're going to see the most is, I guess the best way to de- scribe that is, 'why should I help you when I have my own to look after,' sort of, something like that. What happens when there is no more 40/37—Beethoven (Ra singing)—40/37 music. It's going to go poof, just like that. That's the thing that's so incredible. I hope, I truly do, that on the Ides of February 2027, that I'm alive because I want to feel it, because it's the kind of thing that you only get to feel once every 400 years or so. Wow. Like the great landscape that is the illusion behind everything, suddenly the scene is changed. Sorry. Were you used to all of that? Well, get used to this now. Oh how cruel it is when the wheel turns. The Trans-Auric Aura The various levels that I am teaching this year, one of the things that's very fascinat- ing is the teaching of WA. What you get to see in the larger trans-auric form is how everything is so deeply, deeply controlled and pointed in a specific direction, how everyone is locked in to a hierarchical construct that isn't something that is simply on the surface, but is there in your cells. Most of humanity will blindly go forward think- ing that the future is moving to their benefit. We have been thinking that things are going to get better for 400 years, because that's the bargain, it's built into it. We had the benefit of the 9 and the 16 in the background frequency, the detail, the focus, the talent, and the potential for it, all of that in service of the demands of an expanding community and population. It is the 40/37 that allowed us to be able to support the vast expansion of population in a planet because it provided the underly- ing organizational background to be able to link us all together into communities and bring functionality to that. The hierarchies that became our cities and states and countries, it's all Cross of Planning, all of it. What you get to see in global cycles, what you get to see in the trans-auric aura is so many things we assume are ours don't belong to us at all, but are imposed on us by constructs we have no control over whatsoever. Oh, it is something to be able to stick your head through the sky and see the mechanism. And you see that we are moving towards a new Dark Age; they're going to be turning out the lights slowly but surely. It's not like the last one. It's always different. This one is so deep. Where do you go after you leave truth behind? For those who are coming, they will not care. They will be born as Right beings in a Right-oriented world with a future in front of them, and the embrace of a background frequency that suits them just fine, thank you very much. And the humans, us, as we keep coming in in diminished numbers, as we begin to collapse—oh yeah, it's not going to happen overnight. No it won't. And there isn't enough time for it to collapse completely. There will be humans here to the end and plenty of them. But, oh, how they will suffer if they are not aware, if they are not --- PAGE 39 --- LECTURE TWO The Four-ness of the Future Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 29 equipped. And there will be no institutions to support them. There will be no servic- es available. We're dealing with a shift that is so profound. The Potential of Cognition I look at the cycles. I've looked at the cycles over huge spans of time and every- thing is conditioned by the fact that the way in which the cycle is going to impact in the quantum of things is relative to the development of the cognition in its time. We are at an extraordinary place in the development of the potential of cognition, a place in which, with the mechanical information we have, it is possible for a human being who is born to conditioning to be freed of that and find awareness in this life. We have enormous potential that is there for us. But you have to see something about this. It is the antithesis. It is so heretical to what is actually going on. But there is a glory in the binary, in the spectrum. Oh, there has to be room for every- thing. There is always room for everything. As the lemmings go over the cliff you can stand to the side. You don't have to go along for the ride, you don't, but you have to know how. Who is going to teach you? Who is going to teach the children? Where are they going to be taught? How long do you think any of these institutions are going to survive? My guess is at the most 100 years, at the most, and many of them only in certain places. They cannot survive without the background frequency. Human beings are nasty lot; they're not aware. They're a nasty lot. They're killer monkeys. You take away a background frequency that says we're all brothers, family, blah, blah, blah. The reality is going to start sinking in about how much pressure there is in these coming years, these 18 years of this final nodal cycle. Be Ready to Help Someone Else What it means, how much pressure there is. And to understand that the only prepa- ration you can do is transform your life, because after all, this is about enlightened selfishness. You transform your life. You do the best you can to be ready to help someone else. To be able to be available for that other who is going to be there on your fractal, and to be equipped. I think it's one of the most important things for us to recognize is that it's not just a matter of turning people on to Human Design so they can begin to make decisions correctly. It‘s about understanding that the more people we can educate, the better we can educate people, not just in the professional sense, but in the general education sense. The more knowledge that is taken in, the more there will be carriers of the knowledge into the future, the more the possibility of being able to cover the fractal requirements of those who are going to be in need. --- PAGE 40 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 30 And most important of all, everything that's on this side is dealing with the right/receptive. This is what it's about. Everything is moving in this direction. But the advantage for us is that this is also the greatest resource that we can have. There is no greater re- source. This is what the potential is here. This is the true potential of this. Remember what the rave is going to be. Think about it. The Rave Children Sometime after 2027, I don't know where and I don't know how many at first, I don't know how quick this process will go that a child is going to be born and the moment that child is born the doctor is going to shake his head and the nurse is going to sigh. Because the moment that child is born, it's going to be obvious that there is something "wrong" with it. When I say something "wrong" with it, that "wrong" is in quotation marks. One of the obvious things about the rave child is that they are going to have qualities we associate with extreme autism. They will have poor vision; all kinds of things. And it is going to appear that, obviously, there is something that is deeply, deeply wrong with these children. Now of course, if you put three of them in auric contact with each other, you will dis- cover something that is really quite amazing. You will discover a living powerful entity. Now, everything about the nature of the rave is they are not here to have a unique identity—the movement—they're not here to have a unique identity. Everything about the movement of the Left, until it gets to this point, is about estab- lishing the unique identity. Everything about it; get to that unique identity. This is what we are doing. This is the completion of our process, that completion of our process so that we can express what we call it, the unique inner authority that estab- lishes our uniqueness, our potential to differentiate. This is what we're here for. This is not what the future is about. The future is about giving up identity. Not simply giving it up, but not being born to even hold on to it; pure receptive. The Nature of Penta All right, let's think about something, those of you who are not familiar with it. Let's think about the nature of Penta. Penta is the foundation trans-auric form. All life is organized through Pentas; we are all born into Pentas. This is the way life works. A --- PAGE 41 --- LECTURE TWO The Four-ness of the Future Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 31 Penta emerges—it's a trans-auric form, it's morphous—when there are three auras, four auras or five. That's the moment you have a Penta emerge. Pentas, as anyone who has studied Family Practice or those who have taken BG5 know, the moment you enter into a Penta certain fundamental rules about the way in which you're going to operate are conditioned by the way in which the form operates, the trans-auric form, the Penta itself. Now, of course, one of the things about being us is that we have no conscious access to the Penta. In other words, we don't have a sense of this thing at a cognitive level manipulating us. We get it through inference in the same way that a scientist can measure something by the effect that it has. Anyone who has studied Family Prac- tice or BG5 who puts it into application, that is, looks at the PentaGraph and de- scribes what they see to the family or the group or whatever, lo and behold what you have is exactly the way in which that works. This is the way in which we are controlled. But we're not connected to it. We're just manipulated by it, all of us. And of course, you go in and out of them all of the time. Or you live in them; most people do. The Conscious Penta But the rave is different. This is a conscious Penta. In fact, the future is not about a change in us as a species as much as it's the emergence of the first trans-auric spe- cies, in a sense. The thing that's really the creature is the Penta itself. This is going to be a conscious Penta. What that means is that the Penta is going to organize the cognitive information that it has access to through those members of that particular Penta. In other words, take the baby and right away there's a problem. I feel very sorry for the parents, blah, blah, blah, all that kind of stuff. And the baby gets shipped off to an institution. Now, there will be many places in the world where, I don‘t know whether the baby will even get that far the way in which it's going appear. But let's say you have three of them in an infant ward, all of sudden something emerges. What emerges is a conscious Penta. And that conscious Penta is going to take ad- vantage of all the cognitive qualities and a lot of other things that are there, and it's going to be able to act them out through the gifts that are there. Remember, all of you have been through tonal studies. And of course, you know that the moment you get to the 4th and the 5th and the 6th Tone you're getting into deep mystery land. You're getting into highly specialized gifts and qualities, all of which is going to not be the advantage of the individual rave, but a component that will be holistically integrated into the way in which the conscious Penta operates. This is what I have a problem with. I have a problem with conscious Penta. It's a funny way to put all that. I'm not going to be one of them. I'm not going to produce them. I really don't have anything to do with it other than the fact that the know- ledge was given to me. It's just part of the package I was given, so I deliver it as --- PAGE 42 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 32 part of the package. But this is not something that I am enthusiastically looking forward to. This is just the wheel turning and nothing can do to stop this. The moment I think of an entity that is going to give up of itself, I immediately get uncomfortable. That's not what I'm about. It's not what the knowledge was given to me for. It was given so that we have this possibility for this unique differentiated consciousness. It's such a beautiful thing. It's like the flower that blooms. We are the potential of the blooming flower and then it's just going to die. How hard it will be to keep this spark alive. And most of humanity will just imitate the homogenized flow, lost in a frequency that no longer comforts them, guards them, supports them, because this is evolutions way of saying, "See ya, thank you, bye bye now, thank you for being nice fertile Generators, what's there to replace you." And of course, there's nothing that can be done. This is just a wheel, it just turns. We Have a Responsibility We have a responsibility to our own kind. We have a responsibility to our friends, our lovers, our children. We have a responsibility to prepare them, because whether they understand it or not, the rug is going to be pulled out from underneath them in 2027. It's not simply that we have been living with the same background frequency for 400 years. This frequency has been in our flesh and the flesh of our fathers and forefathers going all the way back those 400 years. It's been carried in the blood. It's carried deep, deep, deep within the marrow of our bones. It's been there for centuries. What's coming is really something else. It's so different. I didn't come here to be some kind of spiritual guru. You all know that. It isn't my trip. I came here with a message of preparation: knowledge, prepare you, be ready, train your children, get them ready so that we, our kind, can flourish in the era that comes, because there's no reason not to. It makes no difference what the Program is when you operate out of your own authority. It makes no difference. It just changes the movie, that's all. And we live in the chaotic movie of the homogenized world anyway. But it's about seeing that this time is so important. I thought about it from the very beginning of my process when I was first given the knowledge. I wondered if there was enough time. I had no idea if I could even get it out and I didn't know how long it would take before there would be enough people to create the critical mass neces- sary to keep it alive in the world and get it out there. I still wonder about how much time we have. The longer I talk about it over the last several years, the more I realize that this shift that's coming, its impact is going to operate at so many levels. We can't afford to sort of slide towards that. There has to be a certain urgency, in that sense, to make sure that those who are ready can. And to make sure that those who are in this journey have the awareness and the ability to be able to deliver this. --- PAGE 43 --- LECTURE TWO The Four-ness of the Future Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 33 This is the Best Time to be Aware I look at this and I can feel them. I don't look at this in the same way I would look at this if this was somebody who was Right and had these particular configurations, because obviously within a human context it carries a different quality. It's what makes us who we are, after all. We're perfection. That's what I keep on trying to explain to everybody. Me- chanically we're at a perfect time. Again, this blooming, this blossoming is a perfect, perfect time. But it doesn't last. And everything about your particular process is about seeing this is the best of all possible times to be aware. There is no better time; there's none. But when you look at this box and you look at it in the con- text of a conscious Penta and you think about this conscious Penta and the way in which it's going to work, oh how different it is. And how different our world will be. We expect there is someone there to help you, that there will be someone there to guide you, that there will be someone there to protect you. We have built up all of these assumptions. They're not going to last. They can't. What We Don't Know by 2027 We’ll Never Get to Know And in these 18 years, I tell you something else. What we don't get to know, we will never get to know. That's something to really think about. All these people with their science fiction orientation about where things are going in the future and this and that, everything is going to get smaller, brighter, we're going to have this and that. Yeah, well, what we don't know by 2027, we're not going to know. The key is going to be taken out of the lock. We're not going to know. It means there is incredible pressure now like never before. We're right in the mid- dle of this process beginning with the '60s. Well, we're not in the middle, we're get- ting closer to the other side of that now, obviously. This tremendous pressure of getting all this knowing out, the explosion that has taken place since the beginning of the '60s. Think about it. How different the world is today from 1960, what is there today that wasn't there in 1960. It‘s unbelievable when you start thinking about it. --- PAGE 44 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 34 All of the things that have been revealed since then, at a level—we have publications that reveal things every day at every single level that one can imagine. It's unbe- lievable the inner truth that is flowing on this plane. It's why we're here. We're here to take advantage of this time of perfection, this Return to Eden before the know- ledge is lost, and before it's no longer just granted that it's there. Outer Authority This is the beauty of inner authority into the future. If you carry inner authority with you, you carry outer authority. As you move into that future, your inner authority will guide you. It will eliminate the resistance. It will allow you to move and fulfill whatever it is your differentiation moves you towards. And those who you meet along the way will benefit from, can benefit from your outer authority because outer authority is something that is going to be sought after. So many times I've talked about the fact that the future is about communication. Everything about the nature of our species is about the evolution of communication. The highest level of communication that we can achieve in our form is a verbal communication of pure outer authority. Obviously, the conscious Penta will commu- nicate at a level we do not understand. It will literally be able to communicate through the electromagnetic field of the way in which the pentic aura operates. It's something else. It‘s something different. We are the completion of a cruder version, in a sense, that we have to articulate it, we have to verbalize it, we have to be able to eat and push the air through the vocal cords to be able to express it. But nonetheless, outer authority is what is possible for us and this is what we're going to need. If you look at my world in Rave Psychology when I point to outer authority, I point to the fact that this is the possibility of the expression of the filtering consciousness of the passenger. This is a very beautiful thing, outer authority. But it's not to be seen specifically in that context. There is a deep mundane value to true outer authority, a deep, deep, deep mundane value. To be able to deliver that outer authority to oth- ers, for us this is everything. This is what the future is all about. What we're training is human beings who will display their unique authority. And because we understand the nature of fractals and because we know if you're operat- ing correctly and moving correctly in your geometry, the forces that are there for you are going to be there. Then those opportunities for your outer authority to bring benefit to the other, well, they just do, they just happen. There isn't going to be, in the future that lies ahead—and again I'm not talking of the next 40 or 50 years, but beyond that—there isn't going to be the same kind of availability of resources, what- ever those resources may be. There will be no communal maintenance of it. --- PAGE 45 --- LECTURE TWO The Four-ness of the Future Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 35 The State of Religion I think one of the scariest things to think about, because it is scary, at least in my perspective, is what this marker will bring to the state of religion on this planet. I am not somebody who accepts any of the notions of the creation of the universe ac- cording to any particular religious philosophy. I'm into serendipity. If it can happen it will happen. But there are two things that are very interesting to look at. One is the 49th gate, which shares the histidine codon with the 55. The 49th gate is creating dysfunction in the 19/49. Again, all of this is related because the 19/49 and the 40/37 are all part of the fun- damental tribal stream. Not only are we losing the background frequency, but the fundamental needs of the tribe are no longer going to be answered and are no longer going to be answered by the head of the table, the head of the tribe. The principles are not going to be there. It's not going to be delivered. It isn't going anywhere. In other words, there is going to be a real breakdown. Remember one of the things about the nature of religion and government: they both come from the same source. That is, they both come from the WA and they both come from hierarchical control of the masses. Now, hierarchical control of the masses has been made easy by the background frequency we have been experienc- ing, again, the Cross of Planning. It has made it easy to coordinate people to get them to work together, to get them to build things together, to get them to share together, all that kind of stuff. So, we're looking at a two-fold thing. What we're looking at is not only is the basic needs—and one of those basic needs of the 19 is the need for God—that no longer can that be satisfied by the tribe because there will be dysfunction with the 49. Not only will the 40/37 which is the mystical bridge, that is, the 40/37 is the search God or not, search for the Godhead or not, whatever the case may be, the builder of churches and temples and so forth, all of that is in the 40/37. All of that is going away. Which means that one of the things we have been witnessing that I have been talk- ing about, I guess for about a decade now, is we're getting to see the unconscious reaction to the power of the communal process breaking down. Not only are we see- ing the breakdown, as an example, in the financial plane in the world lately, not only do we see the breakdown at that level, but you can see that it's harder and harder to fill up a church. It‘s harder and harder to do certain things. On the other side of that you have a tremendous reaction—fundamentalism—the world-wide fundamentalism in every religion trying to hold on to the communal pow- er that comes with being able to control groups in that way. All of that has been supported by the Cross of Planning. --- PAGE 46 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 36 A Deep Shattering is Coming There is a deep shattering coming. We will sense it. We will watch this whole process, all of you. Anyone who has ever been a student of mine will get will to see this, and will get to see the wonder of what it is to actually be able to see all of this come to fruition because this is just the movement. And to know how to be ok, it's about knowing how to be ok in this life, isn't it? One of the things that I return to, because everything today has a certain mystical quality to it, I return to something very basic, something that every time I think about it it sort of puts me into a sort of little reverie. The Design Crystal, the Perso- nality Crystal, the Magnetic Monopole are not made of the same stuff as this world. They're not. They're not atomic. They have nothing to do with atomics. One of the things I remember moment-by-moment in my awareness is that I don't come from here. And I don't belong to any of this. And it is all deeply alien. And yet, at the same time, this is it. This is the movie. This is the only movie. This is the way that it goes. One has to be so careful about being identified with this life. My role isn't to frighten you about the changing of the cycle and doomsdays and all that stuff, because it isn't. It really isn't. And most human beings won't notice for quite awhile to see an- ything has changed, because that's humanity. They're not very bright. With mechanics we're looking at something so incredible, this evolutionary thing. It's a movement. It will take until the last child born before the Ides, the last child, when they die, the last one born before, when they're all gone, when all of the hu- man beings that were born before 2027 are no longer on this plane, whoosh, then it's really over. We all carry this with us. We will carry into the next cycle. It's in our blood. But those that are born afterwards, no. And those who survive into the next cycle, by the time they're gone, the frequency is gone. Those that carry the need for truth and the need for community are simply going to be gone. Something else will be there. And for those who are there that are born to it, it's not like they're going to think anything is missing, because they're not going to be interested because the key is out of the lock of looking for truth. It's about ambition. Purpose is going to look different. Oh, we're entering into the age of the 20/34; busy, busy, busy, busy, busy, busy, busy, busy, busy, very busy, everyone being very busy in the now. No past, no fu- ture; that's not as comforting as the 37/40 in its emotional wave movement. Oh, how different. Those who are born to that will live it. And if they meet one of us along the way and you say to them, 'there used to be a time when,' what do they care? They won't. It's such a funny thing to see the turning. --- PAGE 47 --- LECTURE TWO The Four-ness of the Future Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 37 The 16 Variables You all know that I'm going to be doing the 16 Variable workshops at the 2009 Ibiza Event. It is something that I'm very much looking forward to. I have three open motors so it is an experience that I will be able to take in physically at a very deep level. I have a feel for each of these things. One of the keys in the future is that those of us who are going to be able to establish a conscious- ness field that is going to be of value to humanity are going to have to find our place in the order on our own. It's what your Va- riables is about. It is what educa- tion—PHS, Rave Psychology, the CHD, all of these things—is about. It's about build- ing a foundation for a community of beings who are going to be able to take advan- tage of this last 18 years of the Cross of Planning to find an organization that is there to be able to help them find their way to transformation. It's interesting, each of these 16 ways because they are ways. They are ways of transformation. It is about seeing clearly that the only way our kind is going to be able to flourish in the future is if we can master this. And not simply the mastering of it, because that literally is specifically related to those of us who are born condi- tioned. But to be able to prepare children for this so they don't have to go through a huge conditioning dilemma as they mature and enter into the next age. I have that with my own children. My children are going to be in their middle or late adulthood 18 years from now. My youngest will be 28. They're going to have to be prepared in this way. And what I mean by that is they're going to need to have the equipment to understand wherever it is they happen to be, and to be able to have this [red x] as the foundation that protects them and allows them to operate correctly in this life. There's nothing more profound in that sense. --- PAGE 48 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 38 So this is where we got to when we began our little journey last week of me trying to give you a clean, simple way of understanding the phenomena of the 4. It takes us into strange ground, doesn't it? It takes us into the way the whole movie works, in a way. It leads us into this odd future where we get to see it. And we get to see it with a lot more drama because we can begin to imagine what it looks like even though our imagination compresses the phenomena that will arise. Everything moves at its own pace. Embrace the Knowledge as Deeply as You Can But there is something to keep in mind in all of this—yourself. You're part of a very small coterie of beings who are deeply, deeply privileged. You have the karma, the interest, the intellectual capacity, and the money to be able to do such a thing, to be a part of such a level of awareness. You have to see that you cannot ignore what it's telling you. You have to embrace this as deeply as you can. It means you have to embrace it as deeply as you can relative to the transformations that are there, rela- tive to your Variable, deeper and deeper and deeper so that the evidence is there. Anyway, it's an interesting experience for me to teach these 90 minutes. I haven't done that in years. I found myself after 60 minutes going ―Oh, this is not the end,‖ which is very cute. So, I'm going to have to get used to this. But anyway, we'll be back tomorrow and I don't know what I'm going to do. I'll sleep on it. Think about it. But anyway, I hope you enjoyed that on the 4s. To all of you, you take care. Bye for now. ~ --- PAGE 49 --- Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 39 Lecture Three Link Nodes and Variables Hello and welcome to all of you. One of the things I cautioned you about was my approach to Advanced Mechanics. I simply go where my curiosity takes me and where I feel it has some fundamental value to set myself up to share it with you. There is a whole series of things that are deeply important to me in my own particu- lar area of the way in which I look at things and what I am exploring now in my own process. This is the year of Variable for me. That is culminating in the 16 Variable Workshops in Ibiza in April 2009. So a lot of my thinking is related to Variable and to the way I can try to get a grasp of what fascinates me the most which is my par- ticipation in an evolutionary process consciously. Seeing History through Incarnation I'm particularly interested in incarnation. Incarnation is one of those things that, though I have certain formulas, I have never been able to properly assemble it in a way that I can do something I intend to do before my career is done. And that is to be able to prove scientifically the reality of reincarnation. It is one of those processes I have been looking into for about seven years now. I'm beginning to get to places where I'm beginning to understand the deep complexity of looking for that answer for me and at the same time, particularly the last several years, getting the kind of information that I can begin to put the pieces together. I have an unusual mind in the sense that I don't get to work with it. Most of you know that about me by now. I don't; it's just all unconscious. So, this is where I work with my mind, in that sense. This is where things come out. Elements keep on emerging. I put together what I think is a delicious program for next semester. I'm going to do six different five-week courses. One of them is the beginning of some- thing that I hope I will carry on for many years, something that I have always wanted to do and that is Rave History. I'm a history buff. I'm somebody who, because of my memory gifts, know a great deal of history that is global rather than what most people are educated to, which is their provincial histo- ry, their country, whatever the case may be, unless they specialize later in other things. I've always been a globalist, in that sense. I'm always curious about when somebody would say something was happening in 1500 over here, I was always cu- --- PAGE 50 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 40 rious about what was happen in 1500 over there. I was always looking for the mea- surement. Because I have a strong background in history, because of the whole thing that I have been through over these last two decades, I suddenly have a way of looking at history that is absolutely revolutionary. It's absolutely revolutionary to be able to see history through incarnation. This is something that is remarkable. In other words, to be able to see history, not in terms of—how shall I put this— incarnation is something that deeply fascinates me. When people look at the Pro- gram every day I don't look at the Program so much as what's that's going to do to me, because frankly, I'm long past that whole process in my awareness. But there isn't a moment I look at that the Program that I don't feel—I think "feel" is the only word that I can use—the forces that are incarnating on this plane through that ma- trix, and variations of that matrix. In other words, it is this incarnating force. For example, you take a transit that took place—I was talking about the Nodes. I don't know how long it was. I think it was short, fortunately. I think it was about 10 or 11 days, it may have even been shorter, but anyway, this was the transit of the Nodes in the 13.2 and the 7.2. It ended on this past Saturday [November 1, 2008]. The 13.2 is the line of Bigotry. The 7.2 is the Democrat. Now, of course, that can be very misleading. But think about the beings being born then. You look at a transit and you say, ―Oh, shit, look at that. Look at what's there to- day.‖ But every time I see a transit that carries a powerful ingredient, I'm thinking oh my goodness there are going to be ten thousand, one hundred thousand, five hundred thousand, a million, it depends on the length of the transit, doesn't it? This is history. This is my perspective on history. The Program Sets Up All Circumstance through Incarnation In other words, taking history and taking it out of synch—how can I express that? Most people look at a particular date, a historical date, a historical event and they analyze the event itself. Now, we've done that to death with whatever we've had available for analyzing. But I'm not interested in that. I'm interested in how the Program set it up. And the way that the Program sets up any event, any circums- tance within the global context, obviously, within the evolutionary context, is that it sets it up through incarnation. In other words, there are many ingredients involved and it's not going to be an exact science. For example, let's say that we're looking at what the Program wanted to be sacrificed in the First World War. You had the greatest man-made death toll. Unbe- lievable. So what did the Program want for that? Now, in order to be able to do that you have to have a number of things, obviously population statistics for that particu- lar era and so forth. But the Program is always setting it up. And this is something that is really remarkable. --- PAGE 51 --- LECTURE THREE Link Nodes & Variables Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 41 I'm going to show you something because I will get to our subject in a bit. Many of you know that I've been profoundly assisted in my analysis of these things by the statistical material that Adrian has been developing. Hopefully in the not too distant future we're going to publish these statistical analyses. I think you're going to find them fascinating, as I do. And obviously, they cover many different areas. But again, my particular area of interest is incarnation. Now, I want to caution all of you—and Adrian, by the way, if you'd like to write in any background information that you think the rest should keep in mind while they're looking at this graphing, or if I make any errors in what I'm saying, please feel free to just write it in. The Variables (2008–2027) Graph I got this today. First of all, just to set it up for you, you can see that all 16 Variable groupings are here. You can see, though, it's not easy to follow it, but nonetheless, you can see that each of them is color coded. And what you're looking at is a time scale that is from 2008, where we are, the last nodal cycle, going to 2027. In other words, you're looking at an 18 year period of incarnations. What you're looking at at the side is the percentage of population that any given Variable is going to have in the total population. In following the graphing you're able to see the fluctuations in the percentage of the population that each particular Variable represents. --- PAGE 52 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 42 Now, the first caution in all of this is that I'm not here to make any kind of broad statement about all of this because we have a great deal of work to do in research. But again, I'm interested in incarnation because it is something that fascinates me. This is the way in which the whole Program is coordinated. So, what you're looking at here is the 16 different Variables and you're looking at the way in which they are incarnating. Now, what is interesting in all of that is that if you look here at the Lefts, one of the things you begin to notice is that what we're going to have here is a crash of the left somewhere from 2026 to 2027. On the other side you have the Right and you have a rise of the right. Now not just simply the rise of the right, because this is rather complex in all of the graphing. But what you're looking at in terms of the forces that are going to be incarnating, and of course, again what we are really looking at, the 2027 figure, as you can see from Adrian's comment above that this is the segment that is just before the Ides, just before the actual transition. You can see there is this crash of the left and it means there is going to be a rise of the right. [Adrian’s comment: 2027 comprises only the time span from 1.1.2027 to 14.2.2027.] Now, by the way, this is not necessarily a continuing trend at all. It is interesting for our purposes. For me I find it personally, how shall I say this, I got very excited when I saw this image. I'm outer vision, so images for me are very important. Looking at this particular graphing the first thing that struck me was this tremendous movement of this birth pressure to move towards the right. There has to be a burst at the transition time. We're looking for a mutation. Not all the quad-rights who are going to be born—it's going to depend on their parents. It‘s going to particularly de- pend on the father. There are all of these mutative equations that are involved. And in order for mutation to be successful, you need to have that spread in the popula- tion in order to be able to take advantage of as many possibilities as you can. --- PAGE 53 --- LECTURE THREE Link Nodes & Variables Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 43 The DLL-PLL (1781–2027) Graph I want to show you something else. It's interesting. This is 1781 to 2027. When you're looking at this, what is interesting for me, and again, it's not a trend that is going to stay, but at the same time there is a downward movement, particularly a downward movement since around the beginning of the First World War. There are a couple of spikes that you can see, but basically there is this drift in terms of the far lefts, obviously, that are coming into the world. Again, there is going to be obvious relative differences between the various Variable groupings. You can see that the birth rate hasn't been taken into consideration yet. We're looking at sketches, statis- tical sketches. --- PAGE 54 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 44 The DRR-PRR (1781–2027) Graph If we look at the next one, you can see that we're looking at the all Right. The inter- esting thing about the all right, first of all, is that it starts high, it stays high and it begins this general movement—it keeps to a general movement upwards basically. You can see there's a spike here that's going to take place sometime around 2010 to 2011. In other words, there is some interesting movement that is taking place. The Plutonic Interregnum Remember; think about what you're looking at. You're looking at incarnating forces. And because you're looking at incarnating forces, not only are you looking at Varia- ble, but you're looking at generational equations that are taking place. For example, the rave history that I'm beginning and working with Adrian in developing the ma- terial for Rave History, one of the things I'm fascinated by is the influence of Pluto. This is a Plutonic interregnum. In 1781 Pluto was in the 41st gate. In 2027, Pluto will be in the 41st gate. In other words, this is a Plutonic interregnum. --- PAGE 55 --- LECTURE THREE Link Nodes & Variables Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 45 One of the things that we're looking at is the influence of Pluto in specific gates dur- ing the different nodal cycles. One of the things I want to examine is, historically, all of the nodal cycles, including the characters that have emerged beginning with 1781 in order to begin to see for the first time how the Program works through bringing life. One of the things that is so fascinating to me is this ―bringing of life‖ that brings a unique programming with it. So one of the things that's fascinating—not just simply Pluto, obviously Pluto is a main ingredient. I don't think you can look at this particu- lar era from 1781 to 2027 without seeing it through Pluto's eyes. For example, the progression of Pluto beginning in 1781, beginning in the 41st gate, this movement beginning in Aquarius and beginning to move around, every single gate that Pluto touched changed the nature of being, every gate. And in every gate what it did was truly Plutonic. It turned something off and it turned something on. This is the on- and-off switch of the transition. Isn't it funny that humanity tried to slough off Pluto? It is to me. I find that so cur– ious. Oh, the revenge of Pluto. Now, now, to call sweet Pluto a dwarf, you're play- ing with fire. This is the on/off switch. This is death and resurrection; our death and the rise of something else out of it. This is a deeply, deeply Plutonic era. So, not only are we looking at the way in which incarnative forces arrived during a nodal cycle, but during that cycle what is the Plutonic instruments at work. And then you begin to see. I don‘t know if that is deeply appealing to others. It is a fascina- tion for me. The most incredible thing that the knowledge has given is a way to be able to look at life in the flow of time to truly be able to see it. This is something that is really remarkable. Once I can see clearly how the Program prepares for each major event in what we call a historical continuum, I can do what the gift of logic provides. That is, begin to postulate the pattern for the future. What I'm looking for is the identity tags, the tags for the raves. I'm looking for certain things. One of the graphs—it's not here because I don't want to get lost in all of this, I do want to look at Link Nodes—but one of the graphs today that was really remarkable was looking at all of the Var– iables over the entire interregnum and seeing their symmetrical quality. I don't have a Variable chart in here, but if you think about the 16 Variables, the up- per left four and the bottom right four are much more common in incarnation than the bottom left four and the top right four. It's a very interesting thing. Nobody has ever known how it all works. This is part of how it all works. This is as close as we come to being able to see not simply the design of an individual, but to see the way in which life is designed, or what its design is and the way that mechanism works. They're all mechanisms, after all, no matter how incredible they may be. But it is something to see the preparation that is built up in the Program. Obviously, these are going to be in your download, so I hope that they are inspirational to you. I find them very inspirational. I find it fascinating to be able to dig into all of these things and to unmask them, to be able to reveal what's really there and understand again how this works. --- PAGE 56 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 46 Incarnation is Orchestrated I call it the Global Orchestration Directories because it's cute. But it all is orches- trated. Incarnation is orchestrated. This is about understanding the way it's orches- trated, how out of that orchestrated you get the manifestation of it. And then to be able to go as far back as you can in order to be able to understand how it's con- structed. That's where I'm going. This is all part of a process of understanding how the program pulls Personality Crystals into incarnation. How does it do it? This is the gateway. It's fun. Link Nodes and the Incarnative Purpose Ok, let's get to some other interesting stuff. I think I should call this Rave Think Tank 101 and leave the rest of it out. But anyway, Link Nodes are really quite in- credible, so let's see if we can do something with this. I'm interested in Link Nodes, aside from the obvious that it's through them that the holistic, all the things you know that I've been teaching about—again what fascinates me about the Link Nodes is that they are connected to our incarnative purpose. This is the independent Variable and it conditions the nature of the life itself. It lays out what is environmentally the foundation for the perspective and what is going to be the life of the being. You come in on the South Node; you go out on the North --- PAGE 57 --- LECTURE THREE Link Nodes & Variables Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 47 Node. This is part of the in-and–out. It isn't directly connected, at least at this lev- el. But it certainly is at the Base level. Nothing is more intrinsically connected to our incarnative agenda than orientation. Obviously, when we're dealing Base, par- ticularly when we're dealing with Personality Base, we are dealing with something, in that context, truly is what we are and is the crystal that has constantly been incar- nating and reincarnating. So there's a connection in this whole journey. As you can see, my interests dovetail nicely into what I share with you. Isn't that cute? Ok, let's think about this. Think about the Cross of Life. You have the Sun up here, you have the Earth over here and you have the South Node over here and you have the North Node over there. I guess I can make them cuter. When you're look- ing at this, this is the root of the life. It's its source. And this is where the life goes. You can think about it as I taught it at its most mundane level as a highway, a big street in a big city, a street so long that in the middle of the street it changes its name, but it's still the same street. There is the South Node part of the street. There‘s the North Node part of the street. It, ultimately, is one way. And as we know, as one way, they're linked to each oth- er. But again, I want to go back to these two elements in their extremes. After all, this is an aspect of their interpretive value, to look at them as both source and ex- pression. Let's think about what the Link Nodes do for us. The first thing we know about the Nodes is that what we're looking at between the Design and the Personali- ty is a very different configuration. We're looking at a different configuration be- cause, in fact, the Personality and the Design Crystal are very different from each other. The way they operate is different from each other. And, in fact, the stability of the crystal itself is different. --- PAGE 58 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 48 This is a truly stable crystal, sta- ble with this construct and the 5th Base in the center. This is the unstable crystal, and the un- stable crystal with the 3rd Base in the center. Since there is a shift in these central components in the construct, we have a shift in the way in which the outside is configured. And of course, this is what leads us to be able to see the Link Nodes themselves. So, as an example, when we're looking over here and again, the 2 is often confusing because it's the same on both sides, that we know that this is the Personality Link Node, this South Link Node. So we see it here. And when we're looking at the Design side, we're looking at the De- sign North Node and we can see here with the Base orientation to the 1 below, so it belongs over here. What we get is, when we cross them over, if we take them and move them over, so we move that one [Design North Node] so it is over there [lower right side] and we move this one [Personality South Node] so it's over here [lower left side], we can see what happens in the linkage. We get something very impor- tant. --- PAGE 59 --- LECTURE THREE Link Nodes & Variables Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 49 Design Rules the South Node - Personality Rules the North Node The Design rules your South Node, and the Personality rules your North Node. You can see that both the South Nodes end up, in terms of the Link Node construct, over here on the Design side, where both of the North Nodes end up over there. This is something that is very, very important be- cause normally when you look at the bodygraph, you're ready to interpret this with its Personality val- ue. Now, I'm not suggesting that you don't. After all, that's the way that it operates on the surface. But in fact, it is the liaison from your body to the Personality side. It, in a sense, limits the way the Personality can operate relative to what the vehicle can provide. They are Link Nodes after all. So the Design is going to rule the South Nodes. It means when you're looking at the Personality South Node, begin to see it in its relationship to the body, not in its relationship to the Personality, not at all. It's linkage. When they're separate from each other, the way they would be in the design itself, they're separate from each other. This one is over here and this one is over here and as we know, we have these two separate data bases. But without the work of the Magnetic Monopole we have no existence. And the blueprint of existence is written in the independent Variable. And the only way that we're going to exist is if there is this linkage. There is no other way. Literally, what it means is that the way we classically interpret the values of the spe- cific Link Nodes is something at this level that needs to be reexamined within the context when you're looking at the South Node, this is what the Design rules. It means this is the way the body is going to influence the perspective. It's here that the body will influence the perspective, because it is in the rule of the design. --- PAGE 60 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 50 The Four Transformations The transformation business, the four transformations, one of the things about the four transformations is that this is the way it actually works. You start off with a catalyst, your Strategy and Authority, you enter into PHS dietary regimen, but the moment you're operating correctly and enter into the correct environment, you au- tomatically align your perspective. And you automatically align your perspective be- cause your perspective is suddenly aligned to you; boom, boom. It's all there. So, it brings a different way in which we can analyze this value, to be able to see what that relationship is. And to begin to see in the configuration—and this gets more sophisticated, which we will probably get to in the next lecture—is that the Nodes represent, as the independent, the establishment of what is the perspective. But as we well know, that perspective is going to be determined by the experiential values in the magic square. By the way, those of you who are going to be there in the next Personality Resonance Mapping lecture, I think you're going to see some- thing really incredible. The magic square is something that is really incredible. It is this relationship of the experiential resonance and the way in which that expe- riential resonance is interpreted is going to be very, very important to see through the Link Nodes. Of course, this itself is resonance. When you move the Link Nodes back and forth you really begin to change certain configurations and you begin to understand certain subtleties. There are going to be certain things that the vehicle is easily going to be able to establish for the perspective. This is the advantage. The moment the vehicle is operating correctly is the moment this is beginning to reso- nate correctly. --- PAGE 61 --- LECTURE THREE Link Nodes & Variables Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 51 Isn't it interesting the way the Program works? I've described that Program to you. You come into the world, you have your PHS, you're raised according to your nature, you get to 30 years of age, you get to the Saturn point and this is the point you en- ter into your independent Variable phase. That independent Variable phase goes un- til you get to the Kiron when you're 51, so you're approximately 30 here, and you're approximately 51 over here and this is this phase here. Then you get the post-Kiron and you get the blossoming and you get the whole thing. The Uranus Opposition In between all of that you have the Uranus Opposition. Of course, this is deeply sig- nificant because the Uranus—again, we go back to our whole interregnum story, the discovery of Uranus by Hershel in 1781, the nine-centered vehicle being an Uranian vehicle, the 84-year vehicle. Obviously Uranus is going to be the marker of what is the half-life point for a human being. In other words, the basic marker in terms of what the mean [midpoint] is. So here you have that. Of course, again, it's not an easy thing. Between 38 and 44 years of age you have your Uranus Opposition. It depends on when you were born, it depends on what Uranus was doing at that particular time because it had an odd orbit or movement, but nonetheless this is fundamentally what the range is for the particular midlife. Cutting this in half, this half over here is South Node. And this half over here is North Node. It is something that's very important to take into consideration. --- PAGE 62 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 52 That is, when you're looking at somebody's chart in the first half of their life this is very important information because this is what is going to be the real South Node phase. It means the perspective that is going to need to develop first is one rooted that 1st line. That is going to be the natural linkage to the form becoming correct. It's only later that it is going to go towards the North Node and a North Node process that will take over. That waits until the midlife point. They are fascinating instruments for analysis. Again, they point towards a personal evolutionary pattern. It's what we all have. What you're looking at here is the basic life schema, the way it's laid out. Now, obviously there are all kinds of variations in that theme: people come, people go. Life is full of—not to be too cute—conditions and circumstances. Think about the change in the value. Let's take the example of the Design Link Node and that is going to link to the Personality North Node. In other words, it is going to provide the vehicular stability for the completion of the perspective process in this being. Nodal Definition: No Linear Way One's Perspective Develops Now, this gets complicated by the fact that this is a channel and a definition. I don't want to get into the subtleties of that because it goes deeper and deeper and dee- per. But again, it's something to keep in mind, that it influences the way you can analyze any nodal construct. If it's the 40/37, the 34/20 or the 43/23, then you're in a situation where you need to take into consideration the values of the definition. --- PAGE 63 --- LECTURE THREE Link Nodes & Variables Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 53 Basically what that means is there is no linear way in which one's perspective devel- ops. It's not really linear. You tend to jump all over the place because it's possible, because there is this ongoing relationship in the juxtaposition in the channel itself. So it creates certain differenc- es. I don't want to mislead you because this happened to be the illustration I had handy. It does qualify it in some ways in terms of the ultimate inter- pretative value. In most people's cases where they will not have an opposi- tion that is a definition, then you're really going to see a marked difference between what the priories are working with the body for the first half of the life—you get to see what the formula is. The formula is, you work with the Design side; oh yes, you have your linkage to the Personality [Personality South Node] and by the time you get here that linkage to the Personality begins to do its work. But the real work is the form principle. That is, starting with the PHS, getting to the environment and settling into what the environmental path brings. It's only when you get across the marker. It's not a myth about midlife crises. This is not a myth. This is some- thing that is really out there. There are people who go through a shock when the name of the street changes. They think they're lost. They don't know what's happened to them, because there is a shift. And the shift is that all the pressure of the independent Variable is now on the North Node Personality side. You're supposed to be ready for that by the time you get here. By the time you get to your midlife you're ready, or at least should be close to it. So, the emphasis changes; the emphasis moves to the North Nodes. And of course, it sets up this movement. If you take 41 as the midpoint here, it sets up ten years where you move towards your Kiron and you develop on your experiential path and you develop your perspective awareness, but the new focus is going to be here [North Nodes]. It just is. And in that new focus being here, obviously, it changes the perspective. In other words, it changes the way in which the perspective is going to positioned exactly. It's a natural growth in the development of the perspec- tive. Now, of course, we know there are many things that can make this problematic. What we well know is that in dealing with the tonal configuration and distraction at the nodal level, to understand how powerful distraction is, to see that obviously can completely distort the way in which one is being oriented once one gets into that second half of one's life. --- PAGE 64 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 54 There are Endless Areas to Explore So we have a new tool, in a sense, to begin looking at the larger life process. There are so many different ways to look. One of the things I enjoy more and more as the knowledge matures is that there are more and more individuals, particularly with the encouragement of the various programs and projects that are really beginning to ex- plore different areas. There is an enormous, endless amount of what is there to be explored. One of the areas for me that is so important is not about, where by necessity I focus my energy on the development of individual awareness and the realization of indi- vidual authority and differentiation. Obviously, these are the paramount concerns. Yet at the same time, I do have this interest in the larger evolutionary programming. And whether it's at a cosmic scale or whether it's within the context of a life, all of these various programs add to the depth of our knowledge. One of the things we don't look at and I've begun to do with students is begin to look at the nine-centered life in the way the nine-centered life is intended to be lived. You all have seen me graph out that whole progression before. Begin to look at the larger formulas of the life in order that there are those who can carry this knowledge forward to others to help them understand the dynamics that are at work. You meet somebody and they are in the first half of their life, it's here. This is what's important now. Remember that we're talking about the independent Variable. This is where life is, this where life gets lived out. Everything else is about how well equipped we are to enjoy the experience of it. But this is the mechanism of the life unfolding itself. So when we're looking at somebody in the first half of their Uranian life or a nine-centered being in a Uranian vehicle, we already know the values that are inherent in the external. That is, quality of life, elimination of resistance, a heal- thier life as a by-product of the environmental nurturing. Many, many things are as- sociated with that. The 40.3: A Denial Body One of the few things we have not discussed at the deeper level is what happens when you take all of this stuff that we know underneath the surface and bring it to the surface, like here, when you bring it to the gate. And to begin to see through this gate and through this line that this is what it's all about. I'll deconstruct this for you. If you take the 40.3, what you're looking at is the overall way in which this body has to operate. It's about the body. --- PAGE 65 --- LECTURE THREE Link Nodes & Variables Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 55 So, what you're going to have is a denial body. It's a body that's ready to deny things. It's a body that is ready to shrug; it's a body that is ready to back off. It's all part and parcel of transposing the understanding of the gate to the form principle. We also know what the 3 is; it's very hardy. The 3rd line body is a tough body. It can really take a beating. It can take a beating and come right back up. [Note: When asked about interpreting the body at the design nodal-line level, Ra said: It is more of a generalized reference to the holistic value of lines. It does not carry the weight of the internal at all, but all values are in all places, i.e.; genetic continuity.] Again, all of this is going to be seen within the context. But the fact is that this kind of body, by being able to see it at the gate and line level, which means you're seeing it at the holistic level, is that you set up a signpost for somebody that points to the fact that they're making progress, because you'll see it in your body. The Perception The other thing is the perception. Everything about the development of the perception is if you want awareness that's post-40, you're going to have to develop it here. So, this 40.1, regardless of what the Color perspective happens to be or the tonal accent on that perspective, this is what you'll resonate to within that context. That 40 and that 1st line are going to become the most impor- tant things for you to see. You set up the fundamental core of what the indepen- dent Variable is going to demand for the proper development of this being as it moves forward. It's an extraordinary thing you're looking at. This is how the life gets coordinated. Again, remember they're Link Nodes. In the graphing, in the way you look at them, they look like they belong on the other side, don't they? There are very few people who know that they go across like this. This is the whole mystery. This is about understanding how the whole thing works. This is how the Personality and the Design have a relationship to each other. It is only here that Personality and Design truly have a relationship to each other. --- PAGE 66 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 56 Yes, on the surface in the bodygraph, you can see when the Design and Personality meet in a channel, that kind of electromagnetic. But it's not the same thing because that's taking place within the holistic context. The Moon This is where Design and Personality are linked together. Now, that says a lot of in- teresting things. The first thing it says is about one of my favorite subjects. I'm deeply fond of Moon Goddesses. I seem to have a soft spot for Moon Goddesses. The Moon is really so incredible. It's so taken for granted, in a way, that if I were the Moon I would really be annoyed. There is no existence as we understand it on this plane without the Moon. Most mountains never would have risen out of the sea. Most life never would have risen from the surface of the ground. The Moon is every- thing. Interestingly enough, in the Hindu Brahmin tradition, reincarnation takes place through the agency of the Moon. As a matter of fact, that's supposedly where the souls come from. The Moon is really unbelievable, if you place in context. The oddi- ty of our solar system, yeah, there are a couple of planets that have no Moons at all, Mercury and Venus, and with the exception of Mars that has a couple of really small ones, everybody else has colonies of Moons. Rarely are they so big in relationship to the planet itself, with the exception of Pluto and Chiron. Even Titan, which is enorm- ous, the great Moon of Saturn, by comparison to Saturn it's not the same as the comparison of our Moon to the Earth. The Moon has an enormous impact on us; obviously, it's its gravitational pull. It's that gravitational pull that literally creates life. But it does more than that. We are all in the Moon's rhythm; all of us. You actually have tides within your body. Did you ever know that? Did anybody ever tell you that? Everything that carries water, every living thing that carries water rises and falls with the Moon. It is just one of those things. We are all so deeply tied to it. When you see the Moon in the magic square it's one of the corners. It's that dominate force that is there. It is the coordinating force that relates to the Nodes, because after all, what are the Nodes? They are positions and they are positions relative to the Moon because the Moon is everything. This is the life instrument. The Sun, yeah, I know; after all, my name. I understand its beauty and its glory and the warmth of its light. But that's --- PAGE 67 --- LECTURE THREE Link Nodes & Variables Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 57 all pointless without the presence of the Moon. You can play that game in so many different ways, so I don't want to indulge in that, but I certainly enjoy the romance of it. When I see life in this way, when I think about the Magnetic Monopole and the Link Nodes and the Moon, it is so clear to me that the Moon is deeply, deeply, deeply an instrument of the Monopole. If there is any object we have in the solar system that is directly influenced by the Monopole it is the Moon. They have an extraordinary relationship to each other. It is obvious. It is the Moon that makes it possible for the Design and the Personality to be linked together. That's really something to think about. It is truly the mistress of this plane. It is something to think about. Base is Deeply Integrated into Every Design There are no end to subtleties in this movie, are there? Base is something that is deeply integrated into every design. Again, I'll show you in the next lecture. Base is integrated in the most incredible ways in design because what we have learned about Base is its presence is the presence of the constructed maya. It is Base that both within and without creates the very maya we are in. It obviously says some- thing deeply about our orientation. That is, the way in which we can be refined in terms of the way we relate. One of the things about the way in which orientation works is the kinds of forces you're going to be connected to and interested in. And yet, at the same time, to see it within this context through resonance, you can see that each and every one of us is clearly designed only to resonate to very, very specific things, very specific combi- nations, and very specific setups. When you think about differentiation—I talk so much about it, it is so amazing when you dig into this information how differentiated all of it can be, how many possibili- ties there are—this way, that way, the other way, all of these things—and to see the beauty of that. The deeper we explore these things, the further we get to that place --- PAGE 68 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 58 of the finite description, the finite floor plan of the form principle, because this is what it's all about. The moment that the life is properly integrated into its correct- ness is the moment that all of these things begin to take on their nature. The Nine-Centered Uranian Life But I have a concern. I do. I'm beginning to understand something about the nine- centered Uranian life. It's very much set up as a journey that goes from the body and it goes over here to the mind. This is the journey. And it's a journey that is structured through the life process, through a maturing process based on specific stages. It's the basic construct. I grew up in an era where the baby boomers were deeply af- fected by a man by the name of Benjamin Spock. He wrote a post-World War II baby care book that became basically a bi- ble for American mothers. It had both positive and negative influ- ences on an entire generation. One of the things that I know is important is that in understanding of what we are as a nine-centered being has to be put together in a way in which it can be beneficial and helpful so that it can really give people a guide to what this life is about. Again, not so much for the conditioned beings; yes, it is important to know. But as a way of being able to provide the information for those who are coming into the world, to understand them, the baby guide book, to really understand where this being can go, where they must go and how they get there. We know, in essence, because it cannot be seen that simply, that it is this story first [Design Sun/Earth Nodes]. It is only this story that leads to this [Personality Nodes.] The moment this is correct [Design Sun/Earth], the moment that within the context of the way the Program operates for the nine-centered being, when the Strategy and Authority and the dietary regimen are correct, this opens up the possibilities to really begin to focus on what the life is about, what the life is for. We are caught in seeing purpose here, incarnation cross, all of that stuff. But the fulfillment of your incarnation cross and the Personality that goes with that is based on the purpose being fulfilled in your movement. This movement isn't just simply the movement in space, but it is the maturation and development of the being and what the priories are. Look at your Link Nodes and go to your design. And in look- ing at that design, allow it to inspire you to see whether or not that is something --- PAGE 69 --- LECTURE THREE Link Nodes & Variables Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 59 you've dealt with, whether that is something you work your way through. It's fasci- nating to look to see your program because you're looking at your program. But there is a dilemma in all of this. It's always the same dilemma. If you're post- midlife, you can't start here. You have to go back to scratch, as we all have. We all started conditioned, all of us. We're caught up in the same thing, these two sides of the story. What I can do for you and what I can do for children, unborn children, are two enormously different things. It's how we come to grips with this, because basi- cally when you're looking at it through the Link Node construct, you're seeing what the priorities were for you in the development of your perspective, in the develop- ment of your vehicle in the first half of your life. Signposts for Conditioned Beings Most of you will begin to orient to this only after you've entered into your design process because, slowly but surely, you become sensitized to it and where you're going. Everything is a signpost. Remember something, we're mental beings. It's what we are. And the mind is about measurement. Why do you think I love statis- tics? I don't trust anything I see. But they're so stimulating. It is a way of being able to see how this whole conditioned reality is so deep, deep, deep within us eve- rywhere, the mastery of the Program over all things. And at the same time the abili- ty within us to be able to see through that. Strategy and Authority allows you to be not so much separate from it, but aloof. And then you begin to see the magic. As conditioned beings, what you have to do more than anything else is understand it's a signpost. It's what the statistics do. It's the measurement; it's why I enjoy them. You get to see a measurement of something here and something there. You get to see the wonder of what's going on in between. Our minds are here to meas- ure; give it something worthy to measure. It can measure the signposts of your life. It can measure your distraction and transference. It can measure and measure and measure. Every time that it measures, every time you see the transformation to whatever de- gree, it is this signpost that gives you the courage, because there is no one else to stand there and pat you on the back. And boy oh boy, don't wait for it. You're the only one who has to care, nobody else. You have to give the mind something to measure. You have to give the mind a reason to say, ―Oh, all of this seems to be working for us.‖ The mind is not the bad guy. It can be co-opted. But it needs to see and hear; you can see. You have a whole journey laid out. You have a whole program laid out. How we're held together in the illusion. I don't think there's anything more fantastic to think about. This is what holds us together; this and only this. This is what holds us together. --- PAGE 70 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 60 If you don't master this, what exactly do you have? If this is the life and this is what holds us together, if you're not there, what do you have? Not your life. Dietary Regimen is the Key Those who have been conditioned, you have to be sort of in a hurry. But you have to be in a hurry based on what you can handle, based on your own inner authority. But there's one thing that the Link Nodes stress and make so obvious to me is if you don't look after your body, if that isn't your priority, there is no future. It's just ob- vious. And I mean for those who are pre-midlife. They're less in a rush than many others. But you have to see that the work on the body is paramount. That is, PHS. Dietary regimen is the key. You can't really get to the discipline necessary to fully live the truth of yourself until you can go through the dietary transformation in your life for so many different reasons. It becomes clearer and clearer to me. Everything about the conditioned being is going to be able to catch up to the time track. I think all of that is dependent on whether or not it's their serendipity to go deeply into the physical side of this process. It is what the Link Nodes simply bring. This is what it says: Here's the business. The first half of the life has to be dedicated to the Design. Now, for most of us that was hardly the truth. This is the dilemma. This is the dilemma when someone's 50 years old and they show up, want a reading and they start that process. Boy, do they ever have to be deeply, deeply involved and disciplined. There is never 'too late,' there is never 'it can't be.' Obviously, anyone whose time is ready, you hope for the best. But you can see for those who are conditioned, there are a lot of things that have to be dealt with before you get to the other side of the coin. And it's a time structure. It's a movement. Here we are scurrying around to catch up. The Variable Process has to be Lived Deeply I look at Variable and you can see that I look at it in many ways. I find it remarka- ble that there are 16 paths, that they actually exist, and that you can see them. And though they're generics in and of themselves, each of the 16 Variables are in es- sence a generic. There are so many variations within them. But it says something so clearly. It says when you can see the mechanics and you can see the way in which it's all laid out, there is no question that we are designed --- PAGE 71 --- LECTURE THREE Link Nodes & Variables Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 61 to go through all the transformations that are inherent in the Variable. It's not like this is some kind of false promise or bullshit or whatever the case may be. It isn‘t. Mechanically it is there. But the moment you're looking at these transformations, the moment that you're looking at Variable, you have to see that the Variable process is something that has to be lived deeply, deeply, deeply and it's so individu- al. Think about one of my enduring themes these days, the fading of the Cross of Planning, the coming of the Phoenix. We're coming to an age where it's going to be natural to be concerned about yourself. We start the age of the Phoenix with the precession in the 55.6, which is Selfishness. We start with selfishness as a program. With that background frequency, it's a lot easier to get somebody to understand that this is all about you. It's not about them, it, us, or we. It isn't. But you have this background frequency that says we're all here for each other and we're going to do it together. I won't do Beethoven again. Everybody is so con- cerned about their commitments, their connections, their "this and that" with the other, whatever it may be. You don't go anywhere that way. You go alone. It doesn't mean you don't have company. But, boy, do you go alone. You cannot ac- complish this any other way. You cannot accomplish this by having to pay lip service to the homogenized world, because all of that just feeds the fundamental insecuri- ties. Two Kinds of Approaches in Human Design Remember one of the things I have been talking about. There are two kinds of ap- proaches in Human Design: One that is the surface and one that's all or nothing. The surface is good for everybody: make decisions correctly, go through your seven- year process, you have a better life and get better awareness. But that's not all or nothing. Variable represents the platform for all or nothing, to go completely through this process, to do it in a deeply mutative way, because after all, this is our situation, but, to do it nonetheless. Every single one of you—you all know this—have always been different anyway. So you might as well just take it to its extreme. There is no other way to get there, I tell you. There is no other way to get there. You get there from within yourself. These transformations, these steps are ones that you can only take for yourself, be- cause they're not easy steps. They are de-socializing steps. They are disrupting steps. They are provocative steps. As you take these steps, you are left with your mind and it can be so cruel if you are not its master. It can make you suffer so much if you are not its master. This is what this work, in the end, is about. This work, here, this advanced whatever it is. It's about pulling you deeper and deeper and deeper into your process because this is where everything happens. This is where the magic happens. This is where you get to live out the nuances that are laid out here, the beauty of it, because everyone has it. And you finally get to see what your life is about, not --- PAGE 72 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 62 simply because it's something you can analyze, but it is something that you can ac- tually live, so you can establish that foundation, so you can express as outer authori- ty the awareness that is possible. You Can Only Become Aware by Yourself It's not an easy road, and difficult. I thought about this. I can take, for example, a biblical dozen. Let's make it 15 and make a nice WA. I take you out into the wilder- ness for seven years and try to train you to be aware. It would be a disaster. I'd make you smarter. You only become aware by yourself. I can expand your know- ledge base. I can help you hone your intelligence. But I cannot make you aware. That's you. It means how far you're going to go to strip away the conditioning in your life. That's ultimately the question. And it is not something you carry as a burden. I want you to understand that as well. It can only be what it's going to be. It's only going to work the way it's going to work. We will all see where this gets to as we all move along in the turning of the wheel. Frankly, for somebody like me, it's all ok. It's always been all ok. There is nothing else for it to be. But for you, it's always the same. It's up to you how far you go, how ready you are to go the distance, all those things, because that's what this all leads to in the end. That was enjoyable. I've said my fill, but if anybody has a question the last ten mi- nutes I don't mind answering a couple of questions. Q & A Question: When you were giving an example here of the Link Node in the body, you said with the 40 line 3 would be a body of denial. What does a body denial look like, as opposed to a Personality? I know what that looks like in denial. Ra: Ok, a classic example is you're standing at the bar in a café and somebody of the opposite sex, or maybe the same sex depending on one's inclinations, somebody shows up and stands beside you and obviously they're interested in you. Your body will tell them to go away. Your body will literally deny them access, the frequency that it puts out, a frequency that's much more powerful than what the voice would say, as an example, or what the conscious ego of that would do. It's quite different. Bodies give off signals. One of the things we see—I'm going to be doing that next semester, that is, this semester I do Personality Resonance Mapping and next seme- ster I'm going to do Design Resonance Mapping. And of course, in the Design Re- sonance Mapping what you get to see is the body itself, our bones, our flesh, our liq- uids; all of this is constantly fluctuating relative to the influences around it. --- PAGE 73 --- LECTURE THREE Link Nodes & Variables Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 63 So, a denial body is a frequency that is being picked up by others and it's a frequen- cy they get to read right away, so the moment that person breaks the auric plane is the moment that frequency is going to push them off and they won't do anything. Again, it's just one of things. If you go back to the work we did in chains, as an example, particularly working from the Design side of that, see that the references there are always to the various kinds of line bodies, though I didn't do the gate interpretations of them. I think it's one of those things that is healthy for you to exercise, to think about the information that's there in the gate and try to see how you could apply that to either the Design or the Personality side. It's certainly good training. Question: Thanks. It's interesting to see it in terms of the nodal journey. Obvious- ly, you're saying PHS really is the key to helping the nodal environment journey. Then you mentioned that there is a signpost here. I suppose that wouldn't be so much in recognizing what the body is doing. It would be in recognizing more the lin- kage the other way for the Personality? And then I couldn't quite see what the sign- post would be when the body Node is on the Personality side. Ra: You're talking about the nature of the signpost on this side, as far as I unders- tood the question. You'll have to rephrase it because I got confused listening to how you laid it out. So, just hold a second. Rephrase the question and let me get to El- friede for one second. Timing of the Development of the Nodes Question: Can you say that the two South Nodes have to be developed between 30 and 40 between Saturn and Uranus opposition, and the two North Nodes between 40 and 50 between Uranus opposition until the Kiron return? And is there a special time difference between the Design South Node and the Personality South Node? Ra: Basically, Elfriede, yes. That is the important transitional area. That is the 30 to 40 has to be fulfilled, the 40 to 50 on the other side is the beginning of the other. But it really is a split in the middle. More interesting in your question is the reference to the difference to the South Nodes. Obviously, the Design Node has superiority—seniority, that's better. The Design Node has seniority over the Personality Link South Node in that obviously it is earlier in the Program. Again, this would come to one of analytical issues. I'm going to continue, by the way, with these in later lectures so we can continue looking at many of these elements. I just want to bring in some other factors. Ok, Kumud, try again. --- PAGE 74 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 64 Signpost for Design Node linking to the Personality Node Question: Ok, what does the signpost for the Personality look like when the 37 from the Design side comes and links to the Personality Node? Ra: That's those moments when you get to see the body adjust to what is being seen. For example, let's say that you're looking at something and suddenly you get to see because your perspective is correct, you get to see something is about to happen. Let's say a car is about to come in your direc- tion, or whatever the case may be, there is this immediate relationship to the re- sponse to the body. In other words, it appears like the body is almost responding on its own, but it's ac- tually being guided by the perspective. That's just off the top of my head. As I go through this I hope at some point in all these advanced programs to get to integrat- ing any of these deeper aspects into a comment as it applies to their overall holistic chart. Even just seeing it here, again, is a limitation in not being able to see it within the entire holistic configuration. It's interesting stuff, nonetheless. Nodal Phases—You Can’t Go Back Question: So Ra, in past times when we weren't in this deep level of work you used to talk about how the South Node, once you crossed over, you were on a different boulevard, and what I hear you say today, I believe, is that there is no way that we really can really go into the depth of ourselves unless we unwind what should have been unwound in my life before I met Design. I met Design almost at 50, so I was past every phase of the transition. But you're saying in order to really have the deep transformation we have to go back. But if I remember right in your old lectures you used to talk about that the impression of the South Node is just like a faint image, almost like a watermark. Anyway, I'm just looking for some clarity. Ra: You're absolutely right, Cathy, there is no question about it. The fact is that as you move from the South Node phase to the North Node phase, obviously the North Node phase begins to dominate. It is certainly important in general analytical work. In other words, in working with somebody who is pre-midlife, being able to help them prepare for the transition, the themes of the South Node are no longer going to be the themes they work with. The advantage that lies in this, and you're right in the sense that you can't go back, as you well know. There is no going back. But because of the power of awareness, the variability through the knowledge to be able to see one's relationship to the South Node construct that was there, to be able to see one's movement and at the same time by being aware of it—after all, this is not going to disappear. For exam- ple, this is a classic case because of the very definition, there's no way you can really lose it, if you know what I mean. --- PAGE 75 --- LECTURE THREE Link Nodes & Variables Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 65 There are all kinds of variations in that theme. What it does say is that those beings who come to Design in their midlife or beyond their midlife, there is a certain zeal, something you've obviously shown in your own process, that's necessary because there is so much work to be done. It's not about those beings who are going to meet Human Design and simply experiment with their Strategy and Authority and benefit from it. I think that's wonderful and it's going to be the vast majority of people. It already is the vast majority of people. There are very few people in Hu- man Design who are educated at this level know anything about the way these things function. Of course, it is only when you get to this level that you realize there is a place to go, if you know what I mean. And I think one of the things to understand about your inner development is that the more you grasp, the more aware you become, the more aware you become, the more time you make up, because that's really what it's about. Day by day as I go through teaching, it becomes clearer and more evident to me that the need to accelerate the work on the body for those who are committed to the long run is something that's so important. This means they need to have a great deal of psychological support in being able to establish their power, their own inner power, their own strength to be able to move through this. Anyway, it's all interesting. Thanks to all of you. Thanks to you Adrian. Take care; bye for now. ~ --- PAGE 76 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 66 --- PAGE 77 --- Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 67 Lecture Four North & South Tonal Transposition Hello and welcome to all of you. It's nice to see that there are a bunch of you who could make it here today. It's odd for me because it is very, very rare, other than the Ibiza Event. I don't ever teach on the weekend, particularly on Saturday, some- times on Sundays, but rarely on Saturday. It's a very different frequency, the Sa- turnian frequency. I suggest that because of the depth of what we're going to look at today, because I think this is one of those remarkable places you can get to when you've had the luxury, as I've had over these many years now, to dig deeper and deeper and deeper down to be able to see the mechanisms. I suggest you might want to listen to this one again. I have a new term for you that I will introduce today and it is called transposition. And let alone that just about no one in Human Design knows what a Link Node is, this is really going to another place. North and South Tonal Transposition, and I will get to that as we move along. The Link Nodes So let's begin by doing little review here and making sure we're all on the same page. We're looking at the phenomena of the Link Node, and first of all, we have to go back to the very pure mechanical essence of what this is about. I don't think you should ever lose perspective of that because I think it's very significant. What we're looking at is what holds the life together. It is that signifi- cant, in that sense. It is through the Link Nodes that what we call Design and Personality find their commonality in what turns out to be the holistic being that is us. In the sense that they are a by- product of the Moon, and that's something that I look at in relation- ship to the lunar planetary square, it's also to be able to grasp something about what the independent Variable is really all about. It is about establishing the life. And it is about establishing the life in which the life is neither the Design nor the Personality. --- PAGE 78 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 68 What makes the Link Nodes, the Nodes themselves so extraordinary is that they are agents of the Monopole. This is what makes them extraordinary. It's the Monopole that holds you together in the illusion of separateness. It is the Monopole, through the agency of the Nodes, which fulfills that. And it's through the Link Nodes that this holding together is established. Base Orientation So, how do we establish the Link Nodes? Again, it's important to go back for a mo- ment, because what we're going to see is that it is a formula that operates right through the whole construct. We establish the nature of the Link Node by looking at Base orientation. It's Base orientation that gives us our key. Of course, in the Link Node we see that the Base orientation, as an example in this particular case in look- ing at this Design North Node in the 46.4, you can see that the Base orientation, be- cause this is the Design Link Node, actually belongs over here. In other words, the way in which it's oriented is towards this other side. And of course, what we get to do is transpose it; that is, we get to put it down here so that we can actually see it in the position that it influences. --- PAGE 79 --- LECTURE FOUR North & South Tonal Transposition Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 69 On the other side, it's exactly the same thing. In other words, we have the Perso- nality Link Node and the way we define it is through its basic orientation. We know that orientation—and again, remember that the 2s and the 4s are always the same— what we know as the Link Node goes here. And of course the same thing again; that is, to be able to see it in its actual position. The moment you were able to see it here, the first thing that I suggested to you last time we were together—and again, I'm going to introduce these various elements and then as we move along I'm going to come back and we're going to integrate them all back together again. Design Rules the South Nodes; Personality Rules the North Nodes The first step is to see something very fundamen- tal. The South Node is ruled by the Design in the sense that it is there to ful- fill the dynamics necessary for the form principle to be able to house the holistic process. And when you go over to the other side, again, what you're seeing is the ability of the vehicle to establish the best possi- ble qualities for the pers- pective or the view that is going to be there. It is the Personality that is going to rule the North Nodes. --- PAGE 80 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 70 So we have this beginning of a way analytically to see the Nodes in different levels, to peel away from one level to the next. As I said, I don't want to get into this be- cause we will come back to this in detail. I need to get to the core of this story be- cause you might think, given the lead up to all of this, that the core of the story is here. In other words, seeing the Link Nodes and having an understanding that is Design and this Personality, and so forth. Well, to some degree. There obviously is always a great deal of information there. But we haven't seen the whole process yet of what linkage is all about. The Archetype of the Holistic Being Here is the design, by the way, that goes with this. It is something to consider about the nature of it. We're dealing with a 25-46 combination. One of the things we will look at as we move ahead is examples of differentiated Nodes. For example, instead of having two duplicates in terms of gate duplication, what we're going to have is four different gates. It adds a whole different dimension to how you interpret this when you bring it up to the holistic surface. Remember, this is holding the ve- hicle together so it's something that‘s very important to understand about those gates. It is out of these gates that the archetype, if I can put it that way, of the holistic be- ing emerges. These are the most integrated gates that you're going to have in your design. Of course, it's going to be different for different people, different designs. But something, again, to understand about what I keep referring to on the surface, it's not really a surface, it's very deep down. But in terms of the Variable surface, looking at Variable and understanding the independent Variable and the whole na- ture of the independent Variable brings the nurturing dimension. It brings the environ- mental quality that is absolutely essential and to begin to see that it is through those gates in particular and the way in which they are established within the framework of the bodygraph is going to create another level of interpretation. This is obviously not a consistency. And it is something that is only going to take place out of conditioning, which is something else entirely. In other words, there are many, many levels for us to look at in terms of the way in which this is interpreted. One of the most fascinat- --- PAGE 81 --- LECTURE FOUR North & South Tonal Transposition Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 71 ing things about this is that you can interpret at the holistic level, because this is what it does. It's actually creating this bodygraph. Tonal Transposition So, you can see something very inter- esting about the core here. Core isn't very well connected to the way in which the life is working. It's not one of those ques- tions I've been asked. We're looking at the Link Nodes and we're seeing that you have this movement from one to the other. But it's not just this. We know in doing analy- sis it's very clear that what we're looking at here is deeply, deeply, deeply influenced by the Color and the Tone. At the moment you take that South Node on the Perso- nality side and bring it over here and place it in association with the Design South Node, you place it in association with what, in fact, is a different Color and Tone. Don't you? This is called Tonal Transposition. Now, the Color doesn't matter. So here you can see it illustrated more clearly. We're going to look at the South Nodes and the Link Nodes. Here we can see the Coloring from the Personality side and that this is our Link Node with its 4 Base orienta- tion [Gate 25.2]. You can see it came from over here [Personality side of chart]. If we look at where it came from, so this is the associa- tion to this [pink star] and where it went to, which is there [blue star] you can see that the transition here is from the 3rd Tone to the 5th Tone [tones circled]. In other words, rather than this particular Node having its natural affiliation to what is the 3rd Tone in terms of seeing in through its linkage, it actually now is being impacted by the 5th Tone [gold star]. --- PAGE 82 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 72 All right, what does that mean? It's pretty much the symbol of Tone with the Left on one side and the Right on the other side. Now, as I said, there is no Color influence change here. This is not about Color. This is entirely about Tone, but it's entirely about Tone at a very, very, very basic level. So, let me give you an example. You can see that if we're looking to where it came from in the natural setup of the chart, we're looking at something that is Left. I don't want to put in the Left context of the Personality because as we well know it's a Link Node and isn't associated with the Personality. But it's Left-ness. This is what dominates on this side. And regardless of whether the lin- kage is going to be back over here, it isn't going to change that. This 3 is going to domi- nate it and, in fact, when the other one crosses to the other side we get the North, the same thing is going to happen on the other side. It's an equal process. Nonetheless, this is a Left and what we get to see is that this is a Right. Linkage between the Body and the Personality So what does that mean? Let's take the example of this being. What we're getting here is a linkage between the body, because we know the Design rules the South Node. So what we're getting here is a linkage between the body to the Personality. The linkage is demonstrated by a change in the body's frequency when the align- ment is correct. So, let me give you an example of what the Personality North Node perceives, that's what you're conscious of, that is what's looking. Now when its perspective is correct, what is going to happen then is that the body itself, because the way in which the body is going to operate, the moment that body has got it aligned correctly, is the moment it is going to go through the passive side [5th Tone circled above]. --- PAGE 83 --- LECTURE FOUR North & South Tonal Transposition Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 73 Basically what that means is that the honing in on what is correct can create a deep calmness in the body, a deep peacefulness if I could put it that way. If you were going the other way around, the body could suddenly get very agitated, could be- come very active the moment the process of the honing in is correct. In other words, there is a linkage that takes place. It becomes something else. It becomes a sign post. It's very subtle, but at the same time it's there. One of the most important things to understand about what's going on in the lin- kage—it's one of those things about understanding, for example, somebody who's Personality right and Design left. How do those things work with each other? It's done at the tonal level. This is where it is done. And it brings a shift. Here you can see that we're going to go the other way. In other words, we're deal- ing with the North Node phenomena and the 46.4, that is actually coming from over here [Design side] and you can see that down below here's the 46.4 [pink star], here's the 3 [Personality Tone], this is where it came from [left-sided arrow], this is where it's going to [right-sided arrow]. It's going from the 5 to the 3. It came from the 5 [tone on the Design side] over here and it's going over here to the 3 [tone on the Personality side]. So, what's happening is that the Design North Node, which is now over here, instead of being rooted into the Right is now rooted to the Left. Basically, what that means is that it's bringing certain sensory qualities into a heightened state. There are fun- damental shifts that take place the moment the Link Nodes are aligned to the tonal cognition on the other side. Remember that everything about bringing us together has to be based on cognition. It can't be based on anything else. --- PAGE 84 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 74 The Cognitive Architecture Everything about what we are in the holistic sense is about demonstrating our cogni- tive capacity. After all, this is the whole story. Everything about that cognitive ca- pacity we know is here [tones circled below]. In fact, we well know that it's there. That what makes Variable is the Tone. This is one of the most extraordinary things about the nature of Tone. What makes it so phenomenal is that, in essence, every- thing about the nature of our individual lives is governed by Tone. It has to be. This is where the cognitive architecture is. So, the only way a holistic being can be es- tablished who has a truly cognitive potential is if the cognitive architecture is in some way aligned from one side to the other. This is what makes it all possible. It makes it possible because it's taking place at that level where it makes this holistic being a reality. So when we're talking about Link Nodes we're not just talking about the Nodes, we're actually talking about linking Tones, because that's really what we're doing, we're linking Tones. We're linking things to a specific cognitive quality. The reality is that, yes, of course, we see them in the dynamic of the ordinary bodygraph and we well know that the story is not obvious when you see it like this, which is the way everybody sees it, at least within the AI context. --- PAGE 85 --- LECTURE FOUR North & South Tonal Transposition Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 75 Tonal Transposition is the Key Ingredient for Life This is something that is very, very deep within us. It's the thing that makes it so fascinating for me because when you get to this level and you understand what tonal transposition is, just in the most rudimentary sense, give yourself time, we'll get to a deep level of this. But just thinking about it, this is the key ingredient. It's the key ingredient for what we call the life. It's more than the value of the cross and its pro- file. It's more significant, in that sense. And it carries the same value as your cross gates do. This is something that, despite how deep it is within us, is very, very much alive on the surface in the bodygraph. One of the things to understand about Link Nodes is that you are looking not at the Design or the Personality, and you can see that in a way, because they get jumbled together. It's not about really seeing Design or Per- sonality. It's about seeing what the Monopole brings. I had those of those wonderful original charts of mine that I drew in the late '80s. There would be the Design on the left and the Per- sonality on the right and there would be the bodygraph in the cen- ter. And the core of the wheel on the left was the Design Crystal, and core of the wheel on the right was the Personality Crystal and in the middle of the bodygraph in the G Center was the Magnetic Monopole. Each of those graphic images represented one of the three components of what we are about, these three dark matter components that holds us together in the reality, the maya reality. The Nodes are the Instruments of the Monopole So, everything having to do with the Monopole, and because we know that the Mo- nopole has this extraordinary relationship, the Nodes are instruments of the Mono- pole. This is something really to grasp. They do the work; they express the Mono- pole in the same way that the Sun/Earth's express the Personality and the Design Crystals in the Design and Personality configurations. This is where the Monopole rules and this is where the Nodes rule in the bodygraph, because this is where the life is. And they bring the life together through Link Nodes. They bring the life together not as some kind of Frankenstein experiment where you throw this piece with that piece and you hope for the best. They bring them together with a coordinated cognitive plan, because that's what it is, a coordi- --- PAGE 86 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 76 nated cognitive mechanism. By the way, not that it matters, but you might be cu- rious, this is the design of Bob Dylan. Significance on the Surface I'm a simple man, I really am. I like to see things as simply as I can. It is so impor- tant to understand that Link Nodes are about the surface. We will work on the detail of how you can look at it in terms of its analytical qualities. But the first thing to re- ally grasp is the surface of this. All right, what are they doing? This is our set up for life [Nodes]. And of course, the thing to recognize is that aside from whatever the values are that we're going to be able to see here, it means that these gates in particular have a real significance on the way the life program is going to be lived out. It does, does it not? Everything makes a difference. Life, particularly in the way the Human Design System sees many different kinds of geometries and different kinds of ways in which we operate within the general movement. This is somebody who is a 4/6. They‘re right angle. It means they're self- absorbed in their process. They have personal destiny. They're a single definition with personal destiny. And yet their life, the way in which it is intended to be held together is something that is deeply, deeply open in them, an undefined G, just the simple level. It's not like that's anything other than ancient in my teaching. I first introduced the Cross of Life in the early '90s. One of the main themes was: where is it in your design? It's true of anybody's Sun/Earth and Nodes. Where are they in your design? Are they part of the definition? Are they open? What's the not-self strategy that rules them? If you have your Sun or your Earth in an open center it means that it's a pressure within you to release it al- ways. And with the nature of the Nodes, because they represent our lives, how extraordinarily difficult it is. Remember that my referencing here is particularly, simply to not-self. After all, if you're operating correctly you never have to worry about where you're going. That's the most beautiful thing about Strategy and Authority. Strategy and Authority is a magical thing. It simply puts you in the right navigational trajectory. But without that, this is a life that has a hole in it. It just does; it feels like that. --- PAGE 87 --- LECTURE FOUR North & South Tonal Transposition Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 77 Be Careful about the Attention Paid to the Personality Nodes Let's take a look. Remember where we're coming from. Let's take the start of the 25 and think about the fact that in most analyses when you're going to be looking at perspective, as an example, you're going to pay attention to the Personality South Node. I would be very careful about how much attention you pay to it. The Nodes are opposi- tions, so you're going to have the Line, the Color, and the Tone. I would stay as a marker with the quality of not the Link Node, but the quality of the Node that re- mains. In terms of analysis on the Personality side, the information is rooted in the line, the color and the tonal impact in terms of the view, and so on. But I would fo- cus on the line value of the North Node as a significant theme. Now, remember, you're going to have the North Node movement coming across and, of course, it‘s going to bring with it another line value. But that's no longer impor- tant. Remember, the only thing that matters when it comes across is the way in which it's going to relate to the tonal quality itself. Frequency: View Affects the Body which Affects the View So, let's look at something. I want to take you back so you can see both at the same time. So we have the Normal up here and we have the Transposition down here, so we can see the differences, in that sense. Okay, so let's go over here to the top. Let's begin on the Design side. We know when we're looking at the Design side, obviously this is environmental, and we know that as far as the Color is con- cerned that this is going to be the envi- ronmental shores and the basic things we know about the values of that. And in the context of the envi- ronment, what the Tone is going to bring. --- PAGE 88 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 78 But remember, what we're particularly interested in here is this frequency. We're interested in the Right frequency. Remember that when we are looking at the body relative to the Design external, we can see whether the body, generally speaking within the environment, is going to be active or passive. So what we know here is that this is designed to be a passive vehicle. Now remember that it's coming from the other side where it's been very active. The setup on the other side to the Left is much more strategic. But what's very impor- tant is that the moment that the view is correct, there is this deep, deep, deep calm- ness in the vehicle. You have to understand something about active/passive. These are really huge ge- neralizations. So one of the things you see the moment you're looking to the Design side—and we see that the Tone is to the Right side—it means that in order for the perspective to work, it has to be very, very, very calmed down. And that moves across. It just does. It affects, for example, the way the gaze works. Whether that's going to be a very active looking around or a very relaxed viewing, all of these kinds of subtleties are coming into play. Of course, what it means is that when there is correctness, when the perspective is particularly honed and the view is not being influenced by its distraction, that's the moment there is a shift in the scale of what passive is. If you started a midpoint be- tween being a little this way or a little that way, it starts toning things way down. In fact, it becomes a signpost. This sudden sense of relaxation is a by-product of the acuteness of the perception. Subtle Differences in the Way This is Interpreted Again, there are many, many elements in this. Be very careful about what you do with this. It's my constant warning to all of you. There are so many levels to see. So, we're going to have this shift away from the 3 com- ing over like that [yellow star]. Now, it does some- thing. Again, this is one of the things to understand about that. The message of this [tone 5 circled] isn't really here [pink star 25.2]; it's over here [blue star 25.2] if you know what I mean. In other words, this is the Link Nodes. I put it graphically like this [lower section of illustration] so that you can see them link- --- PAGE 89 --- LECTURE FOUR North & South Tonal Transposition Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 79 ing. But in fact, they're always on either sides of the program [upper section of illu- stration]. It's just they're linked to each other through what, in essence, is part of capture frequency. So it is over on the other side, but it's over on the other side tuned to this [tone 5 circled]. So it catches, if you will, the calmness. It catches the setup of the vehicle in order for the view to be honed. It also means that you can have a very, very subtle differ- ences in the way you interpret this. One of the things about this is that it divides us into two different qualities of perception. That is, the cognition is influenced by the fre- quency. This is all juxtaposition. One thing is always going to influence the other. The other thing is that these values [indicated below], one of the basic ways that I introduce the Nodes was not to really think of them as being different from each other. Yes, there is the South Node theme at the beginning and the North Node theme in the second half of life and the Uranus opposition; yes, all of those things are so. But again, there are many, many levels of looking at things. Synthesizing the Elements The Nodes are basically a road. And the only way that you can really understand the road is to synthesize the elements. I like to use the example of language. It has always helped me in the past. Basically, if you're looking at the South Node, this is the verb. And this is the adjective. It's the same thing on the other side; here's the verb, here's the adjective. In other words, the Link Node is a support- ing description. Let's take just the basic keynotes. That is, the 25.2 is the Existentialist and the 25.4 is Survival. Now that survival theme is going to be a big deal. But it's going to be a big deal that has to be taken in through that existential adjectival support. That survival is a big theme. And it is a big theme for the cognitive program. It's means the environment for this being is going to be very, very important for them. The Hierarchy in Nodal Transposition Everything that many of you have studied in the various programs, one of the things I'm always introducing you to is the different levels of hierarchy. The hierarchy, for example, the way in which the impact of open centers on the way the not-self mind makes decisions and so on. There is a hierarchy here in the nodal transposition. --- PAGE 90 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 80 The moment you put them into transposition, you get to see the hierarchy, which means that you can fine tune the way to see the way, if I can put it that way without being confused. In other words, to truly understand on one side, basically through survival you can become a prima donna. Oh, Bob, look at that. Did I call him out, or was that terrible of me? You see the path of a life, don't you? You're seeing the path of the life. And of course, there are always going to be un- derlying elements. The existentialism of 25.2, and of course the impact of the 46.4, yeah sure. Of course, what it's say- ing is that the body provides the potential for the impact [red arrow]. And you get to see the life. If you get to see the life, you get to see the way in which the Link Nodes set up the holistic being [pink star]. Look at Your Life Story and How You Get There You have two things to look at here. One says here's your life story [blue star]. Look at yours; it's really fun. Here's your life story. And the other says that this how you get there, because that's how you get there. Here's your life story; here's how you get there [yellow star]. You get there because of the Link Nodes. You don't get there for any other reason. It's the Link Nodes that hold us together, blah, blah, blah, and all that stuff. --- PAGE 91 --- LECTURE FOUR North & South Tonal Transposition Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 81 Of course the beauty of the story is that you can take each of these and associate them with the perspective Color/Tone, and then you really see it. There's no bridg- ing between them. This is real dualism here. The bridging, again, is the life itself. This is the thing that makes it so beautiful, because the moment you have this you have the life itself. You have a juxtaposition that creates the life. What we get out of this is two extraordinary tools. One of the things I've been unable to do, and it will begin in the third semester this year, is I'm going to do of a program called Advanced Analysis. I'm going to take all of these very, very deep things, all of the many, many different areas that I am aware of at this point and show how you can bring any of them to the surface. Now, obviously, they come in different ways. But I think one of the things that is missing at this point, because I've spent years now in laying out all kinds of theoretical data, is seeing the ways in which all of this information can be synthesized to the surface and this is really a place to begin. This is the core of the life. Everything is Built on the Link Nodal Formula If I ever got to a place where I could imagine developing a whole new level of analy- sis, the kind of analysis that is more associated with science and geonome studies than it would be with anything practical for most people other than students, you build it here. You build it here because this is where the life is built. Everything is built on this. And everything is built on the Link Nodal formula, which is fascinating. If you're looking for the great scripted story, it is so easy now to be able to, in a way, if you take all the possible combinations obviously relative to what is their Tone and Color, then basically you have all the storylines. You have the basic storylines, and then after that, all you have to do is see that within the nuance of somebody's life. If you're going to build the story of this life, you have to start here [G Center]. I‘ve worked at analysis so long. I started at the top going down and you look at everything that way. But I would really like to have the time to rebuild, not so much anal- ysis as to create a—I don't know, what would we call it—a construc- tive revealing (laughing); I don't know what we would call it. And I don't even know how to fully to explain it. That is, to actually build the being out from the indepen- dent Variable. One of the ways that I'm going in terms of my thinking is that if one really wants to understand the life at its deepest level, which is far beyond anything --- PAGE 92 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 82 on the surface, then you have to begin here [independent variable]. This is where you have to start. It's the only place you can start. If you start here, and because it is the thing that is holding you together, that where it's holding you together or how it's holding you together becomes an enormous story. It just does. It becomes your story. This is the story of an inno- cent form with a Personality that is going to push upwards, all of those things that are inherent in all of this. But then you have to see it within the context of it, see what it means to take this central information and then go to the very, very surface of the knowledge and look and see where it is. Remember, this is your life story. I hope all of you are thinking about your own. Where are your Nodes? All of my Nodes are part of my single definition. They are all deeply, deeply integrated. My life story is totally within my hands. But, his life story, indeed was not. And you can see that it took other human beings to align him to this—an open G. And again you're dealing with a not-self. Oh, the life gets lived out. You cannot stop this from happening any more than you can stop this G Cen- ter from being acti- vated just about all the time. Look at all the possibilities—6 different possibilities to activate this G Center. This G Cen- ter is almost never open. And of course, with true inner authority this is not a navigat- ing problem. As not- self it certainly is, because everything about this is about the other, how we handle the other, how we see the other. It is the other that brings us this dynamic of being in the world alive and so forth. The Nodes point us towards that, set us up in an environment that is correct for it to bring those forces into our lives. It's not a handicap because they're in an open center. It doesn't mean that I have an advantage in that sense. Only awareness has an advantage. As long as you're operating out of your mind, you're always going to suffer, no matter what is there. Operating Out of the Mind Distorts Tonal Cognition And remember, if you're operating out of your mind, your whole tonal cognition is distorted anyway. The Nodes operate just at a brute level because they have to be- --- PAGE 93 --- LECTURE FOUR North & South Tonal Transposition Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 83 cause they're the instruments of the Monopole holding you together. And yes, there is this movement. The so-called ―midlife crisis‖ is mostly just simply the failure of linkage to be able to produce anything other than distortion and deterioration. For the vast majority of human beings it's not possible to be subtle at this level. You have to be very careful with what we're doing because the reality is that this is incredibly subtle in the way it‘s going to operate. It's not going to be visible in those beings who are not correct. It isn't necessarily something that is truly going to oper- ate well unless it is environmentally correct and we know that this is a major step in anyone's life. Everything having to do with cognition, anyway, is going to be rooted in whether one's dietary regimen is correct and whether one has the enhancement necessary to be able to take advantage of the cognitive that is there. The dilemmas of what it is in the surface, yes, yes, yes; for the not-self that's a real trip. You end up with a lot of people claiming to have made your life possible (laugh- ing). You really do. And of course, to some degree it's true. It's just something that happens along the way. After all, this is simply about how aware you're going to be. In the end, it's always and only about awareness. But there is magic in this, this level, to be able to see what's going on, and to be able to understand the inter- pretive qualities, to be able to get a grasp on how you do the interpretation. Advanced Analysis It's one of the reasons why that I want to do some kind of level of advanced analy- sis. I don't think anybody, particularly—there may be some people intuitively, I sup- pose—but not everybody is comfortable with translating the value of a gate on the Design side. They're not necessarily comfortable with deconstructing the line value to the Design side, or to seeing the line value in terms of body type. One of the things we work with in PHS and Rave Psychology in chains is to look at the influence of lines in relationship to their physical nature, not just simply seeing them from the Personality nature, but really being able to see the difference. That 1st line in a body can make for very nervous body, a very, very alert, on-guard body. There are different frequencies you get. Or the 3rd line with the toughness of their body; there's real strength in there. Or the 2nd line, which has that vulnerability, the Achilles tendon phenomena in the 2 body. All of these bodies—the 4th line with the easiness of its fatigue. Everything single aspect is always like that. One of the things you have to be able to do at the deeper levels of this in terms of analysis is begin to be creative in the way you think of the differences between Design and Personality. It's taken me many, many years to be able to show students the fundamental differences between Design and Personality. Those differences, in the end, we finally get to see at the tonal level where the Tone relationship to the Color is totally different between Design and Per- sonality. --- PAGE 94 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 84 What it really leads to, in my juxtaposition work, is an understanding that the crys- tals themselves are very different in the way in which they're constituted. The Per- sonality Crystal, and obviously something that is incredibly durable, is enormously stable. I say ―incredibly durable‖ because it is the crystals we are endowed with that have been in existence for 14, 15 billion years. Design Crystals have of an incredible spectrum of duration. They're much more unstable, in that sense. That difference in stability—why we die? Nobody really knows; not really. But the Design Crystal is something that deteriorates. That is, it's not stable. At some point, it is just grabbed back into the embrace of the Monopole and that's the end of the story. There is a fundamental difference between the Design and the Personality. It means that the tonal construct, the way in the inner architecture of the Design Crystal and the inner architecture of the Personality Crystal are arranged, that in essence, this is different. Again, this goes back to why these diagrams are different from each other in that it is a different way in which they are constructed. So, obviously, when we're looking at the Design and the Personality, because we've gone through a stage where we understand how different they are, it makes these Link Nodes even more incredible. This is the glue. And if it's the glue, it is also the core, and if it's a core, then it's the basis of what can be a totally different kind of analytical approach. Alignment to Orientation Changes Aspects of the Perspective There is also something else to consider. The alignment to the orientation—and we will take a look at that—also changes aspects of the perspective. Everything is like this. My joke about this is building the seat so that eventually the passenger can be aware. The way we build that seat is this way. This is the way it works. What we know about that is we have a catalyst: Strategy and Authority. The cleansing process is the seven-year deconditioning cycle and dietary regimen. If you really want to get to the subtlest levels of this process, the dietary regimen is not some- thing you can do without. It is the only thing that really prepares the system for this acuteness of awareness. It also means that with dietary regimen—and again this is a foundation process—we enter into what is the correct environment. The moment that this process is there— Strategy and Authority and dietary regimen enter into the environment—is the mo- ment that the way in which the Link Nodes operate begin to produce results. They begin to produce results because of the tonal transposition. It allows for the holistic cognitive process to take place. The holistic cognitive process takes place along the independent Variable. This is where we establish that process and we establish the potential of that process. That opens the doors for awareness. It's what establishes the possibility for the passenger consciousness. In order for the perspective to be correct, the perspective has to be aligned correctly to the environment. Again, this is what the Link Nodes do. They're going to do that in a way that allows the tonal information to cross the barrier—because this is what --- PAGE 95 --- LECTURE FOUR North & South Tonal Transposition Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 85 it's all about. It allows the tonal information to cross the barrier each way. In other words, the cognitive architecture of the form and the cognitive potential of the Per- sonality coming together form the cognitive potential of the whole. This is how you get the holistic life. This is where it comes from. You have to see how important it is for us to be aware. I couldn't push awareness for a long time. I had to push breakthrough: get out of the Program, discover the beauty of what it is to be you, here's your real inner au- thority, experiment with this. The basis of breaking through the surface, as you all well know, it's not an easy thing, just to break through the surface. The surface is so dense. But once you've broken through the surface, once it's become, through deconditioning, through the seven-year process, once it's become a natural thing for you, you already know what happens. It begins to change the way in which you see. It begins to change the way you think. It begins to change your awareness, because you open up these possibilities for the acute awareness that is always there. But in order for this cognitive potential to be fulfilled, all the elements have to be correct, because you have to be able to get the tonal information across the barriers. You don't do that if there's no Strategy and Authority. You don't do it well if there is Strategy and Authority but there is no dietary regimen. It's a progression. But in the end, nothing sets up awareness until the chair is in place. The passenger has to have everything in place. It's why I laugh at passenger Personality and call it useless, helpless and incompe- tence, because it is. It really is. It's just waiting there to put on the show. That's what it's good at. And the show is beautiful, or can be I suppose. We don't see too many of them. Outer authority can be a magical thing. By the time you get to a point where the awareness is there, it isn't the point anymore. It's always like that. By the time you get to that place, it's not about anything. It's just about the it-ness of what it is to exist. There isn't anything else. It's the beauty of the potential of what we are as a cognitive being. All of this goes back to the tonal level. And you have to get it across. It's not enough that it's working ok on one side; they both have to work. And the information has to be available to both sides so it can be coordinated. So, you can see what it means when you bring those two things together, that we can begin to do with the kind of research that we will do one of these days, to begin to define certain holistic types and not in the context of Manifestor, Generator or whatever. There are only so many combinations. But they really do set up a way of seeing that's quite amazing. Look at the Non-Linked South and North Nodes One of the first things to do when you are experimenting with this is to take the non- linked South Node and the non-linked North Node and look at quite a few charts of people you know and see this within the context of what Color and Tone tell you. Look at this through their gates and their lines and try to see the story of their life. And because you know them, because it does work, you get it. It's important for --- PAGE 96 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 86 you to see it, because this really is the story. Yes, we know that there's other stuff involved. But for most human beings this is what they want. If I was going to make my living as a soothsayer in the old-fashioned sense— wouldn't I look cute with one of those turbines and a crystal ball—I would be really good at telling people about their future. All I would need to have is their indepen- dent Variable and I can do a real good story. And if I saw their design, I could do it even better—the trials and tribulations of the not-self on the roads of the Nodes, yes, yes, yes, because it's all there. And you need to see it. Not only do you need to see it in that context, but you also need to see those gates in relationship to the design itself to understand some- thing so fundamental about us. It doesn't matter whether you're right angle, juxtaposition or left angle. It doesn't matter if you are right-tonally oriented or left-tonally oriented. It doesn't matter what your indepen- dent Variable is about. If you're alive on this planet, you're going to be influenced by the other; period. Whether you're going to be influenced directly, or through Pentas, or through WAs, however it's going to be, they're always going to be there and the potential of the conditioning is always there because your receptors are always there. How powerful the receptors are in the 46 and 25 here, how much they need to be expressed. The Point is Navigation not the Design The point is not the design; always remember that. The point is how you navigate, not the design. Nobody's design is a problem. Navigation is the problem. Every de- sign is a problem if you don't navigate correctly. So, it's not about saying oh no, poor Bobby, always try to prove himself, all that stuff. No, there is a story here. This is what I want you to see. I want you to see that we all have this story. I play with you about the concept of movie; I love the whole idea. I think it's per- fect. It's a cheap rip-off of the Bard, but what do. The whole thing about the movie, the whole thing about scripts, is you need a story line. Without a storyline it's really boring. Every character has to have a storyline. Every character has to have a life. Regardless of what they play in the larger performance, there's a storyline. --- PAGE 97 --- LECTURE FOUR North & South Tonal Transposition Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 87 This is your storyline. It's wonderful to see your storyline. And to see it within the context of that it is through this, on this storyline that your whole cognitive potential emerges. It's a wonderful thing to see. Once you're comfortable with that, once you're comfortable with isolating the Nodes in this way and looking at them this way and understanding what is going on in that construct, then you can look at the other side, then you can look at the Link Nodes. The Adjectives: The Backdrop of the Story Line The adjectives* and how they work: if you take the two adjectives and bring them together, you get the backdrop of the story line. It's just there. And so out of that you build the movie. Remember that the backdrop carries all of the cognitive trans- position and that means the storyline of the character has an intelligence to it. It's not just a story with dates, but it's a storyline that carries with it a cognitive quality, a cognitive approach, whatever the case may be. Again, it has to be seen in the context of the lines and the gates. What we're looking at is when you're just looking at the life story, we get a different configuration. The Link Nodes: The Inherent Intelligence Everything about our lives is built on this track, everything about it. Remember that the Nodes are going to be part of the perspective that is going to be the framework for the way in which we're going to conceptualize. It means that perspective in and of itself has an inherent intelligence. It is this inherent intelligence that you get in Non-linked Nodes Story Line Verbs Link Nodes Inherent Intelligence Adjectives --- PAGE 98 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 88 the Link Nodes*. The non-Link Nodes* are going to give you the storyline, but the Link Nodes are going to give you the inherent intelligence at work. There is an intel- ligence to this character in its story. It is this intelligence that feeds this perspective. Now again, what I do later today, experience is something that comes from the lunar and planetary square, but that experience takes place along the story, along the line of the story. Everything is about the story line. It's what gives us a life. Then you have to see how important it is—that question about what does life mean to you? Take your two Link Nodes together and synthesize them, because this is the intelli- gence behind the story. It is funny how many things can be revealed. I don't think there's anything that can't be revealed. I think the maya is an open book. I think fundamentally you can see anything. It's just a matter of whether it's necessary, I guess, because it's all there. I don't want to be in a situation where I take you into these deep, deep minu- tiae and distort the overall process. Advanced Mechanics in its own way is risky be- cause I have many of these very, very subtle things to lay out because it's a respon- sibility to the science. Most of it is about inspiration, I think, because that really is what it's about. Written Comment: It feels like we were starting at the end of the story before, and only now are we getting to the beginning. Ra: As Don just pointed out, we're at the closing little "this and that‘s" of major themes. These are minor themes in that sense. Mechanically speaking, interpretive- ly it's only the beginning. To be able to find a way to integrate all of this knowledge, and I don't mean that in the sense of practical application of it like what we do with the CHD. I mean in the sense of building up a new way of looking at the holistic be- ing from strictly a tonal point of view. In other words, the way we've been looking at the bodygraph has gone from a line- to-a-line/color phenomenon, basically, with color taking on all of the values that we see in Rave Psychology and in PHS. But as we went deeper into the knowledge we saw that Tone was going to be the thing, obviously, the left-ness and the right-ness and so forth, the cognition. I think it is possible, because I see it in my own way of looking at designs now, to begin a new way of looking at a being strictly through their cognitive framework, the way cognition work in them, and the way cognition works according to the dynamics of their AI chart, all on the surface. There are so many fantastic things you can do with the surface with AI once you have all the inside data. Then this is possible. And I think it's important. The sev- en-centered being, when a child would come into the world, by the time it was through its first Saturn quarter, maybe seven years old, it would be told a story of the tribal past, the tribal history. It would be given its sense of continuity with the tribe's oral tradition. I think by the time somebody is 15 years of age, approximately in the first half of the Saturn cycle, they're ready to be told their story line. Not about the past, but what lies ahead, not in the sense that it determines their life, but in the sense given they --- PAGE 99 --- LECTURE FOUR North & South Tonal Transposition Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 89 are correct in their process, it will allow them always to see as a signpost that they're on the right path, that they're moving in the right direction, that at all is well in the world. Seeing the Surface from the Cognition Point of View I am very interested in building up this tonal centric surface, to see the surface from the point of view of cognition, not see it from the point of behavior or all the other things that we normally do. But simply look at it from the point of view of cognition and the potential inherent in any holistic life for awareness. What that quality awareness, based on the cognitive analysis rooted in the story line, would make for some interesting stuff. I guess we'll get there, somewhere down the road. All right, I'm still not used to doing 90 minutes but anyway, I'm working on it in. I hope you enjoyed that. We have some wonderful material to cover in all of this. So, we'll keep at it. And to those of you I will see later, I won't be in the class until about five minutes before. This is a great doubleheader for those of you who are doing both because I have a fantastic Personality Resonance coming. To those of you I won't see later, I'll see you next week. Until then, bye for now. ~ --- PAGE 100 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 90 --- PAGE 101 --- Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 91 Lecture Five Story Line and Cognitive Potential Welcome to all of you to part five in our Advanced Mechanics journey. I'm going to continue with this theme of the North and South Tone transposition. It is a subject that is going to take time to break down. But I want to give you the basic elements in a practical sense so you can begin to work with it. Link Nodes: The Instrument of Creating the Holistic Life One thing that is so interesting to me about Link Nodes, and I really don't know if I got that across the other day, is that it is very much unlike Tone, as an example, where the only way you can really see the impact of Tone on the surface is through layers of phenomena. But the interesting thing about the Link Nodes is that they give you an opportunity to look at the holistic being because that's what the Link Node does. It's actually the instrument of creating the holistic life. And as such in looking at them, obviously this is something you can evaluate immediately at the surface. It is something that is important. Variable The subtitle you see here—Story Line and Cognitive Potential—is actually part of the material I'm developing for the Variable workshops that I'm going to be doing in Ibiza. This is a very important event for me. I intend to give each Variable, in a sense, each person, a unique take, a unique way in which their Variable operates for them. This is really something that is accomplished through the North and South Tonal Transposition, through the story line and cognitive potential. I'll take you through this. It is a way of bringing the language to the independent Variable, the nodal direction of life, the external, in that sense. --- PAGE 102 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 92 I try not to belabor the point because it is clear to me that Variable is really, in so many ways, the culmination of the revelation of mechanics. Variable is really unbe- lievable. The deeper I look at it, the more extraordinary it is to me because it's so obvious that here, the plan, at an individual level, is laid out. It's not just a matter that you have a generic family; that is, the Variable whatever it is. Obviously 16 of them in seven billion people, we know that there are a lot of people in every Varia- ble. It is about this incredible differentiation that exists in the mechanic of Design where we can break things down to this differentiated level. But to give language to it—this is one of the things that I'm always concerned about in terms of one of my goals for Advanced Mechanics: to provide language for very, very difficult concepts for newcomers to grasp. What you have been taught by me in relationship to the values of the Design external or Personality external—though there are keynotes that provide entry doors for somebody who doesn't know this and ways for you to be able to guide them to it—it's still something that is broken down into this side and that side. And so it should. In other words, one is PHS and one is Rave Psychology. Regardless of the fact that there is Link Node connection to them and so forth, the only way you can see them holistically is within the context of the bodygraph, within the nature of their role. And then we're bringing something very different. In a way, what we're looking at is this: you have the Design external on one side, you have the Personality external on the other side and then in between you have the story. This is really what it is all about. In other words, this is where you get to see how those two things come to- gether in something greater. It's very similar to the way in which we look at a chan- nel. The Life Force of the Independent Variable In a sense, the story line and the cognitive potential is the life force of the indepen- dent Variable. It is the life force and it is the life force given a costume. And it's not this or that. The Link Nodes make sure of it. It's not this or that. It's not the Design or the Personality and the way in which they work within their own particular agendas. No, no, no, no. This is where everything gets jumbled up. The Link Nodes crossing over and all of a sudden we have a holistic mechanism, a whole that's greater than the sum of the parts, the juxtaposi- tion that gives us the story of the independent Variable. This is what we want to know. --- PAGE 103 --- LECTURE FIVE Story Line & Cognitive Potential Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 93 Think about the independent Variable. Think about what it really is. There are cer- tain things that we understand are a fundamental about the independent Variable. What we know about it is that this literally is where the life takes place. This is where we get into action. This is where the motion is, this is where the navigation is, this is where truly the form principle lives out whatever its orientation is intended to be. In other words, that is its natural state. We're nine-centered beings, we are Uranian beings. We have a Uranian body with an expectation of 84 years minimum, of well-being with proper quality of life because that's the kind of body we have. Now, we know that body only receives its nourish- ment from the external, separate from what PHS dietary regimen does for the inter- nal. This is the other side of the dualistic coin. The outside nourishment that's ne- cessary is the environmental nourishment. The PHS Side of the Independent Variable So what we get to understand on the PHS side in terms of the independent Variable, this is where we create the orientation towards a healthy, long lifestyle. And of course, that means that environment nurtures not simply our process in life, but it nurtures more importantly who we get to meet in this life. Everything about the movement we're going to have along the track of the independent Variable is going to be conditioned by how the overall frequency of the being operates. In other words, is the frequency dysfunctional? If are we dealing with the not-self, then we don't have to concern ourselves with the nuances of this subject. But the moment we're dealing with somebody who is oper- ating according to the Strategy and Authority, they are already aligning themselves to proper navigation. It isn't necessarily perfected, but it is a process along with their deconditioning, to move them in the right direction. The Personality Side of the Independent Variable One of the things we get to see when we move over to the Rave Psychology side, to the Personality side is that the external is the platform for mind. It is the thing that makes it so extraordinary. Remembering that the Sun/Earth, the Personality inter- nal, is a performance mechanism. This is where the style and the delivery of mind, where the conceptualizing of it takes place, but the way the material is organized is through the framework of perspective. When you're looking at an AI chart, the first thing to understand when you're looking on the Personality side, just to keep it easy, if you're looking at the lunar and plane- tary square, you're looking at the way in which we take in experience, the material that the mind ultimately is going to work with. When we're looking at the indepen- dent Variable and the Personality external, we're looking at the framework through --- PAGE 104 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 94 which this experience is taken in. If you don't take the experience in the way it was intended to be taken in, then you don't get any of the values from it. Yes, it is extraordinary that the lunar and planetary square is our mechanism for ex- periencing life, and yet in order for us to be perfected in our uniqueness, that expe- rience of life has to go through a correct frame. What you experience is where you are and what you see. Where you are and what you see is the independent Variable. What we know about seeing is that it has its own dilemmas because it is constantly being teased by distraction. In other words, the harmonic movement that we call transference at the Personality Sun/Earth level, here this is distraction constantly trying to pull the perception away from what is correct. So we know that we have two sides of the coin. We know on one side that we have an environmental demand that brings certain benefits. We know on the other side we have a Personality demand that is the correct perception or view that is going to bring its benefits. But what does that mean as a life? That's what we're looking at. That‘s what we're here to see and that's what we're here to see over here [lower circled area]. I've given you one of those ex- amples where you don't have the duplication of the Nodes. And of course, I don't know— again Adrian thanks for today—I don't know about the statistics of that, quite frankly. I don't know how many people have the same gates for their Design and Personality Nodes and how many people have different. For example, I have different ones. Adrian: 25.50% the same. Ra: Interesting—in other words, showing up in charts, right? I don't get that, but anyway, all right. You'll have to explain that to me because I don't understand the context. If the same were 25% of the time and different were 25% of the time, what's the rest? There is no rest. I don't understand. Ok, I'll move on for now. Adrian: 25.50 % of all charts have the north and south nodes in the same gates, respectively. Ra: Ok, thank you. I see. So, the solution is that what we need is a life force. In the same way that a channel gives us an opportunity to see the way the gates at either end, that are very differ- ent coming from each other, coming from very different centers, with very different ways in which they operate, that somehow they come together in a holistic function. --- PAGE 105 --- LECTURE FIVE Story Line & Cognitive Potential Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 95 So, here we're dealing with the same thing but we're dealing with it at another level. In other words, what we're looking at now is the possibility of going beyond what we've taken in in PHS and Rave Psychology as these separate functions and begin to give it a holistic value. In other words, to begin to give it a language that we can look at, and of course, this language is going to be the by-product of the tonal trans- position. Tonal Transposition Let's go back to our theme of tonal transposition and see if we can work that one out. Personality Link Node, here it is, and you can see the Personality Link Node with its Base orientation and again you see the Base orien- tation here and you can see the Personality Link Node is now brought over to the oth- er side. You can see that it's moved from a 6 to a 1. In other words, the tonal trans- position has taken place. The other thing is, and again, I'll remind you about how you use this. You don't use this information in the same way. The next thing is we look at the Design Link Node. You can see the Base orientation is the 5 [black arrow]. Obviously, it doesn't belong here. It belongs over here where it is the centerpiece of this [blue arrow] and of course, the 59.4 goes down here [orange arrow]. And we see that this is moving from a 1 to a 6 [green arrow] in terms of the tonal transposition. --- PAGE 106 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 96 I did that fast, I hope that was ok and you got that. At first it can seem confusing. It confused me at times; particularly when you're looking at the two and you're try- ing to work it out because it's an odd way to see the Nodes. Again, it's very straightforward in the way in which the mechanism op- erates. We're just crossing them over and in doing so what you're looking for is obviously the change that's going to take place tonally. So here we have the transposition that has taken place and the background of this— because again remember, one of my goals today is to give you a way to try to bring your PHS and Rave Psychology independent Variable knowledge to the surface so that you can actually bring it to the charts that you look at. It is one of the things that the more familiar you are with that—I'm teaching you basic nine-centered soothsaying. That's really what it is. It's a way of being able to see the story line and the quality of the character of that sto- ry line. But anyway, we'll get there. The first thing we have to consider here—and again, we're looking at the independent Varia- ble—we can see that we have four differ- ent variations here. The other thing to notice about it is that here is the 29, here is the 59, and of course, here is the 30 and here is the 55 side- by-side over here [gates circled in the bodygraph]. So you can see that everything that is here in the independent Variable is alive and well in this single definition emo- tional Generator. In other words, everything about the way in which this is going to work is so easy. All you have to do is be a good emotional Generator. I don't know how easy that is. I've learned that Generators for some reason or another have a hard time with the purely simple. But anyway, you can see that obviously, in terms of any interpreta- --- PAGE 107 --- LECTURE FIVE Story Line & Cognitive Potential Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 97 tion, having all of the elements part of a single definition just happens to be the se- rendipity of this chart. It certainly allows, in terms of any kind of analysis, a very clear key to the way this works. Often you have situations where elements of the independent Variable are either split off from each other, or you have an element in an open center that is a hanging gate, or many that are hanging gates, or all that are hanging gates. There are many possible configurations for the way in which the Nodes are actually going to function in terms of the chart. Over the next several classes I will be showing you different variations so I will give you different ideas on the way that operates. This is just graphically showing you that shift of the 6 to the 1 on the Design side and again with the north, the same phenomena. In other words, moving from the 1 where that Design North Node used to be over here and moving over here so that you pick up the 6 so you get to that side. What I want to do today in the time we have is to give you an analytical formula. An Analytical Formula: The Story Line So, this is your analytical formula. First of all, let's be clear about the way in which this works. The story line is what does not link. In other words, it is those nodal aspects that are not Link Nodes. They don't go here and they don't go in here [red X’s]. That's where the story line is. This is the fixed story line that is there for the life. Remember what you're looking at. Remember the context. See it within its envi- ronmental context, within its perspective context. It's laying the foundation for what the story line for this being could be; could be. This is always the question mark. When I look at somebody's Nodes and they're not-self, I'm not even interested, be- cause what to do? The Nodes represent the refinement of a process. You get to see this in the way the child is naturally raised in this knowledge, the way they're in- tended to progress, this natural progression that is intended to be there. When you're looking at that progression, what you get to see is that environment is something you wait 30 years, approximately until the first Saturn, until that becomes something that is important and you begin to set yourself in the correct environ- ment. It's a 20 year process to develop the perception of all of that. So it's some- thing to understand about the not-self and what I'm showing you here. --- PAGE 108 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 98 This is not a not-self story line. There will be elements in it, obviously, because it's on the surface. These are Nodes; they're in the design. But you're dealing with a homogenized personality. And you're dealing with a mind that is making decisions, so obviously, you're not going to have the right cognition. You‘re not going to have the right perception. You‘re not going to be in the right place, so the story line is not one that is easy to read, because it doesn't really work. In other words, what you're looking at here is part of my long-term involvement with the development of the knowledge that is the foundation of the Center for Human Differentiation. That is, the areas I am developing in Advanced Mechanics are areas that are going to benefit the holistic work that we do with those who enter into the experiment. This story line is basically a signpost structure. In other words, by looking at these things in terms of what is possible, in terms of looking at what the differentiated possibility is, that opens up the whole opportunity for the growing awareness of mind to watch their story line and see the reference points to the signposts. So I don't want you to assume, the kind of assumption that people made about Incarnation Crosses, ―Oh gee, this is my cross so this is me.‖ Well, yeah, we all know, sort of dysfunctionally, but it isn't what it means to live on your cross. It doesn't have any- thing to do with it. It's just a very, very attractive keynote. But to live out fully what your cross is all about, you have to be absolutely correct and aware, because that's what it's for. Then you get to live out the differentiated nuance of that. Otherwise a cross is just another generic. There are millions of Cla- rions alive on the earth today—I'm a Clarion—millions of them today. They don't do my job. Some of them are doing Clarion work. Most of them are yelling a lot. That's a joke; but anyway, nobody's listening. Tonal Transposition Brings a Way Design and Personality Can Align Ok, the other side of the coin is what makes tonal transposition so interesting. What do we know about the external? On the PHS side, when we look at the external, we know that the body in its most general keynote is active or it's passive. And we know that the active or passive is something that is determined by the tonal quality. So obviously, tonal transposition, when it comes to the physical side, is something that is very interesting. Be- cause as you can see, and again, it's not always going to be the case. I know that the question arises: is there a difference between 1, 2, and 3, and 4, 5 and 6? No, there isn't. As a matter of fact, this is about the line that runs through the middle of the little triangle. In other words, this is simply about left-ness and right-ness. --- PAGE 109 --- LECTURE FIVE Story Line & Cognitive Potential Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 99 Basically what it's doing is adapting the potential of the perspective to the right physicality of the body. In other words, it's honing it in to the instrument. It's sort of like focusing the camera, because that's basically what it's doing. Without the Link Node, it doesn't have the proper frequency. That is, the Personality is not going to be in synch in the way in which the body operates. The Personality and its pers- pective isn't necessarily going to be in synch with the way in which the visual cortex works. So it's very, very important to understand what tonal transposition brings. It brings a way in which both the Design and Personality can align to the other side. This is what makes it pure holistic. As a matter of fact, it is more deeply holistic as a juxta- position and as a life force than the story line itself because here we're dealing ex- clusively with the Link Nodes. Tone Infuses Everything with Cognitive Potential Cognitive potential: think about what this really means. This is not an intelligence in the way we understand it as an expressed intelligence. It goes back to the role play- ing. You have a lunar and planetary square where experience takes place. All of that experience, whatever it may be and whatever as- pect of the experience, in fact, it's this nine-block magic square. Whatever is part of this experiential tak- ing-in that is ultimately going to be of service to the Personality has to be taken in through this. Which means there is an intelligence in the way in which our body aligns us to the way we need to see. Remember what we're dealing with. We're dealing with Tone. Tone infuses everything with cognitive potential. So what that means is that the moment you're aligned correctly, the moment your orientation is correct, the moment you're there in the environment with the right perspective, you have a flood of cognitive potential that is part of the way you live out your story. Because it's the way in which the depth at which the nuance of which you're going to be taking things in. --- PAGE 110 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 100 So, we have these two aspects. When you go over to the Personality side, you can see that what has happened here to the Node [Design North Node] that was over here [red X], is the way the Design is going to operate in its future— 88° of the Sun differ- ence. It's an interesting thing to think about. The way in which it's going to be able to use what it's taking in [Tone 6], because that's basi- cally what this is about, how do you use what you've taken in? And of course, the way you can use it is going to be determined by whether it's going to be strategic or it's going to be receptive; whether it is going to be peripheral or it's going to be fo- cused is more accurate. Here you can see that it's going to be peripheral, that it needs to work peripherally. Otherwise, it wouldn't work. So, this is allowing a cognitive flow of information to go back and forth across this. And it's going back and forth across this through the agency of the Magnetic Monopole with its attraction frequency, capture frequency. So here we are held together, and layered on top of that is our story. What we bring to our story is our cognitive potential. And it says a lot. --- PAGE 111 --- LECTURE FIVE Story Line & Cognitive Potential Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 101 The Design of the Cognitive Potential: The 30.6 Seeing—I talk a lot about seeing and this is where seeing take place. But we all see differently. And even though our perspective, as we know, is framed within what is, in fact, six basic possibilities, each of those six basic possibilities have hundreds if not thousands of variations. Think about this one in this particular case. In this par- ticular case, let's begin with looking at the Design of our cognitive potential. What we know about the design of the cognitive potential is that we're dealing with the 30th gate. We have the South Node in the 30th gate of desire. It‘s a gate of fates, the Clinging Fire, and the 6th line, Enforcement, the discipline to main- tain right action and the discipline to main- tain right action with a very active* connec- tion to that. In other words, when this person is correct, they are rigidly correct. An assertiveness to purge the inferior while accepting to lead the weak. We're beginning to get the way in which this seeing is going to work, to look for things, to be able to see things that are going to be a ben- efit to others, the strength to eliminate negative feelings. There are all kinds of things that are here that become part of the way in which the cognitive potential is going to operate. Remember, this is the physical side. And as the physical side, we have to see that we're dealing with certain things. For example, we are dealing with the influence of what it is to be 6, what it is to be not designed to pay attention to what is really around you but to see beyond, so you know that the cognitive potential being guided by that 6th line is really looking off into things. You have somebody who isn't par- ticularly focused on seeing things to resolve them in the moment. It's not there. It's looking beyond. And it's looking filled with a desire and a desire that is deeply ac- tive. --- PAGE 112 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 102 Tonal Transposition of the 55th Gate Design South Node This is somebody who carries nodally the 55/59. We know, obviously, that this [gate 55] is under deep mutative pressure. We know this is a deeply individual gate to begin that. That abundance is the cup that is half-full and half-empty. It is uncons- cious. It is not who this person thinks they are. They're very connected to who they think are and who they think they are takes on a different na- ture when they are aware. Think about that. It's one of the most fan- tastic things to under- stand about tonal trans- position because it's a great signpost. All of you have noticed in your process the way you look at things, the way you think; these are things that change in this process. Look at the tonal transposition here. The Personality, who you think you are, is now connected to the body, isn't it? It isn't connected to anything else, but it's connected to the external of the design. This is something that is deeply, deeply, deeply important. So there can be, for a human being, true identification with where they are and how important that is. This is something for us to understand about giving external knowledge to people, they're waiting for it. Ok, the other side is the 59.4. This 55-59 opposition, obviously the 59th gate is also going to be under extraordinary pressure. Again, you're dealing with an emotional aspect which is part of the emotional authority. It means that it's going to be very difficult for this person to keep their vision correct if their emo- tional system does not operate correctly. It is their authority. That patience is going to be the only way they're going to find the ability to be able to truly drop their barriers. --- PAGE 113 --- LECTURE FIVE Story Line & Cognitive Potential Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 103 It's interesting in the line 59.4, brotherhood/sisterhood, that we have moved over to the peripheral. It's much more open, very, very open to looking out, but looking out in a very, very human way. You're deal- ing with the 59th gate. This is a genetic role gate. So the cognitive potential here is very much connected with the other, very much connected with seeing the infe- rior in the other and working with that. In other words, this is going to establish very profoundly the way in which the ultimate view is going to work because it is bringing all of these deeper qualities to the super- ficial keynote of whatever the particular view happens to be. Cognitive Potential is Tonal—Story Line is Shaped by Color You notice that I'm not getting into that now because I want you to see this so clear- ly: Cognitive Potential is Tonal. Story line is dominated by Color. Of course, this is where you see the differences in these two aspects. I truly love being the dualist. I don't think there is anything more perfect than being a dualist. Here you see the magic of nodal duality. Not simply the Link Nodes and the way in which they create the holistic life, but also understand that the Nodes themselves, in this breakup be- tween the cognitive potential and the story line of the external, we also get to see the separate influence of Tone along with the separate influence of Color. Now remember, this does not reflect back on looking just at the Design or just at the Personality; remember that. What we're looking at here is a holistic phenomenon. What we see here within this holistic phenomenon can only be interpreted within this construct. You can't bring this back to the individual analysis of either the Design side or the Personality side. This only emerges holistically. So for example when you're doing basic PHS or Rave Psychology and you're talking about the external, you're talking about the values you've been taught relative to Tone and Color. But you can see that the moment you step into the holistic, there is a division in the way that actually works. But the tonal influence is about the cognitive potential and the color influence, the view, is all about the story line. That story line is something that is going to be built on a specific environment with a specific view. There is no transposition, as you can see; it is just straightforward. But it's so important to under- stand how the story line is spe- cifically shaped by Color. And that the story line is, in es- sence, the dependent of the independent cognitive, if I can put it that. I don't mean to confuse you, but I want you to have a sense that it's built on this because this is what holds us together [Cognitive Potential] and this is how we can live it out [The Story Line]. --- PAGE 114 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 104 But what we live out is based on the fact that it's being held togeth- er with a cognitive purpose, after all. Everything about us, the illu- sion of Tone that is in every body- graph you look at; it's there. This cognitive potential is everything for us. And through the agency of the Monopole, through the G Center, this cognitive potential sets the standard; the story comes on top. A 20 Year Story Line Now, the story is what most people are interested in. What's going to happen to me? That kind of thing, that kind of story. But what we understand about the ex- ternal is that it is not the story line of the life. It's not. It is a 20 year—it's like the Bhagavad Gita or one of those ancient Indian books, and they made it into a movie. I think it lasted like 10 days or something. It went on forever. This is basically a 20 year story line, to be accurate. This is basically what it is. Again, remember the development of children. By the way, coming up after The Me- chanics of the Maya series that I'm doing now on Jovian TV, I'm doing something called The School of Enlightened Selfishness. I start filming them next week or the week after. The first three are examinations of the true nine-centered life. So, I'm going to do a birth to Saturn, a Saturn to Kiron, and a Kiron beyond, and lay out formally the dynamics of the true nine-centered life. Of course, we're all conditioned beings who have been decondi- tioned, so we don't have that pat- tern where we have the first 30 years to develop our natural iden- tity relative to our type and our authority and to have the proper PHS and food regimen. And then we get to the Saturn and that's when all of this becomes impor- tant. It's only when you get to the Saturn. And of course, this story here about the development of the cognitive potential relative to envi- ronment and perspective goes as far as Kiron. That's the way it's meant to be. That's this story. Afterwards, the flo- wering of Kiron doesn't follow a formula. It's guided by, supposedly, according to --- PAGE 115 --- LECTURE FIVE Story Line & Cognitive Potential Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 105 the way this program opens up, should be guided by differentiated unique aware- ness. One does not know what that leads to. This is where this story is built. What does that mean for us? All of us are basically in that story. If I think of my- self, because I'm the oldest student of Human Design. I'm in my 21st year headed towards, very soon, my 22nd anniversary. Theoretically, I suppose, I am in my flo- wering. I managed to get through the 20 years. I think we all have to keep in mind that this story line for us is very important because it gives us the story line relative to our Variable and relative to what is possible, particularly for those of you who are so deep in this particular process. The Example: The 55.4 All right, let me give you a brief example here of how this looks. Let's take a look at that 55. In looking at the 55 it's a 4th line, it's Assimilation. We know very clearly the importance of the market, the environment, all of the things that come with the knowledge environmentally. Something to understand about the story line, it's the story line. It says: The establishment of a framework that balances principles with energy and leads inevitably to expansion and prosperity. The possible spirit that comes when emotional awareness and energy are balanced and principled. And it's about boundless energy and all of these things. It's about assimilating. The story of this person's life is trying to find those beings that it can feel good with. It's its story line, and it means that looking for those beings is something so impor- tant to it. Now, we know it's already built in. We know the cognitive potential is about being very aware of the inferior, of enforcing principles. It's about bro- therhood and sisterhood and yet it has the dynam- ics of what it is looking for. The cognitive poten- tial is oriented towards the other. You come to the 55 and the individual romantic passion that is there, all kinds of qualities that are there. Here is somebody where it is really going to be a passion for them to find the right people. Think about how devastating that's going to be if you're not-self. You're not going to find the right people. If your story line is to find the right people, you better find them, because this is how you're going to live out your purpose. The only way you're going to live out your purpose and live out your cross is if you're living your story. --- PAGE 116 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 106 The Underlying Theme of What the Story Will Be Built On Understand this concept or this keynote of story line. I like to attach things to my movie metaphor. I want you to be very careful in understanding this: There is no script here. We know that the script is in all of the lines. This story line is that we're looking at the underlying theme of what the story will be built on. Remember that. Again, we've deconstructed. Here particularly, we're looking at a very, very decon- structed area. See what this story line is really about it. It is setting the thematic atmosphere for the correct life, that thematic atmosphere of bringing your cognitive gift that arises in the right environment with the right perspective to be able to find those beings you can assimilate with, those beings who are going to enrich your life as you enrich theirs and bring success. Without the assimilation it doesn't work. Here is somebody, that within their design, they are a 59/6, 40/37—two of the three social channels. The 40/37, the channel of Community and Assimilation. All of those things are deeply integrated into their de- sign. To look at this person on the surface is very simple for me because I know the one thing that is getting in the way is their emo- tional system. It's a very, very powerful emotional system. It's very easy for that emo- tional system to abso- lutely distort this life. You have somebody with a totally open G Center, so they're very, very vulnerable at the identity level. It's very easy for them to be overwhelmed emotionally. Again, there are so many factors in what brings perfection into a life. That 55.4, again we have to see that from the physical point of view. This person needs to be in that environment where assimilation is going to take place. Yet, at the same time, they have to be physically healthy which means that their dietary regimen is very, very important to them. All of these things come into place because we see here in the story line that Color is very, very impor- tant. --- PAGE 117 --- LECTURE FIVE Story Line & Cognitive Potential Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 107 The Personality North Node 29.6 Story Line When we go to the 29th gate on other side, we're dealing with: The deep within the Deep; the gate of saying "yes," a Personality that is embracing. But it's also The Ab- ysmal and the 6th line is Confusion: The state that exists when momentum outstrips awareness. I love lines like that. If you have a line like that you think, ―Oh shit, what am I going to do with that?‖ I love those kinds of lines because they're the best jokes of all. You never get the joke itself until you live it, until you have one of those lines and you get to see the way it works when it's meant to work correctly. And oh yes, this is somebody in which that view is going to be very confused. They‘re going to see a lot of different possibilities, a lot of different possibilities of people. But remember, the story line doesn't have to design what you do with that. It just means that this per- son's mind, the way in which that Per- sonality Sun/Earth is going to operate, the way they conceptualize, that's where the responsibility is to deal with what the peripheral has brought them. You can see that the approach is going to be very, very deep because it car- ries a fear mechanism with it. So it really is something in which you have somebody whose whole life is going to be directed towards assimilating, but what they get to see, they never really get to see who is precisely for them; not here. Remember back to the 30 in the 6th line, that cognitive potential never really gets to see what's right in its face. It's looking further down the road. It means that if the cognitive potential is right, and obviously the whole decision making process is inhe- rently correct, then that will work for them because they're here to assimilate, not to be picky. They're here to be able to find a way to assimilate with everyone, inferior or not. The Design is Always Going To Tell the Story We all have this road map that becomes a perfection the moment we are correct in the way we operate from the physical side, because in the end, that's where it all comes from. It comes from the physical side. The Design is always going to tell the story. It's always going to tell the story if you have a chance. This is something that really needs to be understood about us. When I say "us," I'm speaking about those who have been conditioned and have been deconditioned. There is no rule. You can achieve the highest level of differentiation that's possible for you and not do certain things. You simply won't have the advantage they bring. But then again, it isn't necessarily designed for you to have such an advantage. --- PAGE 118 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 108 You Cannot Compare Yourself with Anybody Else You have to see that you're already very, very fortunate to be able to decondition at any level. The percentage of human beings who can truly become aware, I don't want to tell you the numbers because they're tiny. It's in the millions, small millions in billions and billions of human beings, because it's quite a journey to get there. So, it's one of the things that I have to caution you. It is so tempting to want to be aware, isn‘t it? All these transformations, all the possibilities. I'm a 5 after all; I know the power of seduction. You have to be very clean with yourself in all of these things and you cannot compare yourself with anybody else. You cannot. Somebody who achieves extraordinary transformation through PHS and somebody else who achieves it through some other aspect, it's not about comparing anybody. You can't, because there are no rules for us. There isn't, there can't be. The rules exist for those who are coming into the world, those many Design babies that are in the world now who have the great gift of having parents who are aware, at least aware to the point of understanding their responsibility to their child to give them the best possible start in this life. That's who this is for. For them, they don't have to worry about environment. They have 30 years before they have to worry about such things. Worry isn't even the word. We have to worry about all of it because we're always catching up. And of course, this is where the pressure is. Everybody's Process is Unique: You Need Your Own Signposts To really get into the ability to be able to see the signpost of what is there in your external, you need to be sensitive. Some people cannot find that sensitivity without the benefit of PHS, the cognitive sensitivity. It is something to understand that all of these things, the advantage you get by gaining this knowledge, is so you can see it as a signpost of your own process, because that's what is good for. That's what all the mechanics are good for, to allow you, because you're alone. There is nobody who says, ―Oh, great you're doing terrific.‖ They can't say that, because everybody's journey is their own journey, everybody's process in Human Design is unique. You need your own signposts. As you develop your own authority, you also need those signposts because they bring you something essential to your life. It's call self-love. The saddest thing we have on this planet is that there is such a dearth of self-love. Without self-love there is no trust. Without trust you cannot meet the world. This is everything for us. --- PAGE 119 --- LECTURE FIVE Story Line & Cognitive Potential Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 109 Inner Authority I don‘t want anyone who is involved in this process to feel less love for themselves because they‘re not doing this or that or the other thing; it‘s nonsense. You do what you do according to your inner authority. You do it or not according to your inner authority. If your inner authority says, ―I don‘t want to pay attention to any of this,‖ it‘s ok. It‘s what your inner authority is telling you. It's not about anybody has the right to say to you, are you sure? Oh we forget; inner authority, everybody has their inner authority. What you will do in this life is there to be determined by that inner authority. Do not for a moment take what I teach you as a pressure that you do this. I don‘t care. I have never cared. I can‘t. It would drive me crazy if I had to care about all of you. It‘s not about that; it‘s your trip. And it‘s the thing that we have to see about the integrity of your trip. It doesn‘t matter whether you go this way or that way in Hu- man Design. It only matters how you go. If you go according to your inner authori- ty, you go with what is correct for you. Every single one of us has an authority inside of us that will tell us honestly what we can and cannot do at any given time. Trust it. We can teach all of these things. They‘re wonderful, they‘re interesting, they‘re all that stuff, but Strategy and Author- ity, I don‘t care how smart you are in Human Design, Strategy and Authority is what it‘s all about. That‘s the only thing that brings you to that place where you can trust yourself, where you can love yourself and you can watch the movie. Humanity is tormented by the movie. I saw a statistic today. Two-thirds of Americans are deeply pessimistic right now, even though they‘ve had an exhilarating moment, they‘re pessimistic about the economy, things like that. The world just rides up and down on the program stuff. Those human beings who are afraid for their jobs, for their security, for all of those things, and I do feel for them, but they‘re caught in the greatest pain that the not- self brings, the turmoil of what their mind is going to put them through, the anxiety, the fears, the suffering, all of it. They‘re barely alive. Some of them get so despe- rate they kill themselves. They‘re just barely alive. No one can live like this. If you live by your own authority, it doesn‘t matter what this and that is. Your sur- vival on this plane is guaranteed when you know how to act on this plane. You don‘t need anybody else to help you. It doesn‘t matter whether we‘re talking about econ- omies or not. It doesn‘t matter whether we‘re talking about jobs or this or that or the other thing. It doesn‘t make any difference. Nobody operates a business like I do; I know that because it‘s so bizarre. But I‘m a freak and I follow my authority and I do what I do. And I don‘t worry about this or that. I don‘t have to. --- PAGE 120 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 110 When You're Correct You Can Just Sit and Watch When you‘re correct you can just sit and watch. It doesn‘t matter whether it looks like things are going down the drain or not. There‘s nothing to do. You‘re not going to chase after it. There‘s nothing to do. Human beings don‘t know what it means to be truly unafraid, because they don‘t trust themselves. They have nothing to trust. They‘re looking for somebody to help them, they‘re looking for somebody to save them, they‘re looking for somebody to give them, because they can‘t look in the mir- ror and see that they are the answer. They‘re the only answer to their life. More than any other professionals in Human Design, we are here to make sure that the integrity of inner authority is grasped as deeply as possible, what this means to be your own authority. Until you live it, until you have those moments in your life where you deal with crisis and this and that and you live it through this, only then do you begin to understand you‘re ok. The world can go to hell and a hand basket; you‘re ok. And you will be ok, because you rule your own life. I look out in the world and it‘s so sad. I think it‘s beautiful that the Americans, with- in the context of their society, that they were able to do that. Yet, at the same time, this is the homogenized world. This poor man has a whole planet waiting for him to deliver the goods, as if nobody can deliver their own. As if he is going to make it all better. The insanity of this planet is that everybody is waiting for somebody in some far off place who doesn‘t know who the hell you are, doesn‘t really care, to do a job that supposedly is going to make a difference for you and you‘re going to wait. People do this at every level in their lives, every, every single level in their lives. Think about it. How many authorities human beings have, how many people tell human beings what to do, how many human beings can‘t get up in the morning without needing somebody to guide them? So you have to be very careful. Somebody who is truly experimenting with Human Design, who is operating out of their inner authority, it does not matter what anything theoretically brings. It does not mean that this is on their agenda. Like anything else for them in this life, it has to be correct. They have to enter into it correctly and only then is it ok. If they don‘t, there is nothing wrong. There isn‘t. I consider any human being who experi- ments with Strategy and Authority, even though they don‘t stay there, is an extraor- dinary example of humanity. Truly, I do. Wow, what it takes to get to that place. It‘s not an easy thing to break out of the homogenized grasp. It‘s not an easy thing to grow up in a world where your yearning, because there‘s something not right, is embraced by others. So, the integrity of inner authority is an important movie. All right, story line, cognitive potential—I‘ll go through a series of these to give you some basic ideas about the way in which it works. I want you to slowly begin to work with this so that when you‘re looking from the deep level, you see. Because you look at such a deep level in both PHS and Rave Psychology, you‘re also able to bring this up to the surface and begin to understand the way seeing this on the sur- face gives you a real understanding of what‘s holding this life together. Remember, this is the point here. The story line and the cognitive potential is holding the life --- PAGE 121 --- LECTURE FIVE Story Line & Cognitive Potential Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 111 together. So, everything comes out of this. That‘s the thing that is so incredible about the independent Variable. All right, as I said, I wanted to give you a chance to ask me some questions. So I will open it up to you and away we go. Q & A The Phases of the 6th Line: The Environment is their Roof Kumud: Just in terms of this example, it happens in my own design also, one of the Nodes is a 6th line. I know you haven’t been talking about the 6th line, but when you read the 30 line 6, what about the 3rd line phase for the first 28 years. Does that figure? Ra: It‘s an interesting point. The 3rd line phase is always buried somewhere inside of any 6. But it isn‘t really there unless it‘s associated with the Sun/Earth. Again, as I said, in terms of the natural life of a nine-centered being, it is not something that would take effect until they are already back in the 6th line phase, which also tells you something about how important it is to wait until you‘re 30 before you enter into your environment. In essence, for the 6th line being, truly the environment is their roof. Is Distraction Important Before the Saturn Return? Question: I got kicked out of the class and I think you were talking about some classes you were going to do about childhood development. But I am a little con- fused in terms of factors not to mention to people until they’re 28-30 years of age. Would you not work with distraction until somebody is past Saturn? And does it mean before 28-30 years they just muddle along with not much distraction, if they happen to be brought up correctly? Ra: The joke is that it makes absolutely no difference because it is not the point until they get to their Saturn. That‘s the thing that‘s so interesting. In other words, for example, I talked about this in terms of the environment. Both my sons, for exam- ple, are mountain and I‘m shores and my partner is shores, and we don‘t live on a mountain. As a matter of fact, we‘re pretty close to sea level, obviously, being on an island. But this is not detrimental to them at all. As a matter of fact, it doesn‘t fig- ure in whatsoever because it doesn‘t kick in until they‘re going to be 30. In other words, it‘s an interesting thing to see about the way the program is, is that the program, in terms of a nine-centered being, is only interested in the basic cogni- tive development. PHS dietary regimen, so you have a seven-year neural develop- ment, and the Strategy and Authority, and being treated according to your type, ob- viously, so that you are operating at an incredibly healthy and acute level. The fact --- PAGE 122 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 112 that there is going to be distraction is going to be natural. In other words, there is going to be a natural distraction, but it will not be more powerful than the view be- cause, again, you‘re dealing with somebody who is operating correctly from the time they‘re born. So, it‘s not like these things are going to malfunction. They just don‘t have any val- ue until that time of life and then it has value. That‘s the thing that makes the nine- centered being so interesting and different from us in terms of us being conditioned beings, different from the way in which we‘re trying to tackle all of these decondi- tioning processes. Distraction from the 1st Line to the 4th Line in a Child Question: Well, I was working with a 60 year-old guy on deconditioning distraction. I haven’t quite absorbed this information yet. And I wonder if it was relevant to say that as a 1st Color distraction—he was distracted to needs. I wonder if his childhood was full of trying to take care of the needs of his mother because it looks like that, but I think that there is no impact like that in childhood is what you’re saying. Ra: Exactly. There is no impact like that because it‘s not the point. It‘s one of my jokes about the coming raves. Somebody asked about their religiosity or their what- ever and I said God won‘t even be a question for them simply because it‘s not built into their design. It‘s built into ours; it's not built into theirs. Again, it is about seeing the mechanisms. It is clear that you cannot develop cogni- tive potential, your real cognitive potential, you cannot embrace your story line until you‘re operating according to Strategy and Authority and are on the right dietary re- gimen, at least in terms of the way the program unfolds. A Question on the Story Line and Cognitive Potential Question: Please Ra, can you make it clearer by repeating once more. Did I under- stand it right that if the South Nodes are dominant for the first half of life and the North Nodes for the second half of life, then the story line gets its importance, its fulfillment in the Personality side in the second half of the life, and the cognitive po- tential develops from the Personality to the Design and thus from the conscious to the unconscious side? Ra: Well, we‘re looking at two things. Basically, the South Node/North Node phe- nomena that you‘re referring to, you see in the story line. In other words, that‘s the general way in which we have been looking at going back to the earliest years of the study of the Nodes, that you‘re moving from that South Node to the North Node, so you see that in the story line. It‘s the same thing you would have seen in the chart before you knew all this. --- PAGE 123 --- LECTURE FIVE Story Line & Cognitive Potential Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 113 What‘s different here, obviously, is the dividing up of the external into its two differ- ent parts. What emerges is that difference that is there through the Link Nodes and the cognitive potential. But the value of the South Node being an early theme and the North Node being a later theme as generalized themes, this is still valid within the context of the story line. So, that dy- namic need for assimila- tion is going to be very much a part of the early part of the life where the confusion is going to come later. If that was the development of this person‘s cognitive possibilities as a correct nine- centered being from birth, that would mean from the time of 30 to 50, they would go through this movement where the first part was still focused on assimilating and the second part would lead to the confusion. This would lay the foundation for the con- ceptual flowering. So, yes it‘s still there; but, we have another level that we‘re look- ing at that‘s below that surface. A Question on Cognitive Potential Question: In terms of this example, Ra, where we have the tonal transposition of the left and right, do they carry equal value for that cognitive potential? Ra: Yes, they do because they‘re really very primitive switches. One of the things to try to grasp about this mechanism is it‘s a really ancient mechanism, it‘s a be- drock in the way in which everything works. It‘s only after things were pulled to- gether that the biology could begin, if you know what I mean. This is really quite a phenomenal thing. So, you‘re looking at something that is very deep. Maybe you want to rephrase the question based on that, I don‘t know. Comment: No, that was sufficient for now, thank you. Question: I would like to piggy back on that question, because last week you had an example where the body was right tonal and it picked up a left tonal from the Personality side and you mentioned a correctness that would be a very calm body. I couldn’t quite understand; logically, I didn’t understand when you mix a bit of active with passive you get super-passive. I know that’s horrendously simple, but could you explain that again? Ra: Ok, let‘s see what I can do with it over here. Let‘s take the example over here because I think today I articulated that much better than I did the other day. Again, it's my process of going through these things openly for the first time. Let‘s take the situation here where we have the movement that‘s gone over from the 6 to the 1. That is, in this particular case in that sense that we‘ve gone over to the active. Again, because this is a very primitive switch—left or right—the only key- --- PAGE 124 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 114 notes that matter are the simplest, or the most basic, in this case the active and the passive. Because we‘re dealing with a basic split in the triangle, there are in fact nuances here. Not nuances that we would read as tonal values, but nuances in the sense of the way in which the active body is going to be active, what level of activity it's going to have. In other words, it can be modestly active to moderately active to very active, as an example. Now, my comment the other day was that because the body is able to tune into that sense of what is necessary for the Personality, that the more correct you are, the more it‘s going to hone in to a very, very specific activity frequency. The other day was the other way around. And of course, the other way around was I was talking about the calmness coming in. It had moved to the right. It's the same kind of thing; there are different levels of passive in the same way there are different fre- quencies for active. Basically what I was trying to say is that the moment you‘re really correct, the mo- ment you‘re really honed in, your body is going to take exactly what it has to have, exactly that frequency in order for you to take in in that way. It‘s something you‘re really going to notice, because it‘s a very specific frequency within the range, as I said. For example, those people who have experimented with their Strategy and Authority but nothing further, there is going to be a lot of fluctuation in whether they‘re pas- sive or active to the level of the passive or active simply because this is something that fluctuates relative to the world around it, because that‘s what the external brings to us. The thing to notice is that it‘s going to change the physical frequency. And change it in that subtle sense of honing it in and locking it into something. The Emanation Coming From Nodal Connectedness with People Question: So I know this diagram doesn’t involve the Sun/Earth, but if this person, for example, had a right-fixed body from the Sun/Earth point of view and doesn’t have the left-fixed body, what’s the difference between the emanation coming off—you walk into a bar and you meet this person and this person has a kind of trial and error body from the Sun/Earth perspective, what’s the difference in the emanation coming from their nodal connectedness with people? Ra: Oh, this person, their active, as- similating frequency would immediate- ly go to work and they would probably bump into this other person just to be able to see if they could hook up with --- PAGE 125 --- LECTURE FIVE Story Line & Cognitive Potential Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 115 them or something like that. I‘m just talking off the top of my head. We come back to this illustration where we see the Sun/Earth again. Really under- stand how limited the Sun/Earths are in terms of what they can do for our life in the sense that they bring enhancement or enrichment, the keynotes of the Center for Human Differentiation. They bring enhancement and enrichment. That‘s what they do. They bring enhance- ment and enrichment to the cognitive potential of the story line. We know the enhance- ment comes from dietary regimen and we know the enrichment comes from passenger consciousness. This is the story. So, it‘s why, over the years, par- ticularly the last four or five years, I finally got off the Sun/Earth bandwagon because I had to teach that so long to get people to begin to see their mechanism. Here you can really see the way things are. Yes, the Sun/Earth gets all the publicity. That‘s what they get. But the life, the life is built on the external. Is the Sun/Earth the Costume of the Role Play? Question: So the Sun/Earth is basically the costume of the role play? Ra: Yes, it is fundamentally the way we‘re presented to the world, because it gives us our presentation. It gives us the way we conceptualize, it gives us basically the way in which we are going to perform the script that we have been given. When you‘re aware, the script comes alive and it comes alive with all the nuances of your differentiation. That‘s the beauty. Written comment: casting. Ra: Yes, casting, indeed. One day, Adrian, you have to tell me how many possible story lines there are and how many possible cognitive potentials there are because I assume there are mil- lions. It‘s really amazing. Yes, it is casting, but wow what a cast. What did they used to call those things—blockbusters? Yeah, it‘s a big movie. --- PAGE 126 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 116 The G Center Itself is Not the Identity Question: When you went through all those nodal oppositions you did years ago in the JAM, and it’s still in the free JAM Player, it was always this emphasis that the Nodes were actually the environment and not something to take as an identification. I think this is just a repeat of casting and watching the movie. I’m not sure if I have that right. Ra: I think I understand your point. Every single one of the things that I teach I have to teach deconstructed. This is all deconstructed. It really is. There is so much that we can look at. We all know that. There is only one identity. It‘s inter- esting because today I filmed The Diamond at the Center of Being this morning. I think it will come out on Saturday. It‘s focusing on the G Center and the wonder of the G Center. One of the things I said this morning that I think is something everyone with an open G Center needs to realize: The G Center itself is not the identity. It is the potential through the G Center to create the holistic identity—the Monopole and the G Center, the Link Nodes, the capture frequency, all of things we understand. It is this holistic frequency that is the life. It is this holistic frequency that is layer upon layer of the attributes that we give little names to. Whether it is the cognitive potential of the story line, which is simply about how you frame what you see in the place that you are, or the lunar and planetary squares with their experiential phenomena, or the Sun/Earths with their cross and their pur- pose, in the end, you have to take all of it. All of it together is synthesized into the life. So, there is no way I want to give the false impression that I‘m suggesting the whole story is here. What I‘m saying is that this is the story ingredient in the holistic life. Every life has a story. It‘s just there. That story is based on the experience. It is based on the awareness, it is based on so many things and we have to see that all within the larger holistic context. We‘re explorers at a very scientific level of this knowledge. At this level, deconstruction leads to labeling and labeling can be taken out of context. So beware. What is Key for Teenagers to Understand? Question: If you were talking to this person and he’s standing there as a 15 year- old young man, what would the gist of the story line be that you mention for his signposts? Ra: I think basically the key is the emotional system. I would really explain to this person that it‘s only through understanding how their emotions work that they‘re ev- er going to have the friends in their life that they really, really want and need to have. Without operating correctly out of the emotional system, they will never be able to have that in their lives. So, at that level, it‘s very simple. --- PAGE 127 --- LECTURE FIVE Story Line & Cognitive Potential Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 117 One of the things that I‘m doing in Ibiza this year, what I‘m really looking forward to, is on my birthday in the morning, I‘m going to be doing a session with teenagers and taking them through Strategy and Authority and Signature for free. It‘s a very dif- ferent language. When you‘re dealing with a teenager, the key for them is what their authority is and what has happened to them through their openness, because they‘re all very aware of their discomforts, all teenagers are, of the discomforts of their Personality. They really don‘t understand many things about themselves. Openness is a great key for them at a very simple level, to understand what that does and how that affects their mind. This is something that is really transforming for them; but again, kept very simple. For a young boy, the story of their life, it‘s not time yet. They can wait until they‘re 30. But I certainly would let them know, obviously, it‘s in their design. This is somebody who, the social dynamic of their life is going to be one of the most impor- tant things for them. They‘re going to feel compelled in their life to be an agent of community and holding community together and being part of community. They‘re going to be very wrapped up in it. It means from a very early age, because they‘re a 4/6, we know that 4/6s in the first 30 years of their life that their great dilemma is making the wrong friends, trial and error in friendship leading to everything from herpes to death. I don‘t mean to be too dramatic, but what the hell, I like that. Again, I‘m a simplest. I have to be. I see that human beings are so messed up and they‘ve been only confused, so you have to be very, very simple to get to them. The truth is simple, after all. With kids, particularly, you have to work in sound bytes that are specifically directed at them. I certainly wouldn‘t bring in environmental things and all that kind of stuff. I certainly would mention to them PHS, not in any sense that it‘s something that they should do, but something to let them know that this would be very good for them, and see whether or not it‘s a natural thing for them to gravitate to. In other words, for children it‘s very important that they understand their type, their strategy and what kind of dietary regimen is healthy for them. It‘s obviously not about forc- ing them or telling them that they have to. They have parents who would be very resistant to certain dietary regimens and these kinds of things. But again, the responsibility is to give the simple truths that are appropriate to the time. If this was a child, boy or girl, a teenager, my concern for them would be so- cial, only social, to really understand that their life is built on the social dynamic and they‘re in a time in their life where they can make a lot of mistakes and they need to know how to make decisions about people. North Node Migrating to the Unconscious Side? Question: Ra, in terms of this North Node that has migrated over on the cognitive potential side, because it’s related to the body, does it still carry that same value of being something that's unconscious that we use when we speak about, say, the --- PAGE 128 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 118 foundation reading and we tell people well, it’s your body side so you’re not going to be able to cognize what that’s about? Ra: The fact that we do a transposition in order to understand the mechanism doesn‘t mean that this is not Personality. It is Personality. As I said earlier, I think one of the most important things to understand about tonal transposition is that from the Personality side, when you‘re looking at it in this way, what you‘re really getting to see is that the Personality is recognizing the body. And this is the only gate and the only activation in which the Personality recognizes the vehicle. This is incredibly important. Again, this is the magic of it. In the same way from the Design side over in the transposition, this is a gate that understands the needs of the Personality. In other words, this is what makes it so special. So, in the sense of the Personality, it is something who you think you are. So when you‘re looking at your Personality Link Node, you‘re also looking at something that will tune into your body. Again, in the holistic sense this is something that is very important. It may be a key one day to understanding what is the easiest way to get people to enter into their Strategy and Authority, frankly. I think it could be quite a key. That‘s something to think about. That‘s a nice inspiring point to leave off on. I hope you enjoyed that. Good questions, by the way; thank you Kumud for asking ques- tions for everyone. To all of you, you take care. I‘ll see you tomorrow and we‘ll see where we go. Until then, bye for now. ~ --- PAGE 129 --- Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 119 Lecture Six Story Line and Nodal Statistics Welcome to all of you. I have a whole mix of things for us to look at today. It is the last day that I'm going to look at Link Nodes. I want to move on to some other sub- jects in the time we have left. After this we have four classes left, so there are things that I want to introduce, particularly in relationship to Variable. The Two Sides of Link Nodes The thing that I want to make sure about today is the basic concept of the two sides of Link Node. I think this is a place to begin. One side of Link Node is simply the mechanical understanding that this is the holistic source, if you will. It is through the following of the Monopole directive, it's through the Link Nodes that the Personality and Design have a relationship to each other that becomes the holistic phenomena that is us. It means that the Link Nodes carry with them a unique value, in that they are the core of what is our holistic process. So they can be interpreted in a special way. The other side of the Link Node is what we've been looking at for the last couple of days. We‘ve been looking at what I think is one of the most important things we can garner from Link Node, something that we can add at the analytical level in terms of being able to go deeper with somebody in relationship to what transpires when they begin to operate correctly in relationship to environment and perspective. In other words, what kind of signpost can we elaborate about the thematic of the life. Again, I caution you about not misinterpreting this keynote title that is ‗story line.‘ Recognize that what we are looking at in the story line is for the larger thematic that is directly associated with the correct environment and perspective. In other words, this becomes the frame through which experience and eventually conceptualization is going to take its lead. So, the two aspects are very important. One is the technical one to simply under- stand what it is, to understand that this is the way in which the Personality and De- sign are linked to each other. And the other side of this is to see the advantage, particularly in the sense that it is the kind of information that is suitable to somebody who is well versed on both the PHS and the Rave Psychology side in terms of the in- dependent variable and what the external is. --- PAGE 130 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 120 Anyone who is approaching the knowledge at that level, that's when story line, along with obviously the cognitive potential, but particularly the story line, because it really is what—in reference to Elfriede's question yesterday about the movement of life from the South Node to the North Node—is very much connected to this flow of the life story. And so, when you can see within its correctness, you're really being given a signpost for the way things are supposed to look to you, in that sense. It is a spe- cial ingredient. 5,000 Basic Story Lines All right, that preamble aside. Here we have an example that we're going to look at today. It is an interesting example. I think all of them are when you begin to look at them in this particular light. I'm paying so much attention to the way in which the external operates, the way in which the inde- pendent Variable oper- ates, but in order to re- ally grasp the essence of the story—I was communicating with Adrian earlier, I'm going to show you some sta- tistics later that Adrian developed. One of the things that is so interesting is that there are just over 5,000 basic story lines operating through the external configuration. That becomes more when you take into consideration all the various other things. But one of the most important things to take into consideration is what the internal is, because this is the story line connected to the performance. Here we have the cross and here we have the costume, here we have the way you are going to live it out, the way you're going to conceptualized it. In the case of the not-self, the way in which you're really going to groom yourself, because the not-self is going to make decisions that are going to distort everything to that particular slant. Again, it's not like you can ignore the values that are there in the internals when you're looking at story line. We work through deconstruction and you have to be very careful about how you put the pieces back together again. You have to put them back rather carefully. --- PAGE 131 --- LECTURE SIX Story Line and Nodal Statistics Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 121 The External is a Duality Our theme has nothing to do with the internal. Our theme here is about the nature of the external and about seeing that the external is a duality. It's a duality we can break up into its parts. Here you can see the whole transfer process, the transposi- tion. Here you have the Personality Link Node and you can see that it is the 3 in the center, and of course that's over here, so we have that movement*. Again, we have the Design Link Node with its particular Base orientation*. Remember, that Base orientation is the same for the 2 and the 4 on either side*, so obviously you need to know which one is the Design and which one is the Personality Link Node. And in that is its movement over, so that it comes across*. It's just a very straightforward transposition. It's what we do with it afterwards. In breaking it up into it fundamental duality, this is the thing that really makes the dif- ference. So here is a place where we can begin to do a little work. To see this in isolation is to see one of those 5,000—I think it was 5,056—variations. In other words, story lines are not limitless, they're not infinite. There are approximately 5,000 basic story lines. An interesting thing to understand about the way in which differentiation operates is that differentiation operates through different levels out of nuance out of generic, because there are all these nuances that arise ultimately when you put the whole together into the holistic whole. That's the only time you're really going to see the differentiated possibility that is there. So, even when we're dealing with a story line that may be one of 5,000, we're still dealing with a basic generic. There are going to be others that are going to have similar story lines. It doesn't mean that the way they live it out is the same. For example, you can have a story line with a totally different internal. In other words, --- PAGE 132 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 122 you can have a totally different purpose, a totally different cross, a totally different way in which you live out that particular story line. So again, keep those things in perspective in terms of the way in which you can use this information and integrate it into the rest of any kind of analytical perspective. The Information is for Those Deeply Involved in Human Design Let's take a premise now and the premise we're going to take is that we have some- body who is deeply involved in Design. They're past the 3½ year point so we know there is a tipping point in terms of their deconditioning process. They‘re experiment- ing with their PHS, and they are getting into their environment. So we have a basic premise of somebody who is doing the right things, if you can put it that way. On the psychological side, the kinds of things where they're paying attention to distrac- tion and transference and so on. So we have somebody in an idealized situation. You can't do this otherwise. I'm a 5 and as a 5 Personality, one of the things that I do understand is seduction. This sto- ry line is a great seduction. The moment that story line would become something that's public—and it's not, it's really held within our little domain here—it would have a much more powerful impact than Incarnation Crosses. Think about that, because the average person, that about their Incarnation Cross when they come into Design, this is a big story for them. Incarna- tion Cross stuff is very, very popu- lar. The incarnation is that kind of tease. This is a deeper tease because it's talking about the elementals of what the correct life is about. Again, when we are looking at the story line, be clear what we're looking at. We're looking at a breakup now of the external into a different kind of duality. Not simply a duality where we have Design on one side and Personality on one side, but now we have a duality that is in linkage. In that linkage, we have a split and the duality is split on the tonal Color themes. Story Line does not Transpose Again, this is a very deep nuance into understanding the nature of which Nodes operate. When we're dealing with story line, we're deal- ing with the basics. In other words, we are dealing with what does not transpose. This is the solid, stable story line, period. That's what it is. It doesn't transpose. Locked into its basic themes and very much deeply, deeply con- nected to its Color. --- PAGE 133 --- LECTURE SIX Story Line and Nodal Statistics Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 123 Resonance to Your Story Line Happens Only When You're Ready We well know there are many levels of information here. But the first thing we al- ways have to remember is that when we're dealing with the Nodes, ultimately we're dealing with the theme of resonance. It's so easy to think that you have these things—the Color, the Tone. Remember, the thing about the resonance that is so incredible is that you only resonate to what is good for you when you're correct. Otherwise, you don't; you end up resonating to distraction. You end up resonating to any kind of transference. You end up resonating to any kind of distortion. You're only going to resonate to what is good for you when you're correct. So you're only going to resonate to your story line when you're already ready for your story line. It's very important to grasp. That's why this is not the kind of thing I could have introduced 20 years ago when I was introducing the nodal story because it wouldn't have meant anything. It wouldn't have meant anything in the sense that there was nobody who was going to be ready to live that or see it. I'm not into the belief business. I'm into the experi- ment-see-it-for-yourself business. But you have to be very, very clean to get to the point where you're going to be able to live your story line. So you get to a point where you have to see that this is advanced mechanics, post- graduate in the context of Rave Psychology and PHS. This is for the most sophisti- cated levels of working with somebody on their design. And giving them something they can hold on to as a framework for where they're going. Your story line is really taking you where you need to be. It's taking you to where you need to be through this combination of the establishment of the correct environment, and on the other side, being able to see very clearly that the way in which the view is oriented. This combination of the view and the environment already creates the basis of a story, doesn't it? Before you look at anything else—because I want you to begin to think this way— take the 5th Color over here, take the 2nd Color over here and give me—I'm going to put you on the spot, let's see what you have today. You know the way a playwright describes the background of any kind of scene that's taking place, the environmental scene, what's there, what is going to be in that scene. Remember that what you see on the Personality side is the view. Now, the view isn't simply a matter that this is what somebody is looking for, this is what somebody sees. They see things in rela- tionship to their view. --- PAGE 134 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 124 Valleys: Seeing the Possibilities within the Environment All right, let's begin. Let‘s see if any of you can take a stab at this. Bring together the environment and the view and give me just a basic structure of what that is. Let's make it easier for you. Will somebody volunteer and write in what the envi- ronment is. Ok, what do we know about valleys? This is the first thing to think about. What do we know about valleys? What kind of places are valleys? Where are people generally pulled to when it comes to valleys? What kind of environment is that? Various Comments: valleys, gossip hubs, density of sound, bottom, population area, cities, compression of the energy like cities. Ra: Yeah, exactly, they tend to be in population areas, they tend to be in areas where they see a lot of people moving around. Remember that the Nodes are like that; the Nodes are all about our relationship to the other. So we already have a sense of what kind of environment is going to be correct for them and what's on the other side. Now of course, somebody has already mentioned it. That is, the possi- bility that is there. All right, the view is seeing the possibilities within the environment. It already gives you a scenario, doesn't it? You already know that what is going to be part of this person's story line is really an interest in other human beings, an interest in what's going on, an interest in what the possibilities are in terms of what's going on and that's what they're seeing. They're seeing all kinds of possibilities. Already you have a framework for them. Again, we know many things about the na- ture of the valley. That is, we can deconstruct valley into many ways—lower floors and all these kinds of things. But again, one of the things we're looking at is that here, we want to establish first just a basic construct of the Color relationship be- cause this is giving you what is the cognitive frame. Again, even though this is sepa- rated, remember this is all operating through correctness out of cognition. We also know that there is going to be a left-ness and a right-ness to the way in which the story line is going to operate. That is, what kind of valley it's going to be or in terms of the view, where is that pull to the distraction because you have to take the distraction in. Here is somebody in those crowded places that are really healthy --- PAGE 135 --- LECTURE SIX Story Line and Nodal Statistics Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 125 for them, where there's lots of stuff going on, where there is lots of movement, this is also somebody who can be mislead by probability. The Need to Live the Basic Theme of Color So we get a basic story line. You get a basic thematic that's there. Again, we're de- constructing at a real distance because I'm going to take you in slowly. But when you're deconstructing at this level, those broad themes, the Color themes, tell you an enormous amount. They really do, because if this person is going to be able to live a nine-centered life and live the benefits of the Uranian life, they have to live the basic theme that their Color brings, and they have to see it. Everything about what is going to make their life work is going to flow along that line. Now, we're going to see that there are nuances to this, obviously, it has to be. We have thousands of them. The nuances arise from a number of things. They arise out of the fact that these Nodes are going to be in different gates and different lines. Thematically, they're going to bring their quality to it. The Design South Node in the 56th Gate The next step in the story line is to go to the next layer. What is the nuance? For example, from the point of view of the valleys and from the point of view of what we understand about valley, this need to be part of the flow, to be able to see the ac- tion, to be able to be in environments that are going to be relatively crowded. So, what are we looking at? We're looking at the South Node and we're looking at the South Node in the 56th gate. A nice little hint for you: When you're looking at a story line and you're at a gate, don't be in a hurry to race to the line. In the Rave I'Ching at the top, underneath the lead name, the name of the hexagram, there is a general description for the gate. I think most people see it the first time and never pay any attention to it again because they go directly to the lines. But it's something to understand that the lines are a nuance of the larger theme that is presented in the gate itself. The gate is the theme in that sense and we're just breaking it down into nuances when we go below that level. --- PAGE 136 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 126 At the gate level, the gate has a value. Not simply its name—The Wanderer in this case—and not simply this gate of stimulation, this gate of saying "I believe," it's a Throat gate after all, very powerful metamorphic gate. But when you look at the theme it says: Stability through movement. That's the first thing it says. Now this is the Design side. We‘re looking at this being and we're looking at their story line. We already know that they're valley. So what we get out of that is not only do they need to be in those environments, but it's going to be very, very important for them to be on the move. It's interesting that you'll notice in the tonal transposition that it's active. But I'll get to that in awhile. So we have the 56, we have The Wanderer, we have stability through movement. It says: The perpetuation of continuity through the linking of short term activity. So, what's going to be correct for this person? What's going to be correct for them is this movement in the valley, what the valley is made for. The valley is the place where all this movement is. They're going to be part of this movement and part of this movement brings to them the stability they need. 2nd Line Body has to be Very Careful to Answer the Right Call In other words, they need to be on the go and this is going to be very, very impor- tant for them. Now, they have to be careful. And why do they have to be careful? Because they have a 2nd line body. This goes back to our chain work. When you look at a 2nd line body, what you know is that they have the Achilles' phenomena. In other words, there is a place of vulnerability. There's always that place of vulnerabil- ity. It means they have to be very careful to answer the right call in terms of the activity that they have in that valley. We're beginning to get layers of information. As you begin to add each layer of in- formation, you begin to elaborate on the story. There is a great deal to go. Interes- tingly enough, I thought it was very cute, the 56.2, the line is called Linkage. So I thought that was cute, not that that's the Link Node, but anyway just the general theme. It says: Isolated genius that will eventually find continuity through recogni- tion and support. Now, think about that: Isolated genius, find continuity through recognition and sup- port. How are they going to get the recognition and support? They're going to get --- PAGE 137 --- LECTURE SIX Story Line and Nodal Statistics Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 127 the recognition and support because they are designed to be in an environment that has a lot of people where there is a lot of activity where they are in movement and where, in fact, they can meet enough forces that their particular genius can be rec- ognized. Now, we're not going to find the genius here. Remember that. We'll get tastes of what it may be from then on because when we look at the rest of their story in the sense of the holistic being, we're going to begin to see how all of these elements can arise out of this. Remember, this is the frame. So the frame carries this genius po- tential; the frame of the story. The moment they're in the right environment, the moment they're active in that environment, the moment they're in movement in that environment, that's where the potential of their genius comes out. How nice to look at a story, no? The Personality North Node 61st Gate Let's go to the other side. Now we're dealing with the Personality, obviously. We're dealing with who you think you are. And of course, the Personality of the story line is going to have a great deal of influence on the way in which the mind is going to conceptualize because the view, the perspective, lays the foundation for the depen- dent mind. The dependent mind is dependent on the independent view. It's just the way that it is. So the view is so very, very important. Again, we have a view here that is possibility and we know that the real dilemma of view is always distraction, that the distraction is always there, that the possibility may be seen as a probability and lead to disaster. And a disaster only in the sense that the mind is going to conceptualize based on something it's assuming to be a probable when, in fact, it's only a possibility and that's a whole other story. The 61st gate again at the top: The awareness of universal underlying principles. Nice, no? Ok, the awareness of universal underlying principles—here we have the view. The view is the possibility of seeing universal and underlying principles. It's what it's looking for. It's looking for the basic principles in the way in which human beings deal with each other in these environments. And it's very active in the pur- suit of that, isn't it? --- PAGE 138 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 128 The 6th Line Personality All right, we have a 6th line Personality. The moment you have a 6th line Personality you know something about the nature of this story line. You know that this story line is something that can only develop post-Saturnian, because this is the way the story line works; it's post-Saturnian. It means that your story line, not so much in the sense of seeing the whole life—yes, you can see the nodal movement in the gen- eral sense for the life—but understanding that the story line is the foundation of your flowering as a being. It's by living your story line that you set yourself up for the true awareness that can be the by-product of outer authority. It's just something to grasp. So we have the 6. In dealing with the 6, the tendency is not to see what's at its feet, but to see what's far beyond. So one of the dilemmas that's going to be there in this story line is not necessarily seeing what's there right in front of you, but see- ing where everything is going, perhaps seeing the possibilities of where things may go. But not necessarily seeing what's there right in front of you. The other advan- tage of the 6 is that it carries a trustfulness, which means that for the not-self mind, the distorted, distracted view of this being can really be distorted, because the con- ceptualizing mind is going to have a natural trust in this 6 perception. The 61.6, Appeal: The profound attunement to the collectivity that can lure the pub- lic to a truth; or, a reliance on shop-worn clichés and slogans. Now think about how perfect this is. You have this being who environmentally needs to be in that envi- ronment where it's busy, busy, busy and all that stuff is going on. They're going to be able to find their stimulation in all of that, not only their stimulation, but their stability in their movement in that. Through that stability within that environment, their ability to look out in the world and see the possibilities of the existence of those basic higher principles, then can be turned conceptually into something that has ap- peal to others, even a universal appeal. Of course, if it isn't a great conceptualizing mind, it just may turn out to be clichés and slogans and whatever. If it is a not-self mind, it's a matter of hit or miss. It's not like these things aren't in you. The perfection of the way they work is in you. It's all there. But the closer you are to correctness the more perfect the story line develops. --- PAGE 139 --- LECTURE SIX Story Line and Nodal Statistics Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 129 The Chart of Ben Affleck I do find this particularly amusing. The reason I find this amusing is that this is somebody who actually started as a screenwriter and became an actor. This is the design of Ben Affleck. It's one of my collections of Hollywood charts that I've used over the years for analysis. But I thought that was very interesting. He's a very bright guy and has written some—I think he won an Oscar for a screenplay. So it's just very interesting to see the way the dynamic unfolds in that story line. You can see the way we're being set up to conceptualize. We all have a set up. We're all being set up to really be able to pro- duce the outer authority that is truly going to be an expression of our differentiation. The appeal that's possible here, instead of the clichés, is an enormous possibility out of this experience to be able to create a perspective that is going to be something that once conceptualized, is going to have powerful outer authority. The Story Line Sets Up Your Life The story line sets up your life. The more consistent you are—for example, there is a lot of serendipity in being upper Color on the Design side. It's like me with shores. I was born on an island so I was lucky. I have always had my shores, in a sense. If you grow up in an urban area and you're a 5 you're at home; you're in the right environ- ment. So there are benefits that can accrue through serendipity. But the purity of this process—because it's not just this. Remember that it has to do with three as- pects. It's always that. First, we have the lunar and planetary magic square and this is where the experience is taken in. The expe- rience is taken in through this frame. Then it's provided to the internal for conceptualiz- ing. Experience (1) through this frame (2) to the conceptualizing (3). So obviously by establishing the story line it helps. It gives you a sense of what the basic play is for that being. 1 2 3 --- PAGE 140 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 130 But you also have to see that there are so many other things that are going to be the tools that this is just a conduit for. It's what every- thing passes through. Every- thing has to go through here. And we know why. Every- thing passes through here because this is the only place that holds us together. That's why it's so extraordinary. And of course, in that movement from the magic square which is ruled by the Moon, and these are the Nodes of the Moon, and so on, there is this mechanical perfection in the way these relationships work to each other. But it is rare, ever, that the flow of the way that's supposed to work is actually flowing correctly. The work of transformation in Human Design is to get to the place where the story line is the pure essence that is there in the construct. When you get to that stage what you're dealing with is an experiential level that is heightened. The way in which you experience resonating to what is good for you, the way it is framed, and the way it is conceptualized is the transformation in awareness. Cognitive Potential Let's go to this key area. It is obviously a key area. This is where the linkage takes place. So even though this is the stable story line, what underlies that is the way in which cognition is pulled together in the holistic being. This is the way in which the Design says to the Personality, ―We're this kind of body so you're going to have to work this way.‖ And the Personality says to the Design, ―I need to live out this so you're going to have to accommodate that.‖ This is the place where they communi- cate with each other. This is the only place where we're held together. In essence, this is where everything flows. This gives you the cognitive potential. When we're dealing with cognitive potential, we can see that here is where we're dealing with tonal transposition and in tonal transposition we are dealing with the crudeness of left and right only. In other words, the only subtlety that we can apply to the 1, 2, 3 or the 4, 5, 6 is the subtlety in terms of level of frequency relative to the larger keynote. So for example, in this case, we are dealing with the left, we are dealing with an active body. One would say that if it is the 3, you're probably dealing with the most active body; whereas, the 1 is going to be least active. Not that it's going to appear passive, by the way. It isn't going to appear passive. But again, this gives you a very basic way of understanding the way in which the body is going to respond to its environment. And the way the body responds to its environment is that it's going to respond ac- tively. --- PAGE 141 --- LECTURE SIX Story Line and Nodal Statistics Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 131 The Personality South Node 62nd Gate The 62 says: Caution, patience and detail produce excellence out of limitation. You want cognitive potential? Here is the underlying cognitive potential. It says: cau- tion, patience and detail produce excellence out of limitation. Think about that. Be- cause that is the cognitive potential that is going to be there in terms of the story line. In other words, the fact that one is in this very active, very crowded environ- ment, the very gift of being able to perceive the possibility of the principles, that very gift is going to be determined on caution, patience and detail to produce excel- lence. So, this is the very framework, in a sense, of what this person is going to be like if they're correct and what they're going to be like in terms of the way in which they are being in their life, in their environment, in their looking out of the world, and in their dealing with the other. Again, we are dealing with, obviously because this was on the Personality side, the 6th line theme, and we're dealing with Self-discipline: a penny saved is a penny earned. The skills but not the discipline to succeed. Discip- line becomes the big story. So you can see in order for them to be able to achieve excellence, in order for them to really be able to take advantage of their environ- ment and their perception, it's going to be very important for them to be self- disciplined. But they can't invent the self-discipline. If they're operating correctly and they're living through this process correctly, the premise we said at the beginning with the PHS and the environment, what they are going to notice is that they are more and more and more disciplined as they move along, because it's there. Cognitive potential, the underlying potential that is there in the theme of the story, that theme of looking for the basic principles and looking for those basic principles in that crowded environment, while at the same time remembering that this is a 2nd line hermit unconscious. It's really something to grasp. Despite that, this is what is important for this person. This is the kind of person, I guarantee you, that spends a lot time looking out a window onto a crowded place and loves it. Self-Discipline --- PAGE 142 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 132 What's the other side? The other side isn't about the body anymore, because again what we're dealing with is a Personality here in this Link Node. Remember, it re- mains who you think you are, this Personality saying to the body, ―We do have to be disciplined.‖ It's passing the discipline information to the body. Only the body can create the discipline. The Design North Node 60th Gate So what does the body bring to the Personality? This is where the body speaks. Af- ter all, it‘s who you think you are. Everything that you think you are is Personality and one Design Link Node. This is part of who you think you are. It's not that you tune in purely to the 60 and that 2. It becomes part of the way in which you interp- ret your Personality. It is there. What does the 60th gate, Limitation, say? It says: The acceptance of limitation is the first step in transcendence. To accept limitation, to be disciplined and to accept limitation, this is the underlying cognitive potential. The disciplined body, absolutely necessary, and along with that disciplined body, a Personality that accepts limitation. The 2nd Line It accepts the limitation in humans, it accepts the limitation. In accepting limitation, it strengthens its ability to see possibilities rather than probabilities, to see the limits on anything. It creates the potential of an extraordinary view. The line itself is De- cisiveness: The understanding the nature of limitation, to accept its restraints when necessary and thus be able to take advantage of opportunities when they arise. You begin to get the whole flavor of what is correct for this being, because everything else, the way they perform on this particular stage, yes, yes, and the fact that there is all this nuance to experience, yes, yes, all of that. This is telling you what their life is about. Not only that, it is telling you that when this cognitive potential and story line is correct, they're going to have a long, healthy and successful life. When I say successful, it's relative, obviously. In their case be- ing a Generator, I'm sure it will be just simply deeply satisfying. Self-Discipline Accept Limitation --- PAGE 143 --- LECTURE SIX Story Line and Nodal Statistics Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 133 We All Have a Story Line and Cognitive Potential All of us have a story line and all of us have a cognitive potential. There are ways for us to be able to see. There are ways to be able to see what is really possible, and then to live it, and to be able to measure it. It's what the maya is all about. You measure your movement; you see the way it goes. Honestly, I chuckle at my own. I find it delicious to look at my own things and see them because it's so deeply re- vealing of how far you've moved in your life. When you look at your story line and your cognitive potential, think about your life process. Think about what you were like before you met Human Design. Think about your story line and cognitive potential in relationship to what you're like today in the nature of your life. You'll see that you have quite a stick for measuring. This is one of those things that everybody who goes through a deep process, a transfor- mative process—because we do this alone and it is only in our own hands—it is so important that there are ways you can offer to others that they get to see. They lit- erally get to see. They get to see for themselves what is possible and they can reso- nate to it. Resonance Resonance is an incredible thing. It really is. The genetics have always fascinated me in Human Design. The two sides of the genetic imperative, how perfectly it op- erates as a binary. That genetic imperative says you have to be attracted to what's different from you, the thing that locks us to conditioning, the distorted life. Yet, at the same time, the genes are designed to respond to your transformation as a being. That's what's really remarkable, because the other side of the coin is the genetic re- sonance. To get to a stage where rather than being drawn to what conditions you, you resonate to what is good for you. Resonance within the context of the design at our level of the knowledge is one of the most important aspects we deal with. It's one of the most important aspects be- cause it governs experience; it governs our story line and our cognitive potential. In essence, it governs just about everything except our cross and the way we live out that role. Everything else is resonance. Everything else is waiting for correctness in order to be able to resonate to what is good for it. It's only then that you really get to live out the magic. So, story line and cognitive potential can be very deep. As I said, I'm going to be moving on and I won't touch upon this theme probably until next semester because there are some things related to this that I want to look at. I don't want you to just let it pass away. It deserves attention. A little bit of practice with this and you'll dis- cover that it's very, very interesting to be able to look at clients, to be able to look at people in your life and to be able to look at them this way. I think it will open up your eyes to really a different way of seeing them and being able to offer them that very concrete signpost they can get to if they walk that path. It is something they can get to. --- PAGE 144 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 134 Statistical Charts Ok, let's see. I want to show you a series of statistics that Adrian has prepared. I don't want to go into any long explanation of these. Obviously, you can download them. It's more that I'm just sharing with you the opportunity to look at things this way and to see how it inspires you. I find it fascinating. I am outer vision as a per- son, so I deeply appreciate being able to see the data in graphic form. So here, for example—and again Adrian do drop in any time you want when I don't quite under- stand what I'm talking about, because that does happen when I'm looking at some of these things. Nodal Tone Transposition: Design to Personality (2008-2027) We're looking at Design to Personality. So, we're looking at the transpositions that have taken place, the Design to Personality, so you can see down below from the 1 to the 1, that is, nodal transposition, and you can see basically that approximately 2½% of all charts are going to have a nodal transposition of 1 to 1. Here you can see it's the 1 to 2 and then the 1 to 3 and the 1 to 4 and so forth and so on as you go all the way down and all the way along. In these kinds of things, it's always interesting. This is a 2008 to 2027 frame. For example, I always look at things and say that one is very high and this one is very --- PAGE 145 --- LECTURE SIX Story Line and Nodal Statistics Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 135 low. So from the 2 to the 3 isn't as common, for example, and this is the most common, which is from the 5 to the 6. Again, these things are interesting for me in terms of my rave historical stuff because it gives you an idea about the way in which the Program manipulates incarnation, if I can put it that way; certain forces coming in certain ways, certain tonal transpositions—again, it's just interesting to watch the movie. Written question: Would there be an advantage to have the same Tones, or no transposition like 1 to 1? Ra: That's an interesting point, Kumud, is it an advantage? I don't think anything is an advantage or disadvantage. I really don't. I'm a pure dualist. I really don't. I think everything has this and that, so it has this and that. Nodal Tone Transposition: Design to Personality Left-Right So you can see that, for example, in a tonal transposition going from the Design to the Personality, to go from Right to Right it's 27% of the time. From Left to Left, 23%; from Right to Left and Left to Right 25% of the time each. It's just interesting. And it's interesting that this is the least. That's interesting just from my whole thing about looking at 2027, and clearly the Right is on the ascendency and the Left is on the descendency, so it's just interesting to see things pop up in certain times in these calculations; that is curious. --- PAGE 146 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 136 Nodal Gate Activations in Defined Centers (2008-2027) This is also interesting. One of those things you see a lot, but you never really see in numbers. I talked to you about when you're ultimately looking at the whole synthe- sizing of it. Obviously you have to see where those Nodes are. Where are they in the bodygraph, not simply what the gate and line is, but where are they in relation- ship to the way in which the bodygraph itself and its circuitry operates? Are they in a defined center? Are they in an undefined center? It's interesting to see the percentages. So nodal gates in defined centers, you can see down below, it's divided into the Design North Node, the Design South Node, Personality North Node, Personality South Node and the percentages of their activa- tions in any given center. Obviously, the Throat is going to get the most. It has ele- ven gates, so statically it is clear it will get the most. The Head gets the least. It only has three gates; the Ego next because it only has four gates, and so forth. So there are other factors in looking at this. But it's just interesting from a percentage point of view to see the percentage that people have in activations in defined centers, because obviously it makes a differ- ence in the way in which those Nodes are going to operate on a breath-by-breath basis. --- PAGE 147 --- LECTURE SIX Story Line and Nodal Statistics Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 137 Nodal Gate Activations in Defined Centers Pie Chart Here, again, are nodal gate activations in defined centers. I'm trying to understand this one—four gates in defined centers 45% of the time. Is that correct, Adrian? So, in other words, that's all four Nodes? [Yes.] Yes, ok, so all four Nodes in defined centers 45% of the time; that's amazing. It's more than I thought. I have all four of my Nodes in defined centers, but I didn't think that was—out of many charts, yes, probably over a million calculations, something like that. So, three gates in defined centers; you can see the drop; that's interesting. That's only 16%; it's interesting. Four gates, you have all of them there, it's 45%. You have three of them there it's only 16%. It's interesting. Again, the beauty of statistics is that you look at things differently and they can in- spire thought. This certainly inspires thought; there's no question about that. The difference between this and this is really amazing. It's just amazing. And 9%, that's a lot of people, that's 700 million people approximately, don't have their Nodes, don't have a consistent story line or a consistent cognitive potential. They're almost invariably not-self. That's quite a dilemma. You really are so far away from your life, it's hard to imagine. That's very interesting, Adrian, I like this one. I find this fantastic. But this is 2008 to 2027. Do you have a 1781 calculation for this, Adrian, 1781 to 2027? That would be very interesting. --- PAGE 148 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 138 Nodal Gate Activations in Open Centers (2008-2027) Ok, I think there is one more that I have for you. This is nodal gate activations in open centers. And it leads back to this, obviously, because you can see clearly that you're going to end up with a lot of gates in open centers, there's no question about that, and the various configurations that go with it. So you have that as package and as I get additional ones—as I said anyway, we are working on getting this together so that we ultimately can produce some digital books of statistical material. I think, particularly for advanced students, the statis- tical material that's being developed on Variable is going to be enormously valuable and very inspiring. I think it gives you another way of looking at things and it gives you a key to get you going. That's also fascinating, Adrian. It goes along with the statistics I was showing you not too long ago about the crashing of the Left and the rising of the Right and that phenomena that takes place right at the marker. It's just so interesting the way the dynamics work. Sometimes I'm breathless with those. --- PAGE 149 --- LECTURE SIX Story Line and Nodal Statistics Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 139 Q & A Ok, I want to open this up to you and give you a chance before we move on to our next subject. Either this or if you want to reference back to any of the charts, I would be happy to go back to them. I certainly open this up to your questions. Link Node Chart in MMAI Question: Will MMAI provide a Link Node chart of a design the way you presented the illustration like this one? Ra: I don't see any reason why not. I really don't. So, I'll put that into the hopper. I think it makes sense. I don't like putting things into the program until there are basically enough people where it's of interest. Obviously this will mean nothing to others. But what I can do is add it to AI which is very restricted anyway. I think that's a good idea. Linking of the Bases Question: I realize it's probably another course, but can you say a little bit about the way that the crossover and the linking of the Bases might show up in terms of either cognitive potential or story line? Ra: It is another course, Jagruti. It is one that I am going to do. The way in which the Bases, and I assume you were referring to the nodal Bases, they are significant in their relationship to the internal. But again, it is really too much to explain right now. But I will get to that, by the way. There is still a lot of material to cover. Personality 4th Tone Question: Ra, will you say more about on this example, the 4th Tone on the Perso- nality side, or maybe I missed it. I was interested in that, if that's appropriate. Ra: Basically what happens is that when we're dealing with the transposed Tones, we only see the Tones in their value relative to their Left-ness or their Right-ness. In other words, what we would associate with the 4th Tone is—that we would apply it in ordinary Personality external analysis is not the point here. The as- pect of the tonal value here is simply the Left-ness or the Right-ness. --- PAGE 150 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 140 So in this particular case, the limitation is seen from the periphery. In other words, it's not focused on a specific limitation, but in essence can see limitation everywhere because it is going to be looking Right, so it's going to be looking peripherally. Comment: Thank you. People with the Same Variable/Brown Study Comment: I certainly found recently that when I'm talking to somebody on my Va- riable it is a whole different experience. It's like a wave link. It's wonderful. So, my Variable is where the Sun/Earth are both right, Personality and Design and the Nodes are both active. I somewhat relate to this example in that I have possibilities, but I have possibilities that will sit and look out the window of a cave, which is what I'm doing right now. It's just odd to have active from a cave. I know this isn't really a question, but I get jumbled by how these all mix together. Ra: Do you know the term "brown study," that defocused looking? You're sitting in your cave and you're defocused looking and you're seeing all kinds of things. It's a very active process, but it's active in a very different sense. It‘s active relative to the way in which the cognitive potential is going to work. But I'm more interested in your opening comment about Variable. I don't think there is any doubt about it. The people I know who are on my Variable, there is an ease of communication that is just obvious. I think that it has to do with, in the sense that because the story lines and the cognitive potentials are at least in their general thematics, that they are so similar to each other that it makes the communi- cating much smoother. It just does. Alok is a classic example because we have the same Variable and we've been work- ing together 14 or 15 years now. There is an ease in the communication. There al- ways was. Anybody from the early years, whoever saw Alok translate me live into Spanish, you would understand what it means to have two human beings share the same Variable. It was just impossible to separate the phenomena of what was going on. So, in that sense, yes, these are our families, after all. These are our fractal families and there is going to be a specific relationship to them. It doesn't mean that—again, I don't want to get too deep into that from a separation point of view, but it's simply a reality. Because the Variable is a magic square, I've been looking at different ma- thematical relationships in order to understand the way people in different Variables deal with each other. I see that in my family because all the members have different Variables. For exam- ple, my eldest son, Loki, who has the exact opposite to me, he's three part right and his Personality external is left, and I'm three parts left and my Personality external is right. We have the smoothest communication in the family. When I say "smooth- --- PAGE 151 --- LECTURE SIX Story Line and Nodal Statistics Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 141 est" I mean there is no extraneous dialogue. There is nothing extra that needs to be said. And yet, a great deal moves along that kind of fractal corridor. I meant that in the beginning in terms of trying to get people to understand how you deal with somebody of a type. You ask a Generator, you invite a Projector, all of these various things. I think there are very, very specific ways in which Variables communicate with each other successfully. I think one of the most interesting social societies that will emerge ultimately out of Human Design is understanding how these families can relate to each other and relate to each other successfully. We're going to spend the next four classes on Variable. Nothing intrigues me more. It really is the bedrock of order. That's why I'm so curious about Ibiza this year, to align to the fractal family, to get the feel for each. It's clear to me that based on what I understand of Variable that there will be one Variable class in which every- thing I say and I don't say is taken in. And all the other Variable classes will be dif- ferent, because it's different. It's one of the things I'm interested in discovering. That is, the communicative keys to be able to cross the Variable line. I'm designed for that kind of thing because I'm a 43/23. That is, we're always trying to find a way to explain and to be able to explain to those who don't know. It's an interesting challenge to find what the mechanisms are that can bind the Variable families to- gether. It is not as arcane as it sounds. We live on a plane of deep miscommunication. One of the goals of nine-centered consciousness is the exaltation of communications through outer authority. How we communicate with each other is so deeply impor- tant. How you communicate from one Variable, from one zone, and communicate to the other is something that is very important. By the way, just to give you an idea, this ability to be able to communicate across the Variable line, where you find that this is something that can be discovered in the independent Variable. This is what the independent Variable can do. It can find pre- cisely the right role to be able to cross whatever the fractal barrier is in order to be able to get to a point where consciousness as a field is actually integrated rather than being sourced in 16 separate pools. The Relaxation of the Body when Sitting Beside the Same Variable Comment: I just wanted to mention that in some of the interviews that have been airing on the Monday morning video magazine, there are parings of people with the same Variable. And my observation continues to that the degree of relaxation of the body when it sits besides someone with the same Variable is absolutely astonishing. Ra: I'm so aware of it, particularly as a Manifestor with a closed aura, it's so obvious to me that when I'm with people who have the same Variable, they don't feel my au- ra in the same way. There are fascinating things to be understood in these fractal families. --- PAGE 152 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 142 Comment: But one I liked the most seeing it in terms of Variable, Genoa moved his birth time around a couple of times because his Variable changed. But when I saw the interview with Tito and Genoa I said, they have the same Variable. Genoa now has it correct. Ra: Yes, yes, yes. That's interesting in the context of the work you do Elfriede with rectification. This is another interesting thing about rectifying somebody's design. That is, if you think they're a certain Variable, you just put them together with somebody with the same Variable and you just look at the way in which they relate to them. Again, there are some incredible things. We will get much more nuanced, by the way. This is something I'm dedicating enormous amount of thought to, and we're really going to get down to the basics of it. The South Node and the Story Line Question: Just coming back to the Nodes for a moment, though something you said then was just mind blowing, but what I understand from these last few classes, this guy's Design South Node is 56.2 and mine is 32.6, the need to calmly face imperma- nence. I have not left that behind is what you're saying. This end of the street does not mean, ok that period of my life is over. It is really almost inseparable from the process of the story line. Is that right? Ra: Yes, that's right. But it can take on different dimensions. For example, the im- permanence can be something that is very physical and disturbing when one is incor- rect and can be simply the way in which one is watching the world later. In other words, someone like yourself who is very, very open mentally, everything should be, always impermanent, if you know what I mean. In other words, it's all passing through. So it's not about just locking it into the very physical of it. But yes, in- deed, it remains part of the story. Question: So I will be actively facing impermanence for the rest of my days? Ra: All right, think about where it leads to, because you're still seeing it as physical. Everything about the story line and cognitive potential is to lay the foundation for the conceptualization of the mind. Your ability to be able to develop the differentiated outer authority that is truly yours, your gift is to be able to see impermanence. It doesn't mean it's you. It's about where your outer authority is going. What you have learned through impermanence, through it being physical in your life through your South Node, now becomes an instrument, the material for your mature perspective to see through your outer authority and share with others the nature of impermanence, and all the things that go with it. So, be very careful about the way you interpret that. --- PAGE 153 --- LECTURE SIX Story Line and Nodal Statistics Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 143 Question: Oh, I mean that just fits so incredibly. Is there an aspect that is more physical, or is it all going to outer authority? Ra: Well, it's all going to outer authority, but remember it only goes through outer authority because you've already been given the physical dominance in your life. It's already there. Your Strategy and Authority is doing that. So it is the dominant force in your life. But it's a different kind of physicality because it's all honed to what is your holistic direction. Comment: It's fantastic. Everything is just a brown study in impermanence. Thanks. Ra: It is the nature of the world, Kumud, after all. It really is. It's all impermanent. It is wisdom to grasp that deeply within oneself. Attachment to the Not-Self Question: I have a question that comes from when you were talking about the 4th Color aspect of how the Monopole works. I think that I heard in the very first lecture that the leftover seven-centered conditioning around how the 4th Color worked, for that period of evolution might be a key to why there is such attachment to not-self modes. Did I hear that correctly? Ra: Yes, more or less. There is a deep attachment to the not-self. Remember, the not-self comes with a purpose. This is the whole thing. The not-self purpose is the accumulated not-self strategies that are built up through the openness in the vehicle and this becomes the strategy for life, the strategy to prove yourself, or this or that or whatever the case may be. And because everybody operates that way and is trained that way, every child is raised to be a Manifestor to chase after their goal. So it's not so much that there is a particular attachment that is holding everybody to it. It's just that they've never had a chance for anything else. Nobody has ever had a chance for anything else. It's just not built in. We see very clearly that you have to, at some point in your life, get to this. It isn't just granted. It isn't granted that you're going to have the ability to break with the program. The program is so unbelievably powerful. I have spent 21 years describ- ing conditioning. There isn't any area in this knowledge that isn't saturated with conditioning. It's what everything is. So, the fact that the vast majority of humanity is still operating out of a, relatively speaking, seven-centered consciousness is not surprising. Poor things, it's not their fault. There's nothing they can do. They're helpless in all of that. They're just help- less. The world is still operating on those principles. It is just not correct for us. It would be like a bunch of human beings trying to act like bears. It's a different spe- cies and we're not that species any more. --- PAGE 154 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 144 The havoc that we have in the world and the great pain of the world, the fact is that we are all part of very privileged societies. The vast majority of this planet does not have it easy. Most of them have a terrible time on this plane. There is no success story on this planet, there really isn't. Those of us who are relatively fortunate, we try our very best to try not to pay attention to the rest of it. Everybody has this pale hope that somehow it's all going to get better. It doesn't work that way. So the homogenized world just has its tentacles deep, deep, deep inside of human beings. Again, you break out of it on your own. If you're lucky you find your way. This is our movie. Written comment: You could think of us like the child raised by wolves. He still isn't a wolf. Ra: Yes, wolves; it's all about being a wolf. That's good Cathy, I like that one. That's so true. Jungle boys, it's what the world is filled with; killer monkeys, not very bright. Written comment: The brotherhood/sisterhood has changed but nobody has no- ticed. Ra: That's also good, Kumud; that's quite true. It is a very different frequency. The Work on the Psychological Side Comment: The thing that I find interesting with this work about the story line and the cognitive potential is to try and sort out where the not-self has crept in through the distraction and also through the Color transference and how it has as well as the not-self is interfering with this cognitive potential and the story line. It's quite a mix. Ra: Oh, absolutely. That's why the work on the psychological side is so important. The development of the passenger perspective, because without the ability to be aware of the distractions and the transference, it is very, very difficult because it is going to impact the way in which that cognitive potential works. It's not so much that it impacts cognitive potential as it does the experience. Re- member again that we're deconstructing here. This is fascinating, but like what I do tomorrow, lunar and planetary square is out of this world amazing, because this is where all the experience is. If you have dysfunction on the personality side, then you have dysfunction in the way in which you experience from the lunar and planeta- ry square. It then doesn't matter whether your cognitive potential is this or that; you're just not getting the material you need. --- PAGE 155 --- LECTURE SIX Story Line and Nodal Statistics Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 145 Distortion on the Personality Side Question: I was going to ask about that because it sounded like you have the x in the lunar and planetary squares and if you can stay in it, you're great, but if you get in the diamond shape you're kind of screwed. I was wondering if that isn't where it actually really kind of starts. But once you try to crystallize your story line and cog- nitive potential, it's already been too corrupted before it got to that point. Ra: There is no question that in looking at most human beings, even most human beings who have entered into Human Design, that you're going to have an enormous amount of distortion of the Personality side until the passenger begins to function. And that takes time, obviously. It takes a great deal of discipline and a tremendous commitment to the process. Not everybody is equipped for that, as we well know. However, the moment you really are aware of those things, even though, as Jagruti pointed out, that, yes, there are going to be elements that are still part of the distortion, but they're going to be very minor and they will heal in and of themselves. Again, this goes back to how profound it is to have the vehicle be correct. Again, remember that this is all based on a premise of somebody who is a minimum of 3½ years in their process, that they're following their PHS dietary regimen and that they are in their environment. This is a very different thing. The thing is, you're dealing with somebody who is actively aligning to their story line and cognitive potential. If the work of their passenger in terms of their ability to be able to recognize transference, distraction, to be an experiencer of their mental processing, in working with that, then literally what that means is they're getting the experiential information that they need, and ultimately that's going to be revealed. I think once you get to this point based on the premise, I don't think the fact that there are remnants of this or that really matter very much. I think they clean them- selves out quite naturally. I think the real dilemma are the ones who are just getting involved, in that sense. That's where there is enormous distortion and it is both ex- periential and it's here in the external. Distraction after the Saturn Return Question: Ra, when you're talking about distraction it doesn't really click as rele- vant until Saturn return. What is the development that takes place, like this person, for example, possibilities, is it like the capacity to really focus on possibilities be- comes more and more acute as they reach 50 years of age. I was working with somebody who was just 31 years of age and I wasn't quite sure. I just wanted to offer the information. That's a long time to get used to using it. --- PAGE 156 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 146 Ra: Yes, it takes 20 years. We all know—all of us are somewhere around our mid- lives—the reality is that you know that the longer you live on this planet the more benefits 20 years of being in the right environment with the right perspective is cer- tainly going to develop a great foundation for the 30 odd years, in the Uranian sense, that follow and the awareness that can be a part of that. In terms of the way in which it moves, in this particular case where the linkage is to the Right so that you have this peripheral of taking in possibilities, literally what that means is that you're moving along a trajectory that moves you towards an ability to see possibility everywhere and everything. This is something that can be deeply, deeply profound and wise. And it's not necessarily there from the beginning. In other words, where you see possibility and how much possibility you see is some- thing that is going to mature along this line in this process. Written comment: Ever since I really absorbed my nodal view's correct function, it is a bit jarring. I see the graveyard of my NS distracted view. I have waves of overwhelm from the enormity of its impact on the history of my life. Ra: Oh, yes, Cathy. Any of us who really align to the pure mechanical aspects of our nature have to be horrified by what our lives were. I am. I know. My life was really a mess for a very long time. And it was so distorted. We all carry baggage. We all carry baggage of the not-self and what that did to us. The distraction for me was devastating. It alienated me from most of the things that could have been of value to me in my life. It was just a mess. Yet, at the same time, I'm so glad that I can see that. I'm not there. I haven't been there in a very long time. It allows me to have enormous empathy for those who are conditioned. It gives me great admiration for those who can leave that behind. We are active memory creatures. This is what the Head Center does. It collects infor- mation and stores it. It's not like any of that is going to go away, nor should it, in that sense. It is part of our experiential depth and what makes us as the first gener- ation of nine-centered beings to wake up. It gives us our specialness. We see where we came from and we see where we have come to and we see what is possi- ble for us in our journey. This is an extraordinary thing. One of the things that I think is difficult is that as your teacher, I show you the world in a way that it is so obvious that this is not a pleasant thing. In essence, it could lead to a sense of deep pessimism about the nature of being and the nature of the world itself. This is truly not my intent. I'm a realist. I look at the world. I see what's there. I understand the Program and I understand the limitations of things. But I also understand the way in which the numbers work; the 4% solution, the 4% who can wake up and the 4% of the 4% that actually do. This is where the glory of life is. It's us. It's what it's all about. You can't get it any better than this. This is what it's about. It is something that we need to remind ourselves of, of the beauty and the grace of what it is to have your own authority, to be aware enough to be able to understand your nature and the nature of the world around you. It is an ex- traordinary accomplishment. It is something that is very special. It's your grace. --- PAGE 157 --- LECTURE SIX Story Line and Nodal Statistics Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 147 And it's not one to be lost with all that pain and suffering that is out there in the world, because they're not the same things. The only one I would suffer for is somebody who came this way and got lost some- how because once you come this way, you get to see the beauty of what it is to be a human being. It's beautiful to be a human being. Look at the things you know now. And look at what it's done for your life. This is the magic. So, yeah, I know all the negative lines. I'm a dark force. I can see darkness every- where; I know what it is. But I also know the light; the light of knowledge, the light of wisdom. It changes everything. It doesn‘t remove the darkness, nor should it be removed. It has its place. All things do. The homogenized world makes way for the next, for the rave, for the future, for whatever it is. Everything has its purpose, eve- rything is ok. What matters is us. What matters is the possibility of what can be achieved by a nine-centered human. It's really incredible what we can achieve, for nothing more than the beauty of it. Anyway, ok, I hope you enjoyed that. Until next time, all of you, you take care. Bye for now. ~ --- PAGE 158 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 148 --- PAGE 159 --- Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 149 Lecture Seven Variables: Following the Story Line, Part 1 Hello and welcome to all of you. We're going to continue our adventure. It's well known by all of you by this point that this is my year of the Variable. So much of what I'm doing in these postgraduate studies is being able to follow the path that leads to really being able to open up the nature of Variable and looking at it from many differ- ent angles. I'm fortunate in the help that I've been receiving from Adrian. It is a lot of fun to use statistical material as a way of providing insights into what is enormously complex data. There is so much informa- tion locked up in this. Exploring the Way a Fractal Works Everything about what we've been doing so far is so that I could get to a place where we begin to understand what a line is within the Variable. All of this work that we have just been doing in relationship to story line and cognitive potential is really about understanding that we're beginning to explore the way a fractal works. That's really at the heart of this. One of the things that really fascinates me about this process, as an example, com- ing up in Ibiza where I'm going to be doing a workshop for each of these families, it's clear that there is a—I've already seen it in so many cases—there is a way of really being able to recognize once you see it. I want to get to the place where that is something that is different, that it is almost predictable what its quality will be. You can see the quality that exists when people share the same family, the same Varia- ble. Yet at the same time, they're very complex. It's not like this is a cookie cutter at all. The general quality of it is something that is going to be shared. One of the things that we're seeing, for example—and this is approximations at this point—that there are approximately 5,000 story lines, somewhere around there. There are about 10,000 with cognitive potential. There is about a quarter of a million, more or less, when you integrate the dependent Variable. --- PAGE 160 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 150 Secret of the Fractal is Visible on the Surface In other words, there is an enormous diversity there, so that, in essence, the secret of the fractal is something that is visible on the surface. One of the things that I've been trying to show you both in this and in resonance mapping is that we're dealing with things that aren't simply buried somewhere within the depth, that the moment we're dealing with Variable we are dealing with a super surface. This is the ultimate surface in a sense. This is the ultimate packaging. So, when we're looking at this, there is always for me a way in which the values here can be brought to the surface and understood as a keynote on the surface. Again, my goal is to actually be able to discover through my experience what the keynote is, because as I mentioned from the very beginning when I introduced Vari- able, I introduced it as a formula. I introduced it as a formula because it was clear to me that the values themselves would wait their time. This is something that is clear. This is incredibly new territory. So it's a very interesting process to begin to distill through all the various ways of looking at this. What is this rela- tionship? What do we call this? What is actually there that is going to make the beings that occupy this zone on the surface differ- ent from this one over here? And of course, all the other interrelationships that are involved in this. A Synthesizing Holistic Process I have a number of things for you today. Let's get up here for a moment and think about some basics here, a little review. We've been putting the emphasis now on the independent Variable. Now, we see that the independent Variable itself is a bi- nary, that is, with story line and cognitive potential. Obviously, with the emphasis I've been giving you about the nature of the independent Variable—that is, this is the life that these values that are inherent in the independent Variable, that the value of the story line and the cognitive potential is the way in which you synthesize this—so it's no longer either PHS or Rave Psychology. I think this is one of the first steps we have to take in order to be able to see these things on the surface. When you're looking at just the Design side, as an example, --- PAGE 161 --- LECTURE SEVEN The Variables: Following the Story Line, Part 1 Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 151 and you're going to be exploring the external, there are specific values that are there relative to the Design, relative to the way the design works, in which certain values are attributed. The same thing is true, obviously, on the Personality side. But again, I want you to see that what we're looking at is a holistic process here in which there is a synthesis. The moment you see a 4, it should remind you of what everything is based on, which is Base. And the synthesis of the whole that's greater than the sum of the parts that emerges out of this. When we are looking here and we see that there is this basic story line, we also see that that basic story line is there and it's there. When I say "basic story line," please do not misunderstand me. There are going to be thousands of variations. What I'm saying is that on the surface, the way this syn- thesis takes plac- es results in the same time. In other words, there is a fre- quency or a fla- vor—one of the things that I al- ways loved about physics is their terminologies are absolutely delicious. And flavor is a terminology in physics that was attributed to quarks. Quarks have gone through many different names. They were once called: up, down, strange, charm, beauty and truth. They don't call them that any more, which I think is terrible because I thought those were really beautiful. A Surface Frequency There is a common denomina- tor here that flows through this. What flows through this is a surface frequency. It's a surface frequency that gives us a generic format for all of the possibilities that could exist in different kinds of story lines that could emerge. In other words, what we're looking at is kind of like the way in which you search for books and you look for a genre. These are --- PAGE 162 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 152 genres. This is mystery, this is a comedy and this biography—I'm just joking, by the way when I say that. I don't want you to get stuck in that. I want you to have a sense that these four independent Variables represent a certain kind of journey, and a certain kind of journey that binds these four together at that level. What's interesting is when you think about it, there are really four journeys in life. We get to see that, the basic configurations we see here in terms of the way in which it groups together. We can see very clearly that we have these four different groupings of the independent Variable. The Four Journeys So now we're getting down to the fundamental archetype. We're getting down to the ground floor. Here's the ground floor. The ground floor says there are four jour- neys: the left/left, the left/right, the right/left and the right/right. These are the four journeys. It is in these particular journeys that the story lines are going to emerge. And yet, the story lines emerging in a different journey bring a different value, which ends up with all kinds of ways in which the consciousness field gets developed. As a bio-form, what we get to see as a nine-centered being through the movement of the 41 to the 35 is that everything about our development is experiential. Everything about our development is a journey, literally a journey. It is the journey from birth to death, it is the journey to maturation, it is the journey to this, to that, whatever the case may be, but there are all these journeys. What we need to see now is that there aren't that many journeys thematically. Now, no one yet, including me, has deciphered what name to give to this journey. It is—how shall I put that—it‘s like saying, as broad as I can be, this journey is to go from some place in America to some place in Europe, if you know what I mean. In other words, it's a huge generalization what the journey is. There are going to be zillions of nuances that are possible within the framework of that general journey. The School of Enlightened Selfishness But nonetheless, we have four archetypal movements. I film three TV shows a week. I'm beginning a new series called The School of Enlightened Selfishness, which I like very much. The first three shows of that is as deep a description I can --- PAGE 163 --- LECTURE SEVEN The Variables: Following the Story Line, Part 1 Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 153 give of what would be the correct nine-centered life. One of the things we know about the correct nine-centered life is that from 0 to 30, from birth to the Saturn, the combination of being raised according to one's type and learning one's authority and strategy when one is ready, and of course the proper dietary regimen. This is the way in which the nine-centered being is intended to start its process. When the nine-centered being gets to the Saturn return, it opens up this little part of the tripartite Uranian life, that zone between the Saturn and Kiron return. That zone of approximately 20 years, in terms of what is correct for a nine-centered being that is raised correctly, it‘s only when they get to their Saturn return that they begin their journey in life. They leave home, they leave the educational environment, they leave the early developmental environment, they're prepared within a context of knowing how to make decisions correctly and being healthy and all of those things, but the moment that they get to their Saturn return, that's the moment their journey begins. This is the life journey. The journey begins with the journey to their envi- ronment, and through that environment, the journey of the development of their perspective. All of that is inherent here. This is that journey. But what we're looking at is that in the same way that we can see—I talk about how Variable is the higher octave of type. What I mean by that is that these are the two most important generalizations that we can apply to a human being. The generalization that says you're a Genera- tor and you're here to respond, obviously that's very much on the surface, yet it's ‗this is your Variable and this is the way you're supposed to eat and where you're supposed to be and the way you're supposed to look‘ and so on. The Left/Left, Left/Left But, they have a different story. It's one of the things we're going to explore today. Let me take a different direction for a moment. Left/left, left/left and what we know about that is though this is not the left of the seven-centered being, because it's so different because of the presence of right- ness in everyone's design, we all have left-ness and right-ness in this. Obviously, its seven- centered history is there. But this is a nine-centered construct. It is the nine-centered construct that is most deeply connected to the strategic process of the past. It brings the values, potentially, both good and bad, into the nine-centered life. This is what the left/left, left/left does. --- PAGE 164 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 154 The Right/Right, Right/Right At the other end of this is another story. At the other end of this, we have the double right, double right. So we are looking at what is the future. And not simply the future, but in fact, this right-ness is where everything is moving. There is a straight evolutionary line. Now, it doesn't mean that everything works that way, be- cause then it would say that everything that was extraneous to that would not be apart. It's not what I'm saying. What I am saying is that this is a very specific movement. I think that these movements within the magic square have been differ- ent depending on what the form construct was demanding. But here, clearly, is this move- ment in which we are moving from the deep left to the deep right, even though we pos- sess all of it, obviously. So, it says something as well. In other words, is this the origi- nal story? And is this the story of the future? Now, the obvious an- swer is yes, just logical- ly. In other words, this represents a relationship to the past. This represents the relationship to the future. So we are looking at a different kind of story line here than we are here. All I'm trying to lay out for you is that not only are we in this evolutionary move- ment, but also to see in this higher octave of type, that we come to another 4. Based on the color zoning here, we come to these four different possibilities in terms of—and again, it's four different possibilities in terms of the way in which the inde- pendent Variable works. Obviously, the moment you bring in the dependent Variable you end up with 16 variations. If we were only looking at the dependent Variables, we would see there are only four versions of them. In other words, all of this is working out of the same basic formula. Variable Represents the Road Map for the Transformative Journey So, here you can see it illustrated, just according to the color coding. It's a magic square. So as a magic square, we're going to see that there are all kinds of relation- ships that are necessary. Think about what we're looking at with Variable. What does it say to us? The first thing it says to us, when we include the dependent Vari- able, is that every single one of us has a road map for the journey that is transfor- mative in our lives. In other words, your Variable represents that road map. It --- PAGE 165 --- LECTURE SEVEN The Variables: Following the Story Line, Part 1 Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 155 represents the road map specifically in the independent Variable because that's where the journey is. It's not what happens to you post-Kiron. Post-Kiron there's nothing to look for and everything to see. But this is where the journey is. The journey is between 30 and 50. So these journeys are really quite remarkable. It's very important for us to be- gin to understand that we're looking at the way in which everything is ordered. Now of course, it isn't the way everything functions within the order. The not-self does not function within its Variable; it rarely has contact with its fractal. The Archetypal Journeys Bind Us in a Very Special Way One of the most interesting things I'm looking forward to in terms of Ibiza next year in April—and I sure hope there's enough live attendance so that I can fill up all those Variable classes. The remarkable thing about Variable is that we wouldn't necessari- ly guess that that person was on your Variable. You wouldn't necessarily guess that they have what is the same archetypal journey. These archetypal journeys bind us in a very special way. It's a way that this can communicate with this and this and this, as an example, because they have something deeply in common and there are only these four different ways. Now, there are a lot of other things. Again, I want you to under- stand that I'm dealing with something very, very, very superficial here in this discussion, the very, very surface of this. What is a left/left journey? Deconstructing the Left/Left Variable Let's think about it for a moment. Let's deconstruct it. Let's look on the Design side. On the Design side, we see the external is a left external. So what do we know about that particular vehicle? We know it's going to be active. That activity is always going to be able to have a certain left strategic val- ue to it. This is activity that will be pointed. This is physical activity that will be pointed. --- PAGE 166 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 156 On the other side, obviously, we have the focused. So we have this deep, deep fo- cus on the strategic view. Remember we can't deconstruct that further. We can't go into which view it is. We can't go into the cognition. Remember, we're up here on the surface, the very, very surface just simply looking at what the general signpost is like, the direction. Here's your journey and your journey is ‗pointed focused-ness,‘ or ‗active focused-ness.‘ The Surface is the Place Where We Can Actually Meet There is a synthesis that is going to come beyond that, but nonetheless, that is a ba- sic way in which things will work for these beings. This is going to be a basic ingre- dient to the way in which it is correct for them environmentally, in terms of perspec- tive, the way it's correct for them to function. Now, again, we're not looking at gates, we're not looking at lines, we're not looking at colors, we're not looking at Tones. We're way, way out on the surface. It's one of the most interesting things because it's only at the surface that we can actually meet. Think about that. This is where the fractal is. You sit in a Variable with somebody and you're sitting in a direct relationship to them. But it doesn't mean that there aren't connections to everything else. It's still just something that is very, very much on the surface. It is a frequency that reveals a process. Now, we don't see them. We don't see them because we live in a homogenized world. We have to be very, very careful. It's not like people are operating in this. You have to be very correct to be here, to be sensi- tive enough that you're ready for the journey. Planting Your Cross Remember, conditioned beings, raised conditioned, it's not such an easy thing. You have to go through the whole deconditioning process. It is entering into this journey that really is the establishment of the fulfillment of your possibility. It is the stage that makes the difference, because this is where you define your uniqueness. This is something that is really interesting. This sets the whole foundation for what your uniqueness is going to be. As a matter of fact, in the series that I am filming the second stage in the develop- ment of the nine-centered being, this stage of the Saturn to Kiron, I call this planting your cross. This is where you plant your cross, you plant your cross here. It's based on your story line, your cognitive potential; this is where you plant your cross. So what we have in common with those others is something that is very, very impor- tant. There are only certain ways that you do get to plant your cross. --- PAGE 167 --- LECTURE SEVEN The Variables: Following the Story Line, Part 1 Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 157 The Graph: Variable 1781-2027 This is one of Adrian's mats, though I color adjusted it and added percentages to it that were in another area. I wanted to give you a sense of this. By the way, what we are doing in terms of all of these investigations is an ongoing process. I'm not making any claims about any of this. It is just fascinating to begin this journey of investigating all of these different things. I remember when Adrian sent me this particular graph I was simply stunned by the symmetry. Let me describe what you're looking at. You're looking at Variable by incarnation—in other words, by birth—from 1781 to 2027 so we are looking at the basic Plutonic interregnum, that whole period. We're looking at the incarnations per Variable. So, for example, you can see that these first two cognitive families, the DLL/PLL and the DLL/PLR they're up here [red bracket]. And you get the next two and they're down here [blue bracket]. This is something that is going back and forth like this, which is quite an interesting thing to see. --- PAGE 168 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 158 So, for example, this is what you end up with. Let me take you back a second so you can realign this. Look at the colors here. So the blue are the lower level of the incarnations. In oth- er words, these Variables—they're all basically in the same range. Again, this is just statistics. We're just look- ing at things. But the symmetry is quite remarkable. What it reminded me of immediately was looking at the various profiles and seeing how incredibly symmetrical that is, the relationship between the main profiles and the transitional profiles. It's the same kind of thing here. You're really seeing a very, very clear symmetry. Now, there are differences in the symmetry. For example, you can see that the darker color is always the higher of the higher ones in this particular set of statistics. Again, something that's interesting. You can also see that by the time you get to the end as you move to the right, it's actually getting higher. In other words, it is the 7.50 to the 7.48 and the 7.52 to the 7.50—remember we're talking about millions and millions of human beings so these percentages make quite a difference. It's not a massive difference, but it is a clear indication that there is continuing movement to the incarnating of the Right. --- PAGE 169 --- LECTURE SEVEN The Variables: Following the Story Line, Part 1 Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 159 Written Question: Is that taken from the transits or from real birth data? Ra: It is not taken from real birth data. I think it's based on one birth every seven minutes over that period. It's millions and millions of calculations. But obviously, if it is dealing with going to 2027, it's not real birth data. It's just a mathematical lo- garithm. In my comparison between samples that we have taken in actual birth da- ta, what I see statistically, there is very little difference. I don't think if you took real birth data over all these hundreds of years you'd have any significant difference whatsoever. But it is a mathematical calculation. The Blue Zone Let me get back to my point. The blues—let's call them the blues—there is less in- carnation taking place in these zones. Remember my line; so, there's something about this. There are just simply less incarna- tions in those [blue], much more in terms of incarnations here [yel- low and gold-green Variables]. What I thought interesting is that here is where the most, the strongest incarnative process is taking place [gold-green Va- riables]. Now, it's fascinating when you begin to look at the various elements, because again, you have this chance to go back and look at it. Remember something. Look at this box and remember that this box is going to represent one and two and three and four different potentials in relationship to what their journey is [upper left]. So, these two journeys are slightly less [the two upper left yellow Variables]. And these two journeys are dominating [the two upper left gold-green Variables] in the same way that it's true over here [lower right gold- green Variables]. --- PAGE 170 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 160 What are We Looking At? Now, I don't even want to begin with why, because that's really something. The first thing is: What are we looking at? This is really amazing when you begin to think about it. The Program is everything. If it weren‘t for the Program, we wouldn‘t be able to have this moment. Af- ter all, the Program allows eve- rything to happen. It‘s all within the construct of the Pro- gram, all of it. We‘re looking at the incarnative process. One of the exciting programs I‘m going to be introducing next semester is the beginning of my Rave History courses. The first one is looking at the Pluto Interregnum 1781 to 2027, and the historical transi- tions in the history of the world over the last 400 years and see the way in which the Program created the material for those events. The way in which beings incarnate is something that is really fas- cinating. For those of you who remember your Rave Cosmology, this is the Global Orchestration Directories. This is the Jovian process of controlling the incarnative flow on the planet, what the great moons of Jupiter within the cosmology are re- sponsible for—four of them, by the way. It is just fascinating to look at this and understand that everything we‘re moving to- wards is being determined here. Again, because we are nine-centered beings, be- cause the mechanics that were given to me are nine-centered, there really is no point looking before 1781 because you can‘t trust anything. So at the same time, it makes it difficult to see the historical perspective of this in a larger context. In other words, in the last age before the Cross of Planning, did we have a different incarna- tive flow in terms of the way in which Variables came in? Because in fact, it is more important to understand Variable incarnation than it is to understand individual in- carnation. This is where I made a huge blunder years ago. I was trying to figure out incarna- tion. Again, the way I was given things, they come out as I teach. I was trying to work on proving incarnation through the individual because I have certain things I was given. But I had not yet reached the point where I had gone through all of this PHS, Rave Psychology, all of this stuff and I finally got to the place where it clicks in. This is the ongoing process. It‘s what keeps me going. Written comment: The sequencing project. Ra: Exactly, the sequencing project. The thing that keeps me going is that there are these wonders that are still hooking in. Variable is the key. We incarnate in Va- riables because that‘s the way the Program organizes it. They don‘t organize it in --- PAGE 171 --- LECTURE SEVEN The Variables: Following the Story Line, Part 1 Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 161 terms of: ok, let‘s have 26 Clarions. And I don‘t mean to anthropomorphize it to that degree, but nonetheless. This is where it‘s all happening. Seeing the Way the Program Controls the Way Life Develops This is the real octave. As a matter of fact, one of the most interesting things—and again we have statistics for that so it is something I can share with you—the rela- tionship between Variable and type. So when you begin to combine Variable incar- nation with the subtext of type incarnation, you‘re beginning to see the way in which the Program is controlling the way in which life develops on the planet. It‘s also dictating what story lines are going to dominate. In other words, what is going to be the major way in which humanity moves, or the way in which humanity plants those crosses. It‘s so beautiful at this level, the magic of the program at work. It‘s saying, ―We‘ll take 7.25 of these, we‘ll have a few of those, we don‘t need too many of these.‖ I‘m having a good time. I love Variable. I‘ve never met any- thing so exciting in my intellectual life. I have barely scratched the surface and I already realize that it is the most important mechanical knowledge that was revealed to me. I don‘t mean to say anything about Type, Strategy and Authority; it‘s an obvious in terms of the essential transformation for any individual‘s life. But I mean the larger understanding of the way in which everything works; it operates through Variable. So the whole incarnative program is this way and it‘s only obvious; you can see why. It has to set up the right story lines. It has to set up the right journeys. It has to get enough forces that are going to be mutative on those journeys and so forth. No Single Variable Carries all Possible Story Lines Something fascinated me. You can see the dates are different here, by the way. We‘ll take a look at all of it. This is something that I was just so curious about. As soon as I saw the statistics, I realized that the first thing we have to see is that no single Variable carries all possible story lines. It doesn‘t. So, now we begin to get to something that‘s really very sexy. We begin to see that, first of all, if Va- riables do not have all the --- PAGE 172 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 162 story lines, then the story lines that they are missing are their connection to another variable. This is something that‘s really quite incredible. Eventually, I hope we‘ll be able to get it down statistically so that we can really begin to see what it means to that particular Variable. For example, in Ibiza for what I‘m going to do, this chart tells me so much just looking at it. All I have to do is look at this to understand that there is such a differ- ence in the way in which each Variable, its fre- quency, because its fre- quency is the sum total or the synthesis of the story lines that are there, but not the ones that are missing. I‘m going to be able to un- derstand anyone‘s Vari- able by what‘s missing, not what‘s there, but what‘s missing. What else would you be for this kind of work? It‘s great strategic focus. But that‘s the mystery. It‘s like (whispering) where‘s all this other stuff? If PLL/DLL only has approximately 22% of the story lines, who has the rest and where do I get them? A Gateway of Understanding How to Decode a Magic Square This is a gateway. It is a gateway to begin to understand what the magicians have been looking at forever. How do you decode a magic square? And particularly, how do you decode the most complex magic square of all, which is the 16? How do you decode this? What I mean by ‗decoding‘ is that throughout history, the attempt has always been: What is the way that it moves? How do things connect to each other, and so forth? By understanding the story lines that are missing, and understanding where the missing story lines are, and understanding that the missing story line has to show up within the context of the independent Variable, we can begin to distinguish one Vari- able from another. It is that beginning of that journey that also says something else. It says the way in which the connections work. What we‘re going to see as we build this up is that there are different ways in which this magic square operates. The dif- ferent ways in which they operate produce global phenomena. --- PAGE 173 --- LECTURE SEVEN The Variables: Following the Story Line, Part 1 Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 163 Every Variable has to be Anthropomorphized It‘s just interesting to see it this way. Remember our track moving down. So, here‘s the DLL/PLL going right back to source, the lefts. They have the least story lines. Basically what that means is that the nature of their journey is going to have a limi- tation in terms of what story lines are going to emerge in that journey. But it also says that what‘s missing. Every single one of these Variables ultimately has to be anthro– pomorphized. In other words, they need to come alive. This is when we can begin to see the Faces, that we are living Faces. For those of you who don‘t recognize that terminolo- gy, that is the 16 Faces, again part of the Rave Cosmology, but also the 16 quarters of quarters that are the wheel itself. This is the living Faces on earth and each one has a Face. And it‘s not the Godhead, but it is the fractal Face. It is the fractal characteristic. It is the fractal nature. So, this is an incredible process of distilling all of this down so we can begin to see it. There are so many interesting things. For example, here is a blue, if you remember, so this does not have a huge incarna- tive potential, but it has a tremend- ous amount of story lines [PLR/DRR]. And when you‘re look- ing at the most story lines—keep that block in mind as I go back, just keep that in mind. Most story lines: right/right, right/right, right/right, right/right. It doesn‘t matter whether this particular one as a whole happens to have less in terms of its incarnative potential, but to see clearly how the Right has all of this stuff going for it. There are so many more stories in the emerging right journey than there is in the older left journey; all kinds of new stories emerging. --- PAGE 174 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 164 The Way in Which Evolution is Controlled Again, it is an evolutionary process. And to see that the right/right is bringing this expansion of all of these diversity of story lines. All of them. And what has the least? Left/left, left/left, left/left, left/left; isn‘t that something? You‘re looking at evolution. You‘re looking at an incarnative process and you‘re looking at the way in which evolu- tion is controlled. It is controlled through the incarnating via Varia- ble, incarnating, filling in the or- der, as it were. By the way, where are these Per- sonality Crystals that incarnate? They come from the 16 bundles. They come from the 16 Faces. The external order, the outer order of consciousness becomes the in- ner order on this plane. That‘s really something to see. We‘re looking at the great wonder of how everything is organized and how we‘re moving further and further away from the left, how the evolutionary development—think about the differences between focus and peripheral. Understand why there are so many more story lines to the right. It has so many more potentials, so many more. Wow, look at all those potentials. That‘s evolution. That‘s really something new. That‘s incarnative forces that are opening up that have different ways in which they can live out that process. They‘re the ones that are moving us towards the future. It‘s something to see. And yet, all of it needs to be deciphered. This is an ongoing process. We can see this line of blue—isn‘t that a funny line of blue? That‘s something else, isn‘t it? It was a way; not for us, but the Program is going this way. And there was a time that it went that way. You can see that this is the least involved in it at all, this and this. [Lecture ended by internet interruption.] ~ --- PAGE 175 --- Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 165 Lecture Eight Variables: Following the Story Line, Part 2 Developing the Integrity of the Authority of the Individual We start today with a very different perspective for you. This whole thing about the story line—if you look at the nature of the nine-centered life, we know from the Sa- turn to the Kiron that this is where the story line emerges. Now, the first thing to deeply to understand about that is that this period here, it's for one thing and one thing only. It is to develop the integrity of the authority of the individual; nothing else. Nothing else matters. It is what the true education is. Think about the nature of what it is to be a nine-centered being with this 84 year li- fespan and what it was to be a seven-centered being with the same lifespan. The seven-centered being, by the time they were 15 years of age, was the time in which their life was meant to take shape. That was the time when they were to bond, when they were there to have child- ren, when they were there to have their career. This was the midpoint for them. They had a very, very different process. Everything about this process of the seven-centered being had to go quickly. In terms of the way in which the seven- centered life is oriented, we know that by the age of seven the most important thing for the seven-centered being was to be able to survive. We are rooted in seven year cellular cycles. It is this seven year cellular cycle that was the bedrock of survival of the seven-centered being. Their life was going to burn fast, because from that seven to that 15 over here, this is an enormous move- ment from childhood into instantaneous adulthood. The moment that puberty sets in, adulthood sets in. --- PAGE 176 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 166 So the real learning phase is the first seven years. The theme of the first seven years is survival. In our understanding of the seven-centered being we understand this was a strategically left-oriented creature. And because it was strategically left oriented, those first seven years were strategically oriented towards survival. Everything about the seven-centered being and everything about the seven-centered being's life is, because the inculcation at the youngest age was nothing but survival, that their entire life would be marked by that. Everything about the seven-centered being, absolutely everything about the seven-centered being is marked by its deep, deep, deep fear of its fragility, truly the need to be able to develop strategic ways in which to survive. Now, of course, this was a fast, burnout story. We have something entirely different. Oh yes, if you go here into this first part of the nine-centered life, that is, the Satur- nian part, remember the way in which evolution works. We build things on top of each other. The reptilian brain, with the mammalian brain, with the neo-cortex we build up systems. The 30 is no longer the story. It's an aspect of a larger play. So it takes on a role that carries with it certain qualities of the original, but in fact are different because it's part of a different process. In the same way that we have all of those various evolutionary tools we have accumulated over our process, we're also going to have these Saturnian tools that we're going to process. But it's differ- ent. Oh, that first seven years is still going to be very much about survival, but in a totally different way in the mutation of what it is to be nine-centered. The Seven Year Marker is Very Important The nine-centered child that truly begins its life as a nine-centered being, that is, it is treated according to its nature and that the nourishment that it receives is its PHS, is its dietary regimen, the first seven years is going to provide a biological set of tools for survival, but that is never going to be the point. The point is always going to be the well-being of that child. And more than that, given that this is a child that is being raised correctly; this seven year marker is a very, very important one. On one side you have the old Saturnian value of the seven-centered. We learned that after the Second World War, feral children, children whose parents were killed during the war who managed to survive on their own, if they weren't seven years of age, the chances diminished next to nothing. In other words, this is the basic requirements for survival. --- PAGE 177 --- LECTURE EIGHT Variables: Following the Story Line, Part 2 Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 167 So, there is the Saturnian biological quality that's there. But there's something else—neural development. The whole business about neural development is that we, as a whole, are stuck with a three-year neural development program when, in fact, it should be seven years. For the nine-centered child raised correctly, that seven year point is also a monumental point in their neural devel- opment. This is when they go through neural shutdown. This is when they establish what are going to be the in- tellectual and sensory or cognitive parameters that they are going to have access to on this process of self discovery, because this is all about self discovery: Who am I? How do I func- tion in the world? Who am I? This is the survival of the nine-centered being. The survival of the nine-centered being is rooted in the development of a clear understanding of self and the power of self. And not as an education in the classic sense of the word, but as a by-product of being positively raised, raised correctly. The Nine-Centered Being is Here to be Aware So that's 30 years. Think about it for a moment. The whole 30 year cycle here was the rush to survival, the rush to maturity, the rush to death; fast, fast, fast. And now, look at this. Oh, take your time. You don't have to worry that you're not going to survive. That's not what you're here for. The seven-centered being took advan- tage of intelligence. The nine-centered being is here to be aware. This is very dif- ferent. It's not like we have to think about history to see the seven-centered world at work. It's all around us and everybody is in a hurry. These 30 years are lost. They're just lost. It's very sad in a sense, because this is what it takes. Until you can develop that unique authority, that trust and love in yourself that you are correct, that your way is correct, only then are you ready for this step. Only then are you ready for the story line; only then. You have to understand something about the story line because it reveals something deeply about Human Design analy- sis, all these other things, to be very careful the way we see them. --- PAGE 178 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 168 Planting Your Cross Everybody is interested in their Incarnation Cross. It's something that is an obvious, isn't it? You tell somebody their Incarnation Cross and their ears perk up. I was apropos of this class. I have this new series that I call The School of Enlightened Selfishness and I'm doing the three-part on the tripartite life of the nine-centered being, very much what I'm sharing with you now. That second segment is called Planting the Cross, planting it. Now, in English, that really is a double entendre. That is, you could plant the cross in the sense that dig a hole and you put the cross into the ground and you're planting it there and it stands there; but of course, planted also carries other values. It is something to really grasp about this place here because it's where you plant your cross, here. And you plant it in the sense that the cross grows. Or not so much in that sense that the cross grows, but you grow into the cross. But it is only here [blue star] that the cross can be set. Think about that. Think about all those people who get turned on by their Incarnation Cross and assume that this is something they can actually live out, or are living out, when in fact all they're doing is playing out a homogenized nuance that doesn‘t mean anything. What it takes just for your cross to begin to take hold is 30 years of being yourself, 30 years of being correctly raised, nurtured; 30 years. And then you can plant the cross. You plant it in the right environment. You can only plant that cross in the right environment because that's the only place that it will grow, that you will grow into what is that role, that profile, that cross, that de- sign, that type, that authority, that story line, all of it. It takes 30 years of natural development to have the power to set one's way. How different that is from us, we, the conditioned ones. We're all like Moses. You can take everybody to the Promised Land, but try to get in, it's not so easy. You have to be dedicated, almost obsessive, because look at the pattern. Look at the way that it's meant to be naturally. We have a role, after all. We are initiators of the knowledge. It is, in its own way, a glorious role. But it truly is for those who can fully live out what it is to be a nine-centered being. This is the very beginning of this. Think about it. It has taken us since 1781, until the revelation in 1987, to even know who we were and to begin to see how it works. It's quite something to put it into perspective, to see what the real pattern is. Here is where you plant the cross, because only then can you plant the character, the profile and the role and bring it to the story. I'm going to show you ultimately how you can analyze that. There is a very, very special relationship between the cross and the Nodes. It is a very special --- PAGE 179 --- LECTURE EIGHT Variables: Following the Story Line, Part 2 Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 169 relationship. So the moment you put that cross there, you give the story a unique value. Hundreds of Thousands Differentiated Story Lines Adrian and I have continued to do our—Adrian does most of it—all the statistical stuff. As I look at each of the layers of information, I'm beginning to see when you look at story lines with their cognitive potentials, there are thousands and thousands of them, literally. But when you add it to the dependent Variable, when you bring in the profile, because that's what you do when you bring in the dependent Variable, you end up with hundreds of thousands and you begin to see the differentiation of the story line and the way they live out through crosses. We already know there isn't a cognitive family that has all the story lines. We know that. It‘s one of those things that is going to be fascinating to see if there are cer- tain crosses relative to certain cognitive families that are either there or not, because the story line analytically has little value if you don't bring in what characterizes it. We're beginning to get to see what I told you in the beginning, this kind of odd soothsaying where you look at this portion of a being's life and you can see the way in which the journey unfolds the charac- ter, unfolds the role that is on the cross. And it's here. Along that independent Variable, that sto- ry line between the Saturn and the Kiron, is where a unique life is distinguished by a formula, because when you get here and you go beyond, the formulas disappear. All of this is a build up to awareness. This is the perfection of life perspective, the perspective that is the result of the aware journey. This is what brings the potential of the unique, differentiated awareness that is called outer authority. It is this outer authority in relationship to the true in- ner authority that defines a life that is unique, and thus no formula. The Movement between Saturn and Kiron Sets the Foundation There are formulas here, hundreds of thousands of them, but nonetheless they are formulas. It says something interesting as well about the complexity of the demands of the consciousness field. And also to see that this movement between Saturn and Kiron is where everything that is going to make the life happens. It sets the founda- tion. It brings the cross alive. In doing so, it brings the differentiated Personality to life. So this becomes an extraordinary place in the journey and an extraordinary --- PAGE 180 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 170 place for us in terms of understanding what's there and what it can mean for that being. I have my ongoing intellectual preparation for the Ibiza Event and the 16 Variable Workshops. What I'm beginning to sense as I move through this is that the way in which story line incarnates relative to cross and profile is going to provide a very, very specific pattern as we move towards the future. Moving towards the future is where I left off yesterday. Story Lines per Cognitive Family (2008-2027) Graph This is story lines per cognitive family. Remember, the cognitive families are grouped in fours, so we have the 16 broken down in four related groups and the groups are related through the independent Variable and through what ultimately is both story line and the cognitive potential that is there. What we're looking at here is the percentage of story lines that are in each cognitive family. Think about it another way. Think about the nature of mutation. If you give mutation two possibilities, not a lot is going to happen. But if you give it one hun- dred thousand, there are a lot of possibilities. It's something to understand about the enormous population expansion that has been in conjunction with the global cycle of planning and the advent of the nine-centered being. Everything about the advent of the nine-centered being is that its fulfillment beginning in 1781, its actual fulfillment or its actual manifestation is 2027. --- PAGE 181 --- LECTURE EIGHT Variables: Following the Story Line, Part 2 Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 171 So there is this enormous build up that takes place over that time, that population explosion so that we went from a population in the hundreds of millions to a popula- tion in the billions and billions and billions that supports mutation. It is just a no brainer: The more expansive the population, the more possibility for mutation to emerge. So one of the things to understand about story line is that it, at one level, is relative to mutation. In other words, where is the higher possible mutation? The other thing is to see it from the point of view of depth in the sense that the more story lines, obviously the richer and deeper that particular cognitive potential. Again, that is just a logical association. So we're looking at things that are very different from each other. When we're looking here to this first cognitive family, you can see that it's rooted in the double lefts, so it's very strongly to the left. You can see that it's approximately 23%. If we go over to here to the right domi- nated, we see the right dominated way up here at 27%. Again, when we're talking about thou- sands and thousands of story lines, these percentages really represent a rather broad difference. Again, we are looking at this in relationship to incarnation and re- lationship to beings incarnating between now and 2027, which is approximately our nodal cycle leading up to the transition in 2027. What we're seeing in this period now, this nodal cycle leading up to the main mutation, is the right being given the most mutative possibilities. The Evolutionary Pattern: Moving Away from the Left to the Right Over here, don't be mislead on the other side here, because you're going to see the very, very strong right-ness that is present that pulls this to a higher mutative level. Anything that is dealing with the lefts is lower. If we look at it in terms of our magic square—we were here yesterday but with a different illustration—you can see the evolutionary movement. You can follow this evolutionary pattern. We are moving away from the left, and we are moving to the right. Again, think about this not in terms of what you're seeing now, but in terms of what you're seeing as what this represents, which is incarnation. Incarnation means that you're dealing with these particular Variables being in the world now and whatever --- PAGE 182 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 172 the global population potential is—I think worldwide it's about 63 or 64 total, some- thing like that—as long as these beings are alive, obviously this mutative potential, that level of story lines, is something that is here in the world. It is simply present. And it's going to be present. So it's carrying all of this mutative potential forward. Part of the mutative potential is that this is going to have a lot to do with these be- ings incarnating, particularly those who are incarnating in this grouping. They're the ones who are carrying the strongest genetic potential to be the parents of, to bring forward into the world, what are in fact going to be raves. In other words, there is this whole movement in that. There are many things that fascinate me when I simply ponder this, the interrela- tionships that are there, something that I began to discuss yesterday about being able to see the order of this particular square. Again, the magic square is simply an ancient formula, an ancient mathematical formula basically. It has many different ways in which you can get to the same solution. It's the thing that makes it so inter- ring. So one of the things that's so important whenever one deals with such a me- chanism is to really find where it's going. We have the advantage of understanding what the relative evolutionary history is that has been given to us in this knowledge. So it's clear for us to see that this is the way in which we are moving at present. My assumption is based on what I see statistically, because if we go back, and I'll take you back so you see it, if we go back to the whole Variable input over the entire cycle, again we're still dealing with the Rights having this very, very powerful presence. Again, this is a mapping, that when we trans- fer that into the mapping system, you can see this movement from the least, in that sense, moving down in this way. This is the basic flow of the evo- lutionary pattern. My assumption, and again it's my as- sumption so this is something that is speculation, but I'm just sharing it with you. My assumption is that this was the way in the sense of the Neanderthal. Again, there are funny things. I think this was the way it went to the strategic. So, if we were able to do—don't try this Adrian—a calculation for 400,000 years ago leading up to 1781, I'm convinced we would see shifts in this. The thing is I don't really know how well that would hold up and so forth. But nonetheless, it's just my speculation. --- PAGE 183 --- LECTURE EIGHT Variables: Following the Story Line, Part 2 Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 173 This is just an obvious. But it really says something to us about the relationships and the way in which the relationships work. Each and every one of these particular Variables are only going to have a certain percentage of story lines. There are going to be story lines missing. The possibility of what the future can bring is also going to be dependent on other aspects that are there and the way in which those aspects connect to each other. The Interconnectivity of the Variables to Each Other Now, I started today by introducing you to the planting of the cross. One of the things for us to recognize is that there are going to be certain crosses and profiles that are going to be instrumental in moving us forward. They are not necessarily going to be where they should be or something like that. In other words, there is an interconnectivity of the Variables to each other. The interconnectivity of the Variables to each other is rooted in the cross and profile on the story line. Now, I don't mean to be terribly confusing. I don't have another way of describ- ing that. It's always interesting: What's the story of humanity? We're looking now; we're get- ting very, very close to seeing the stories. Think about the novel—I don't mean to digress, but it's worth it. The novel came into existence during the Cross of Planning. Since the advent of the nine- centered being—the advantages of insti- tutions, the moveable type press and industrialization—fiction, particularly in the 19th century, began to be a very, very important instrument. It began to be a very important instrument because it began to give a deeply homogenized and very limited audience in that era an insight into so many different kinds of roles. All of those roles rooted in a story, all of those stories supporting the emergence of a character that is distinguished along that story line. There are older processes, obviously, Greek theater and the early works of play writ- ing. But in fact, it was the novel that began to develop this orientation of characters to all these different kinds of archetypal story lines beginning to educate people to the possibility of what their story line may be. The books that you read, everybody --- PAGE 184 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 174 reads different things, don't they? What is appealing in there? There are certain story lines that appeal to you, don't they? It's why we have mass entertainment. We have all of these story lines that we get to see all the time. Unfortunately, what we get to see is that they're really homoge- nized in that the story lines are very, very superficial and there are not really that many. There are not the 360,000 plus that we actually have. We haven't even be- gun to develop our story. The by-product of that is the story of the consciousness field. We have all these homogenized tales. I'm going to be a doctor just like daddy or whatever. The homogenized world is always doing things that have a parallel on the other side. I'm a dualist. The homogenized world says, ―Yes, your life is a story. You have to make your way in this life, you have to go out there and do that.‖ But then it gives it all these homogenized possibilities of where it is and how you get there. There is this minutia in here; there is this differentiation, the brilliance of this knowledge that there are these beautiful unique story lines that are all waiting to emerge. Crosses Distinguished by Where They’re Planted It also says something that is really quite remarkable. It says that the Incarnation Cross, what distinguishes one cross from another, is where it's been planted. What's the story line for that cross? What is the cognitive potential for that profile, that role, that costume? The work is about mapping. What you end up doing when you get into mechanics like this is that you begin mapping things out. It's about seeing that this differentiation we work with, that we talk about, this is something really in- credible. It is so clear that you can take the differentiation to this level. Here's the shaman part. Remember I was talking about this the other day. I think that when you're ready to plant your cross there ought to be a ceremony. I don't mean to be quaint, but this is truly the beginning of your spiritual life, the real spiri- tual life, the embrace of what it is that you are limited to be. That's magic, the em- brace of that passenger awareness that grows from that. Each cross is planted in its particular environment, with that role opening up according to that perspective. Post-Kiron Then you begin to get a really interesting story and the differentiation isn't finished, you know that, because here we're just dealing with surface, the surface, the sur- face, the surface. You go down deep and you look at all the things that are there as well, all of it, all the activations, all the type, the lunar and planetary squares, and the resonance. You get down to the magic of a being who finds themselves in a truly spiritual, mystical journey that is only their own, this journey that begins at Saturn that ends at Kiron. --- PAGE 185 --- LECTURE EIGHT Variables: Following the Story Line, Part 2 Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 175 Many of you have been in this a long time now, I did many lectures of what it is to be a 6th line being, what it is to have a 6 in your profile. It was my way of introduc- ing the tripartite life and introducing it in a practical way because I was concerned, my generation, the post-baby boom generation are all reaching 50 in a hurry. I rea- lized that that was going to be devastating for many of them and they really needed to understand what was going on. Think about the tripartite life process. The middle part, on the roof part, this is what we're really looking at here in a sense. This perfected observer, but the perfected observer, not on the roof as it applies to a 6th line being who's been conditioned and so forth. But I want to give you a relative sense of this because it's the same thing. It is the perfection of that. What happens when you get to the end of it, when you get to the Kiron? To the 6th line being this is coming off the roof. And you come off the roof as neither this nor that. You just come off the roof. We do not know what is there in the post-Kironian. For my own part, I have a pretty good taste of it. But I'm still aware of the fact that I spent so much of my life condi- tioned no matter what I've been through. The post-Kironian is not something that anybody can measure, that anybody can put a finger on. That's the beauty of it, what it really means to come off the roof. It means the fulfillment of your differen- tiation, that's what it is. You can see what it takes. Basically it says 50 years, and correct ones. Following Your Own Inner Authority It's one of these things that I advise you about looking at your own process and see- ing it relative to this knowledge. You follow your Strategy and Authority to where you see it. It does not matter what any of these things are, please understand that, because for us there are no such things as an order and rules, because we are not the pure nine-centered being. We're not. It's not anything bad or negative to say that. It's just simply a reality. We are not. It means that the way in which we move through our process can only be dependent on where our inner authority takes us. Our inner authority knows what our vehicle can handle and what our life can handle. If it can handle the rapid absorption, then perhaps that is all possible, wait and see, but to see things in perspective. To see why we are all so important for the future, for those children, for those parents who need to understand what kind of a responsibili- --- PAGE 186 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 176 ty it is that a being comes into their trust. They don't own it. It's not theirs. They are required to be an ally. This is the beauty to truly be an ally for a unique being who is incarnating. And to provide them with what is correct so they can follow that proper pattern, so they do not have to feel this enormous pressure in the first part of their life, so they can lux- uriate in a Saturn cycle that is for them, to open up their eyes, to give them the sense of self-love, self-trust, the assuredness, the health, the well-being, the sen- sory capacity, and the cognitive capacity. Our kind deserves that. Truly we do. There is so much beauty in what is possible in a human being. There is so much wonder in what a single life can absorb and share. But to see the Program at work, that's really something. Everything is Within Variable There's something else, and obviously we'll get there. But of course, there are rela- tionships. We look at these groupings according to the independent Variable, but we can also look at the groupings according to the dependent Variable. And if we look at the groupings according to the dependent Variable, we would see that all those profiles and crosses also have families. They're deeply connected to specific Va- riables. Within Variable is everything, literally. This is the grid. And on this grid everything that is correct can be built. That's its beauty, that's its value. It says something so beautiful about the indi- vidual, that the individual through their Variable finds their way. It's their way. Here is where they have it; plant your cross, make your journey, get to the other side and emerge as something new. It is the beauty of it all. It's sitting there. So long humanity has been in disarray. It's been in disarray forever. It's so long. The seven-centered being, as soon as they figured out a few things, the natural order was dead, the beauty of the life. It's not like it's their fault. They were primitive, after all. We are much more sophisticated as beings. Unfortunately, you don't get to see it, not in the world. You don't get to see it on the surface. There are so many places in the world that are just seven-centered movies. Go to Darfur or any of these horror places on the planet. But we are deeply sophisticated. --- PAGE 187 --- LECTURE EIGHT Variables: Following the Story Line, Part 2 Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 177 Unfortunately, though the mapping exists, to be able to bring everybody to their sto- ry, we well know that that is not what is going to happen. The Variable map that you have in front of you, instead of being a key for humanity is a key for each unique being. It's their key, their way to transformation. It is so important for us to see that the way in which the whole world is managed in terms of an incarnative process, is managed through the Variables. It's managed. When you begin to associate them together, when you begin to bring the crosses, the profile, and the Personality into all of this, when you bring all of this stuff togeth- er (pause)—I got sidetracked thinking about how extraordinary it is when you think about the fact that the whole nature of who's going to come into incarnation, when they're going to come into incar- nation, to see this kind of thing and to understand this is specific beings coming in. These are people, millions of them. They're coming in with set stories. They‘re coming in with set crosses. But that's only 27%. There are a lot missing. There is a lot not there. As we incarnate, we are needed in that sense. There is an unfolding purpose in the way in which the whole incarnative process operates, that stories disappear, that there are less and less in the past and more and more keep emerging in this future. This is no longer a surface that is an abstract, but it is human beings, because crosses are specific gates, and profiles are specific lines. One of my interests is the way in which the incarnative program oper- ates. When you begin to look through Variable you see that everything about crosses and profiles is controlled by the Variable; it's the frame. I'm over here; I have no idea what the hell is going on. I'm holding on to the left. At least that's what it looks like when I look at myself within the Variable construct. I guess you have to know what the left is to see right. It's one of the oddities of my Va- riable, that sort of peripheral hanging in there in the lower right-hand corner. I think there are two things in here that mat- ter. One is that I think that it's going to be important that Variable relationships develop. I think it's important scientifically. I think it's always going to be very important socially. The connectivi- --- PAGE 188 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 178 ty between people of the same Variable, I think it's something that is actually quite profound. I think that it is a way of exploring Variables when enough members of Variable are together. Again, that's part of my interest for what I'll be doing in Ibiza. On one side of it is the fractal relationship that is also quite revealing in the sense that the general dynamic is there. You're both fulfilling the same incarnative purpose in terms of the Program regardless of what the nuance happens to be in all of that. So, in fact, there is a relationship. The other side of this, away from the obvious of that, is this is the key to be able to provide a map for anybody, not simply to understand what the nature of transforma- tion is for them, but to be able to provide them with an essential key. Because I think for a conditioned being who has been deconditioned, understanding the nature of their story line and how it works, the cognitive potential, where that is and how that becomes what is necessary for them, I think that is going to be very important. This is where the life is truly transformed. It just is. It's where the life is trans- formed. I see very clearly, and given that I will continue working with this for quite awhile, the exploration of the relationship of cross to story line is going to be one of the most fantastic things. I don't think I'm going to be able to do what I've done histori- cally which is do every line, do every gate, do every quarter and all that stuff. It wouldn't be possible for me, which really makes it fascinating because there are so many things to see. And yet, this is the greatest story ever told. It truly is. Be- cause it's every story; that's what we have here, we have every story. Q & A I'm going to open it up to you and let's have a conversation, questions, and state- ments, whatever the case may be. I open it up to you. Kumud: The first thing that I sense as you're talking is the story line is the Pied Pi- per. I just feel you have been pulling me away from homogenized life relentlessly and my mind kicks and screams all the way. It wants some coziness of belonging. And it's just amazing to step closer to uniqueness. This really isn't a question, but I have found just the hint of the story line that I've understood from this has been mind blowing. So, it's just a comment. Ra: Oh, I like the allusion to the Pied Piper. In the Chinese, I'm a rat. So it has a kind of nice ring to it. Kumud: I think you're also saying that the same way the evolutionary—I'm now going to pure genetics, not rave genetics, I suppose—there's always a ratio of 10% more girls born than boys. There is a way that that just happens. But it is more or less 50/50. But now you're mapping the other ratios that are necessary for evolu- tion. Would that be right? --- PAGE 189 --- LECTURE EIGHT Variables: Following the Story Line, Part 2 Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 179 Variable Represents the Synthesis of the Synthesis Ra: Well, I'm not sure. It sounds good. I don't mean to be facetious, I'm not. For me it's very clear that it's all mechanical. So, the thing that makes it interesting is that the only thing that transcends mechanics is awareness. Nothing else could do that. It's what the passenger is all about. Those of us who have worked together in Rave Psychology know that the passenger needs to know. That is, the passenger needs to understand and make sense of the way in which things operate. My goal is multiple in this. My personal interest in closing the book on incarnation is something that I truly am interested in. I think what I'm actually doing is showing you that the cognitive families are a kind of the general type that is imposed by the gods, if I can put it that way. In other words, it's a huge quality that can be seen at that level. Everything within that is simply the mechanism that provides for diversity, because this is what we see. What I call dif- ferentiation is in fact diversity. It is just self-aware diversity, in that sense. It's not possible for me to say as the messenger of this knowledge that there are these mechanical story lines and leave it at that. Or that the Nodes, the internal works this way, or whatever the case may be. It's essential for my work that all of these things are laid out the best I possibly can. It's clear to me that Variable represents the synthesis of the synthesis. That's what makes it so extraordinary. Human Design is already an incredible synthesis. But here we're looking at an unbe- lievable level of synthesis when we look at these four arrows. This is an incredible thing. Because I know it's all a formula. To be able to understand specifically the formula is the only way that you can get somebody from A to Z. That I know. I know that there are only two ways you can get to the other side. The gods come and smash you up like they did to me, or you get them mechanically. The fact is that the knowledge is here, because the reality is that everybody has a right to get them mechanically, everybody. It has nothing to do with us, because we're conditioned, again. It has to do with those who are coming into the world. It would be very natural for them as long as they're given what we understand as the correctness of it, that they will get to live this. The thing that's so fantastic is to be able to understand that they will be able to get to live this and because I'm a mechanic and I'm interested in these things, I'm cu- rious about what tomorrow needs in terms of material. What was important yester- day and what's important tomorrow? What is it that's moving into tomorrow, what is it giving up and leaving behind? What stories are emerging, what stories are fading? What crosses are needed and what aren't? What's the way in which the Program is coordinating the way in which existence operates on this plane? --- PAGE 190 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 180 The drawing that I've used, the woodcut, for the logo of Jo- vian Archive, the man putting his head through the sky, this is what you're looking at, right here. Ladies and gen- tlemen, you have your head through the sky. Comment: I find this so delicious. I'm so excited with this information. I can smell that this is part of missing puzzles that I've been looking for for a long, long time, which also explains so much mysterious connections between me and other people and which you can't really see in the bodygraph. So I am so thrilled with this; thanks. Variable Relationships Question: I have a question for you about who you have resonance with. As I've been looking at a lot of the charts of people in my life, of course I have quite a few quad rights, including my husband, and that might be the only thing that accounts for why we have longevity in our relationship because it's problematic chart when you look at it together. But I seem to have a lot of relationships with people that are just right above my square and right next to my square. So I'm starting to think that if they have three Variables in common that there is a high propensity for us to be connected. One other question I wanted to ask you is have you tried doing the statistics of all of your students? Ra: No, I think you remember Cathy when we were doing the Variable course last year, I don't remember which semester, but anyway, I think I had Variables of all the members of the class. I put up a Variable map with all of you. I think I did that for both classes. So, I remember looking at that. I do agree with you. It's one of the things that I'm so interested in, Cathy, is what these relationships are. One of the things that Adrian and I are working on I'll show you next week. I have to go through them so I'm clear what we have, but for example, you get to see that the story lines that are missing in one Variable, where they show up in another Variable. Again, that's another way in which Variables have relationships to each other. I think you're quite right that there is a strong relationship when, for example, you're going to have the three Variables in common. For exam- ple, somebody who has the three lefts—and me with my three lefts—there is going to be a poten- tial for a connection that is there because of that. But again, there are differences as well. One of the things I'm working on by showing you all these different graphings is that I'm trying to get to what is the interrelationship between the various Variables. I think the interrelationship is something that will emerge on the surface here through looking at different ways it operates, rather --- PAGE 191 --- LECTURE EIGHT Variables: Following the Story Line, Part 2 Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 181 than trying to dig down for something. I think it's in the way this particular Variable unfolds with this kind of direction. I don't know how the rest of it works. This is something that I'm investigating. Is this moving over here to go down there, as an example [purple line]? Is it still fol- lowing this line [blue line]? Does that mean that this really doesn‘t do anything un- less there is some kind of intersection here [red circles IN THE MIDDLE], and so on? There are all these sort of funny things that I'm looking at. But yes, it is obvious to me that all of these Variables must have a connection to each other. Not just simply the Variable next to you, as an example, but it's clear to me that every Variable in terms of what's missing is going to have a relationship to all the other Variables that have what it doesn't have, things like that. So I think there are going to be ways in which we're going to very clearly see what the various relationships can be. Interactions between None-Resonant Variable Types Question: I wonder about the way the interaction between the non-resonant Varia- ble types has seemed to me to be very productive. I love to work with those who are right-fixed, for instance, though I'm left/left/left/left. And in a sense this is beneficial to release the resources of the right. Where is this going in your matrix? And to add to my question, this progression to the right is something I feel obliged to support and serve. Ra: I think you're right, Don. There is no question about the fact that we are mov- ing to the right. There isn't any. One of the things that the statistics say, no matter what areas I've been looking at, it's clear to me that we're certainly peaking to the right at the right time. Again, to be able to produce the raves, to be able to have the mutative potential to do so, which means that you have to have the most possi- ble mutation, you have to have the movement to the right, all of that is evident in the data. So, it's clear to me that that's where it's moving. I think those of us who are strategically oriented have a responsibility to grasp that this movement is going to the right and to begin to embrace it because, in fact, for our future we are going to need each other. So it's quite a movie. --- PAGE 192 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 182 The Program Dictates Everything Comment: It's interesting to me in terms of having the focus on the CHD, whenev- er I look at the Variable grid I have two things that happen to me. The first is that I am so aware of the conditioning to the point where my mind tends to pick this up as though it were a piece of paper and curl it up because I'm looking at the transference on the Personality side and the distraction, so I see that each one of these also has the opposite of it on the Personality side working with those who are conditioned. So either I have to roll it up to get it. Or I have to see it as though it's in a mirror and everything is rehearsed at this time. And at the same time my mind is just com- pletely boggled by the thought of what non-conditioned, correctly raised people would be like in these Variables. Ra: Oh, absolutely, Jagruti. There is no question that you can't look at any of this and make assumptions about anything, because we know that this is not the way the world works and it is certainly not the way the Personality of the world works; there's no question about that. But again, that being a given, the point of all of this is scientific. That is, this is what's possible. To some degree, depending on one's serendipity, it is also possible for us. So in that sense it carries with it the promise that is there. But obviously, the world we deal with, the power of the not-self mind, the nature of conditioning at every single level is extraordinary. It doesn't benefit the Program any to have hu- manity wake up. That's not the way it's working. So, it's not like there is a huge support mechanism built into the incarnating program that says we all want to wake up. I think the basic premise of the Matrix movies really were quite prophetic because basically the construct of that was a human environment constructed by program- ming. The fact was that once a balanced human environment was constructed, it was necessary to be able to have an outlet for those who didn't fit in. It's built into the Program. It was always built into the Program, even though those who, within their context, felt they got out, didn't understand that their getting out was part of the Program. Your getting out is part of the Program. My getting out is part of the Program. There is a Program that's dictating all of this, after all. It's not like we're divorced from it. The thing that makes the movie so fascinating is to understand that the Program makes room for us because it cannot help it. In other words, there are always going to be—what did they call them in the movie, I think they called them anomalies. There are always going to be anomalies. It is re- ally interesting to grasp. You grasp it in that metaphor and you can see it's quite accurate. We are the by-product of the incarnative Program. Those of us who have incarnated and have met Human Design, I want to tell you, the Program was wait- ing. It set it all up. I didn't go looking for this stuff. --- PAGE 193 --- LECTURE EIGHT Variables: Following the Story Line, Part 2 Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 183 So I have this underlying need to be able to strip this program down and see what it is. I know it is the result of serendipity. It is movement in space over 15 billion years. It's an interesting phenomenon. I'm one of the, I may be even the only one who actually has a gasp on what this program may actually be. It's fascinating. And in that, you get all this practical delight. You're looking at the way in which the Pro- gram is constructed. That's what you're seeing here, you're really seeing that. It's all organized from outside of the planet. I've talked about that. Jupiter and the Galilean Moons, the Rave Cosmology of that which seems rather odd, but in essence I look at the Program and I think: How is the incarnative mechanism maintained? What is the flow? Because understand some- thing about an incarnative movement. It has to start with the Design Crystal bundle. The Design Crystal bundle releases crystals in layers. It's like an onion and peeling. The crystals go out of incarnation, and when they decarnate they go back into the core of the crystal. So the crystal has this sort of unfolding. This unfolding is nearly getting to the end. In other words, we've nearly peeled down to the bottom. The nine-centered vehicle, when it began to emerge in 1781, this was an enormous peeling off of a different kind of Design Crystal, a Design Crystal that was going to support the nine-centered rather than the seven-centered being. So for me the management of this, what we get to see at any given moment incarnatively, is what layers are emerging, in that sense, from the Design Crystal. If I'm right, in terms of my own thoughts, the incarnating crystals at the end of that onion are here. It's fascinating to see the Program at work. It's fascinating to see, for example, my- self to look at the nature of my own story line and all of that business and to see where I am relative to that in terms of my Variable and so forth. All of these things place a process in a totally different context. Practical Surrender I'm here to try to teach you what surrender is, practical surrender, real surrender. It's Strategy and Authority. It is the surrendering of mental control of your life. The moment you do that is the moment you truly begin to see. This is one of the gifts that's also there. It's the beautiful thing about the nature of the Program. The Program for me is not the enemy. It's a wonder. It really is. It's a wonder in this global orchestrated di- rectory. It is a wonder to see how it works, to see how everything fits in, to see that there are all those stories. The thing that's sad for me is that most of the stories, as Jagruti pointed out, unfortunately are never going to emerge. There are so many incredible stories coupled with so many incredible characters that will never get to live out their magical journey. So many that it boggles the mind. But there are also those who can and the future is full of that possibility, as long as there are those who are available on the fractal. --- PAGE 194 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 184 There's something else relative to what you were saying, Cathy. It would be inter- esting to do a statistical analysis of your clients. Everybody. Just to look at it. If you start looking at your clients and mapping them into the Variable, where are they? Think about your relationship with them or the effectiveness of your work, or whatever, because nobody on this planet other than me is really actively experi- menting with this. We really need to begin to explore this, because I think there is so much to be discovered. Comfort Level with the Rights Comment: One thing, particularly when I do have a client and ones that I work with regularly, I always notice where their Personality Sun, if it's left or right, and just subjectively speaking I have a comfort level with the Right Personality people, whatever the rest of the Variable is. I notice that in one of the statistical boxes that it looked like the left/left Personality and Design and the right/right Node was on the up. It was a number that was moving onwards. Mine, which is the opposite was least arriving. I am kind of curious about that because I am in the middle of a kind of revelation about what it is to have a right-fixed mind and realizing that I have been swallowing left-fixed mental-ness forever. Ra: Oh, yeah, it's a nice place to be, Kumud. I really don't know, even if there was a real question there, I don't know. About the comfort level about the rights, I think that everybody is going to discover that when you begin to really look into Variable you're going to see very clearly where your relationships really lie. But there is something else. I've studied my family's example. That was a fascinating expe- rience for me. Basically I took my birth family, I couldn't do my father because I don't have his birth date at all, but mother and my siblings. And then I did my own family. I did the mothers of my children and I had a couple of their grandparents. So I had a basic family matrix that I could look at. It was amazing to look at it. One of the things that was fascinating, for example, I'm three left and my pers- pective view is right. And this over here is my son, Loki. He's three part right and he's left over here. Now, we have an extraordinary relation- ship. We just do. We tune into each other in a very special way. Yet, here we are. We're opposites. So, opposites have certain values. What I'm suggesting by this is that I want you to think out of the box, which is ap- propriate here, isn't it, when you're thinking about the way in which these relation- ships work, because there are other patterns in here. It's very important for you to look at what is your particular one and look at its opposite, to see that opposite. --- PAGE 195 --- LECTURE EIGHT Variables: Following the Story Line, Part 2 Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 185 One of the things to do is just take one of these grids like this and get rid all of the goodies inside and start putting in names of people as you gather them that fit into your Variable map. Having a Variable map to look at, it's very powerful. And now with the level you have—the story line, the cognitive potential, the way the cross works—these aspects give you something quite extraordinary to look at. Study of the Students over the Last 19 Years Comment: Your students over the last 19 years would be a fascinating study. It seems like there are three generations of students and that would be interesting to look at; one to see your fractal and two to see who seeded the foundation of Human Design. Ra: Oh absolutely, Cathy. Comment: Having a statistical tool integrated into MMAI would help very much. Ra: To your question, Jacques, about a statistical tool integrated into MMAI, we do have the basis of that. It will be part of the program. What has occurred, unfortu- nately for that particular tool, we've had many other priorities. It probably isn't going to be worked on until probably this summer or this coming year because of the things we have on tap. But it is in the plans to be able to do that, so it is something that ultimately we'll have. Colors of the Charts Question: I'd love to say the synthesis and the colors that you picked. I'm very sensitive to color. So I'm really tripping on that. And it's really out of the box. I love the fact that I'm in green. But I love those three hues that you've picked. It's quite fascinating. I'm blown away. Ra: Yes, it is fascinating. I think you have to be able to distinguish colors to be able to see. And obviously those kinds of things, color relationships, our relationships, it goes on and on how many different ways this integrates. Remember that we're looking at the grid upon which the conscious field is built. So there is nothing in iso- lation here, in that sense. Everything is truly related to everything else. First we deconstruct—this is the way I work—we deconstruct the values, we go down to the basic roots of what each of these things are, and we will go further as we keep moving. Once you get through that deconstruction so you can see the values, slowly you can come back to the surface and see the way things work and the way the in- tegration works. You can't really begin to understand the deeper integration that's here without understanding the relationship of the cross to the story line, because this is where differentiation is. --- PAGE 196 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 186 But in the larger sense of generalized relationships, there's no question there are all kinds of patterns that are literally built into this mapping and it's a key to interpret them. At some point the laterals, the verticals, and the diagonals are all going to take on certain values, the isolated corners. All of these things are ultimately going to find their values. And slowly but surely we will deconstruct what is the foundation of the consciousness field. For me, that's enormously exciting. Design Left/Right Nodal Question: I think my last question was confused because I have two things going on, dust settling from the revelation of what it is to have a right-fixed mind. When I'm looking at this square, this green here, this is the other aspect of the question. I noticed that yesterday when you look at the diagonal that you're talking about as we move towards the quadruple right, the peach square on the Personality right side was not the kind of pale peach at the bottom, but the next one up in the diagonal, that one was having less statistical appearance. And yet, the one that is next up on the personality left side, the pale peach one, was having higher numbers arriv- ing. So the Program was producing a lot of right-fixed nodal people. Their Designs were left, but the way they meet the world environmentally and in view was right. I found that very inter- esting, that the Program was emphasiz- ing that. Any comment? Ra: No, just that it's accurate. You're quite right; it is the Program emphasizing that. The Program is emphasizing any place where they can push the right and par- ticularly the right Personality. The need for right Personality awareness, what you've been going through as a right being, you're discovering your right-ness. There are 3½ billion or more right people on the planet. There is an enormous underutilization of potential on this planet. You can't even calculate it. And yes, the Program is working very hard on it. But again, remember that everything is being pushed right now for the transition. Again, I see the role of the knowledge as a way of helping anyone who is ready to understand what is happening, where it is going and why. Particularly for those right beings in order to give them for the first time in their process the beauty of their own design. I think that particularly the right Personality has been deeply disenfran- chised by the seven-centered homogenized way of life. Comment: Kumud, where the Program is moving to the peach, to the pink, I know you can understand what I'm saying, but it is, it's Salmon pink. It just makes me laugh. It makes me very happy. --- PAGE 197 --- LECTURE EIGHT Variables: Following the Story Line, Part 2 Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 187 Kumud: I understand that and I feel that, but I thought that I saw yesterday that the Program is also really liking, not so much the Personality lefts, but it was also currently really liking the nodal rights, as if that was an important ingredient as it moves to the quadruple right. I understand the general flow. Ra: Oh, absolutely, I think you're correct. I don't think there is any question about it. And yes, of course, it's interesting. I think this is where everything is going. It's also scary, folks, in that sense, if you're a human being. It's saying, excuse me, we're about to pass you by because as humans we're deeply connected to our left- ness. This whole thing is moving away to something totally different. So, the Pro- gram is pushing us. The dilemma of the right beings is that they don't know. The 16 Bundles Related to the 16 Families Question: Will you give within this course an idea of the 16 bundles related to the 16 families? Ra: The 16 bundles related to the families—I put up, I think in the Variable class, something that Elfriede developed which was lovely, which was the relationship be- tween the 16 bundles and the Variable layout. They do, indeed, have an incredible relationship. Yes, I suppose at some point I will get there because you have to be careful with it. Though there is a direct relationship from the Variables to the 16 Faces, the way in which those Faces are expressed is determined by the vehicle in the nine-centered being. It's not about them being in the thrall of the particular Face's propaganda, the way in which quarters was taught. In fact, they are just the fulfilling what is their crystal inheritance. Each bundle has a specific quality and this is an incarnative force representing a specific quality. So one has to be careful about the way you mix these things. Because I have brought it up, I will eventually articulate it. Left Personality and Design with Both Right Nodes Kumud: Can you comment on the dilemma of the left Personality and Design with both right Nodes? Ra: The left Personality with the right Nodes; I'm a left Personality with right Nodes. I think it gives me an enormous advantage. I see differently. And I process it stra- tegically. What I look at I never look at one thing, I never see one thing, it's the way my mind works. It's so obvious to me that I don't see that way. I don't focus in the strategic sense at all. And I think it gives me great advantage in being able to look at the world. So, I see it as an advantage. I don't know what it is to somebody who is not-self, from my own point of view. --- PAGE 198 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 188 Maintaining the Dignity and Integrity of What We Are Everything is ok, because that's really the truth. If you're all right, it's all all right. This is great intellectual entertainment. I love it. But it's not what life is about. It comes with the territory of teaching all this. I like it for its beauty. Its beauty is as important to me as its values. The beauty expresses the values. The Program is very beautiful. It is elegant in its nature. It is awe inspiring from my perspective. I'm deeply grateful that I can see it with that eye and not be a victim of it, blinded to what, in fact, the beauty of this life is all about. But I am a deep, deep admirer of this construct. It is life, after all. It is the maya. It is the very mechanics of the maya, the very core of the mechanics of the maya and as such is deeply, deeply beautiful. But for the rest of it, we all live here on the mundane plane, we all have to take out the garbage and go to the bathroom. This is life. This is what we have to deal with. We are in these bodies that easily are corruptible. We deal in a world that is really disconnected. What is important for us is that we maintain the dignity and integrity of what we are, the beauty of what it is to be us, what it means to have our own au- thority and everything else a secondary, tertiary. It really is. It's like this. I don't need to know, honestly. But then again, it's my job as an ego being to have to prove these things. You get stuck with your design. You get stuck with what you are. After all, this is not my life. It's just something that I watch and I watch its movie and I watch it go through processes like this. And yes, no choice. I watch it and I see it and I think ok, it's something else to see, it's something else to know. And it just reinforces what I've known all along, that ignorance creates ab- solute control and lives are lost and the glory is lost. For me, most of life is nothing but a primitive thrashing around for breath. In this process of mind, what I have gotten to see was something I never thought was possible. To really see how beautiful it is to be here, what a trip this is. How incredibly entertaining it is, because it is. It doesn‘t matter what the drama is out there. It doesn't. When you're whole within yourself, everything is ok. It doesn't matter what it is. It doesn't matter. That's Human Design. This here is magic. And the magic is for entertainment. Anyway, to all of you, it's nice to share it with you and do have yourselves an enter- taining time. And until next time, and I assume that I'll have all kinds of new goo- dies to share with you, until then, you take care. Bye for now. ~ --- PAGE 199 --- Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 189 Lecture Nine Dependent Variables and Angle Hello to all of you. Oh, I like the way what goes around comes around. I've spent so much time dealing with the independent Variable, the need to see the indepen- dent Variable in its proper perspective, that I don't want to leave off our ad- vanced journey this particular semester without looking at the dependent Varia- ble in a very special way. Again, my comment about what goes around comes around. One of the basic introductions you have when you're in- troduced to basic analysis in Human De- sign, when you begin your education in Human Design, obviously one of the most important things to begin to un- derstand is these synthetic keynotes, profile as an example. And of course, to be able to see the nature of profile, the way profile is divided up into its three differ- ent parts in the way each of those parts function. It's very much a part of the basic education you get when you enter into this process and begin to develop analytical skills. What's interesting for me about the nature of these terms is that they sort have gone to the background, if you will. They're there, that is, students know the refe- rencing, but they don't often contemplate it. And a lot of that has to do with the fact that it's only at this stage where we are as a group that it is possible to begin to talk about what angle is really all about. I think for a great many people, this concept of angle is not something that they fully grasp because they have not had enough edu- cation to actually get to a place to begin to understand the nature of angle and what it's really for, what it's really about and how important it is in the overall picture. The terms themselves already give you a sense of something. It is this sense of something that is really what I want to highlight today. When you look at these terms, they have a quality of movement to them. They basically are terms describ- ing a kind of process through life on the mundane plane, through life in the maya. And yet, we know well enough that when we are dealing with the dependent Varia- ble, everything about the nature of the it is that it has many gifts and many possibili- ties, but it doesn't establish what is, in fact, the direction in life. --- PAGE 200 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 190 Through Angle the Passenger is able to Align to its Perspective We know that this is the function of the independent Variable and it is in this function through the Link Nodes that the true direction of a human being is established. But that true direction comes with a certain quality. It is this quality that angle brings. It is through angle that it is possible for the passenger to align to its perspective, something that ultimately is of enormous importance as I'll show you as we move through. I want you to think about these terms in their general understanding to begin with. Basically when we are looking at angle, angle is rooted in profile. So one of the things you need to grasp is that profile is very much a kind of—I was going to say illusion. In a way it is. That is, what we generally get to see on the planet is the not-self functioning of profile values, those profile values that are on either side. But in fact, until there is a completion of the transformation process, it is only then that the profile, the cross, the angle, that all of these things become continuity that links these two together because they are not linked. Human Design Incarnation Cross Orientation Graph Now, I'm going to digress for a moment. You know that with Adrian's help I am looking at all kinds of statistical values [larger image next page]. By the way, this is taken from our survey at Jovian, just to give you a sense of breakdown of angles just in the 350,000 entries we've had. You can see basically the way that it works. You can see that juxtaposi- tion is the true minority in all of this. Yet, jux- taposition is the bridge and, in its own way, plays an essential role ultimately in the way consciousness unfolds. On the other side you see basically a 2 to 1 ratio, give or take a little. That is, we know that there are seven right angle profiles and there are four left angle profiles. Obviously, there are going to be more of them. You can see the basic split that we have here. Through Adrian's work, we're able to take this to a much more basic level and be able to look at things and certain anomalies and to begin to wonder about them, because they are quite wonderful to think about. --- PAGE 201 --- LECTURE NINE Dependent Variables and Angle Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 191 What we're looking at is the relationship between dependent Variables and angle. We're looking at those births from the nodal cycle that we're presently in, 2008, those who started coming in in 2008 until 2027. By the way, in other material that I have there is very little variation between the various nodal cycles. There tends to be quite a consistency in all of that, though as always, there is a tendency for movement towards 2027 to the increase of the right and the down to the left. But that's not the subject for today. --- PAGE 202 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 192 I just want to give you a taste of it because you've never seen this relationship, to begin to see and understand that a dependent Variable gets broken down in many, many ways. The first thing to see clearly is that we are looking at—that's why the formula looks different to you—a formula that is only for the de- pendent Variable. So, for exam- ple, this is the dependent Varia- ble with a Design left and a Per- sonality left [circled]. Here you're looking at the percentage of the right angles, the percentage of juxtaposition and the percentage of the left angles. Personal Destiny Now obviously, there are some fascinating places to look. But for me, the thing that is very interesting is the need of the Program in this particular nodal cycle— remember, these children are going to be very important. They're going to populate our near future. They're going to mature in the new age, and you can see that what is very interesting is that the left/left right angle is nearly 20% in that particular Va- riable. You can see that the right/right right angle is also up there. Now, it's very inter- esting that the right angle seems to be appealing even if it's dealing with the left/left, a need for that to also incar- nate. It's interesting to think about that. Again, we're not looking at the whole story because we're not looking at that whole Variable itself. We're not looking at it in relationship to the independent Vari- able, so we don't really know the way the formula is going. But this is about the way in which crosses and profiles are structured. --- PAGE 203 --- LECTURE NINE Dependent Variables and Angle Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 193 This is something about the way in which that particular brain system, ultimately re- lated with possibility of that passenger consciousness, the experiential is going to be much more important than the transpersonal. The experiential is really something whether it's on the left or the right, because that's what the right angle represents. It represents that personal destiny. That personal destiny also gives you a key. That key is that we're entering into an age, the Cross of Phoenix age, ruled by the 20/34, with the absence of the Cross of Planning and all of its integrated securities. This personal destiny is going to be a necessary ingredient in order to be able to keep many slices of the population alive and fertile. After all, no matter what the Program wants to do with us, we still have a purpose from the Program's point of view, that reproductive purpose. There are many, many little ingredients that are going on in all of this. Again, I'm preparing for my Rave History courses that I'm going to teach next seme- ster. I don't think I've ever put so much attention to courses. It's simply my delight to look at history in a way that has not been looked at before. As I begin to inte- grate all of these various aspects, there are really some extraordinary things that I'm beginning to understand about the underlying nature of the Program and the way in which it actually works. The Voice said Jupiter was the Center of the Solar System One of the things that I'm very, very interested in now is something that I keep on thinking about is in Rave Cosmology. When I had—again a digression, but nonethe- less—my mystical experience it seemed to me at the time that there is a great deal of attention given to the role of what the Voice called The Logos: Jupiter. That, ac- cording to the Voice, Jupiter was, in essence, the center of the solar system. I was explained what, in Rave Cosmology, is called the Global Incarnation Index, the Glob- al Orchestration Directories. According to what I was told, Jupiter puts out an enormous magnetic field, an abso- lutely enormous magnetic field. The four Galilean Moons, according to Rave Cosmol- ogy, are like the Akashic Records. I don't know if you've ever heard that term, a mystical concept in which every single incarnation is listed. I don't think that it's listed, in that sense; it's all a mechanical thing. But it is the direct impact of Jupiter on the four Galilean Moons. It's through those four Galilean Moons that, in Rave Cosmology, what is called the Four Corners are established. It is these Four Corners that lead to the 16 Faces that lead to the whole Personality program and the whole incarnation process coming out of the Personality Face bundles. I don't mean to get so esoteric with you, but what fascinates me about all of this is that the Program is getting instructions, you know. There is this whole chain of in- forming that goes back to the great stars in the sky. There is this incredible chain that literally, ultimately the by-product is to see a whole flow of beings coming onto this plane, but that movie started way back. I have a feeling that there is some rela- --- PAGE 204 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 194 tionship between the way in which incarnation operates and its relationship to the movement of Jupiter, and particularly the relationship of the four Galilean Moons. I have never been able to get access to the NASA data that would allow you to diffe- rentiate between the Moons in Jupiter itself. In terms of astrology, it would never do that because it doesn't matter to them, because it's just the general influence of the planet. But from what I understand from Rave Cosmology, that influence, though Jupiter is responsible for, let's call it the 3% neutrino feed that moves through Jupi- ter, that is the thing that is going through the Design Crystals of those Four Corners, those objects. And it's out of that that we get this whole incarnative flow. I'm not just talking about dependent Variable and cross angle, I'm talking about the whole cookie. I'm talking about the whole incarnative program. Anyway, one day, perhaps that will be possible. I would really like to see correla- tions between the movements and what happens at any given time because I think we can begin to see what causes certain incarnative impulses. In my own process, I'm now finally getting beyond the Program to see—and when I say 'Program' I mean the local Program—to see what makes that work. This is actually the point we get to with all of this data. So it's an interesting thing. This was my digression for the day. Tomorrow I'll have a whole bunch of these different graphs we will take a look at and I think you'll find it fascinating. The Link Nodes Bind the 2nd and 3rd Transformations Process But I want to take you where I began today to a very special kind of graphing. By the way, for those of you who are doing Personality Resonance Mapping with me, I will be using this chart which will be familiar, and for those of you who are not, it's actually Timothy Leary. I've been using his graph to deal with all kinds of interesting subtleties. In this particular context, we are really beginning now to be able to put the story together. I want to show you the mechanics. The wonder that we have been going through—and when I say the ―wonder‖ I'm referring to the independent Varia- ble—what we get to see is that through the Link Nodes of the independent Varia- ble, this is the great binding. It is the binding in the G Center. It is what binds us together. It is the thing that truly gives us our life. So, there is this deep, deep incredible relationship that binds what is the 2nd and 3rd transformations into a process that becomes that journey of planting one's cross and beginning to live one story line to develop one's cogni- tive potential. --- PAGE 205 --- LECTURE NINE Dependent Variables and Angle Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 195 We also know that this journey here, this whole process that is here in the 2 and 3, that all of this is rooted in beginning here. Again, when I say ―beginning here‖ I am referring to the ideal. That is, to a human being coming into the world. It's interest- ing today I'm doing filming of The School of Enlightened Selfishness. This week I'm doing what I call the Transformation Questions: Who's in charge? Where are you? And what's happening? Who's in charge is the beginning of the story, because the only way you can truly use this information as a tool is if you are really there and ready for it. And of course, that begins with your Strategy and Authority. There is no other way to begin that journey, none whatsoever. That is the way you enter into the process and dis- cover who you are. You discover that you, that true being, whatever the potential of that unique being, can find its specialness. The Four Quarters of Saturn It was interesting this morning because I don't happen to have a chance to talk about these things other than in one place at a time. This morning I was talking about how the 30 year cycle—and again this is for the child that is raised by parents who are aware of their desire, are correct with each other and correct with the child, and the child has a proper dietary regimen, given that context only—you break up the process into its four parts. It is a natural Saturn cycle that you break up into the four quarters. I don't know if any of you were with me at the real beginning, Alok or Andrea if you remember, I once even taught briefly about the importance of the four quarters of Saturn. There weren't very many people who were interested and I remember my associate at the time asking me what this was all about. I said maybe it is way be- fore its time. It was way before its time. When you see the Saturn quarters, not in the context of the seven-centered being, not in the context of the seven-centered astrology that first was able to look at it and see its importance because of the Saturnian life of the seven-centered being. But to see the Saturnian cycle as it unfolds for what is correct as a nine-centered being. The first seven years is nothing but nutrition. That is really the key. The First Saturn Quarter Obviously, the correctness in the way in which one treats the child is obviously im- portant, but the real key is the nutrition, because everything about those first seven years is the importance of the neural expansion. Everything is about the develop- ment of the potential of the brain system. Everything is about that potential of that brain system. That brain system, no matter that this is going to be the life, without a good brain system; thank you very much. So the first seven years, that's what it's about. This is the first Saturn quarter. --- PAGE 206 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 196 The Second Saturn Quarter And the moment you get beyond that Saturn quarter, that's the moment that you begin to enforce, as a parent, and bring the sense of identity as a being to your child. In other words, this is about getting them to understand basic principles about themselves without necessarily educating them. The fact is that in the Saturnian cycle for a nine-centered being raised correctly, it is only when they get to the Sa- turn opposition that this is a time that they must learn. Teenagers And not necessarily learn about themselves. It's the thing that's so interesting. You're not going to get a teenage Projector to be interested in themselves. They're not. Any more than an adult Projector is. An adult Projector learns about them- selves through that mirror, through looking at things, through understanding the system. If you introduce the knowledge to that Projector teenager who has been raised correctly, at their Saturn point they're going to be able to get a grip on life. Remember, they're under enormous biological pressure in a seven-centered homo- genized world to live out their adulthood when, in fact, they're not. This 'learn about the other' be- comes the hook. Or learn about your impact as a Manifestor, or learn about the nature of the way in which the world changes mo- ment by moment if you're a Reflec- tor, or learn about yourself as a Generator, but this is the beginning of that learning process. This is the beginning of their real education. It takes time. It takes 30 years before they're ready, that 30 years here. The Dependent Variable Drawing Look at this drawing. This drawing says something very profoundly. There is this deep connection that binds these two sides together, but it is not here [Transforma- tion 3]. There is a space here [between Transformations 3 and 4]. It's why I always laugh at people, not out loud, when they enthuse over incarnation crosses. There's always that giggle or chuckle because please, an incarnation cross doesn't truly come alive until the being is correct. How can it? --- PAGE 207 --- LECTURE NINE Dependent Variables and Angle Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 197 There's nothing to bind those internals. They're not bound together at all. There are no Link Nodes. And what binds them together ultimately is here [space between transformations 3 and 4], but you have to get there. It doesn't just exist. It's like your angle. Everybody takes their angle for granted, I assume. "I'm a right angle." Yeah, right, but are you? Personal destiny? This is not not-self destiny. This is the perfection of the being that comes out when this angle and incarnation cross is ex- pressed. It doesn't mean there aren't not-self, sort of, versions. But please understand what I'm say- ing. You're muddling along in your angle una- ble to see, incorrectly motivated, poorly fed and in the wrong fucking place. What kind of angle do you think you're operating on there, if you know what I mean? I cannot teach you what is deconstructed unless it is an ideal so that I can show you what's possible. But don't take this as an assumption. That great differ- ence between the 2nd and the 5th view, I'm not talking probabilities here. I'm talking possibili- ty. Possibility that the angle is correct, possibility that the incarnation cross is lived, possibility. Personality Fits its Angle into the Story Line Let's think about the angle for a moment. The angle is something very, very special. This is the way in which the Personality gets to fit its character into the story line. Think about it. What you're looking at is the whole foundation of your particular "it- ness." There's that story line with that cognitive potential. There‘s that life move- ment; all that stuff, whatever it is. But the character that has to live it and the way the character lives it, because the story line doesn't set you up. The story line doesn't say that this is your personal destiny or your fixed fate or that it's your transpersonal karma. This is the perfection of your Personality to be able to find its angle within the movement, to live it. Personal destiny at the mundane, not-self level is nothing but people getting hurt and suffering; that's most of it. But personal destiny is incredible. It says very loud- ly to anyone or anything that's in its way: ―Get out of the way, I'm going this way, my way, no other way, not your way, not our way, not their way, personal destiny.‖ It's rooted in the most deep and profound correctness that you can have to live that personal destiny. And fixed fate, how strong you have to be to walk such a line. How correct you have to be. Again, there is no authority out there that says: ―Excuse me; you have to change your fate.‖ The not-self doesn't live fixed fate. You can't live it, because there is no connection between one side and the other. They do not link. It's what makes this dependent. If they linked it wouldn't be dependent. They don't. And --- PAGE 208 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 198 this is the illusion that everybody lives with as not-self, distorted, never representa- tive of what is possible for them as beings. You don't just get to live out your incarnation cross. It's why people get so excited when they hear about it. It's like they found a bridge. "Oh, I found a bridge." It's like when you hear about your profile—found a bridge. But I've tried to show you something, those of you that are PHS or Rave Psychology students, that profiles are aspects on either side. The value of the line to the Personality, the value of the line to the body, and when you do chain analysis you don't see the profile as a complete profile; you see it within the context of its impact independently. Oh, yeah, we ride it out that way. But boy, oh boy, it's not like it's a given. And it's not a given that this 3 is comfortable with this 5 [profile], or vice versa. You have to get there, because then the whole thing comes alive. It's nice to have a story line cognitive potential. It's like having a script without an actor. It's interesting, but it doesn't have any juice to it. There are no subtleties. Where are the subtleties? You're looking at an incredible map here, but remember it's still limited. There is still the Design and the Personality lunar and planetary squares and the way in which they experience, how that feeds into all of this. There is this incredible uniqueness here as a possibility. But the most important thing to understand about the nature of the Personality is how deluded it is out here alone by itself. And what an incredible job it is to be able to integrate it, to bring this performance, to really bring out the Cross of the Laws, to live out one's personal law, to live out that personal law in correctness and the way that being operates, its underlying processes, its underlying brain system and dietary regimen. All these thing are there. They all suddenly come online. They suddenly tap in. An Incredible Cognitive Potential in Every Human Being It's a funny thing about ignorance. There was a time in my life where I was a deep- ly, deeply ignorant not-self. I really felt that human beings were just basically stu- pid. After all of these years, I still think they're basically stupid, but it's not their fault. And in fact, they can be unbelievably brilliant, every single one of them. It is an enormous humbling to look here and see this incredible cognitive that's in any human being, absolutely incredible. And how dumbed down the whole isolated, not- self Personality is, and the kind of a world we live in as a result of it. It's such a journey. It's no easy thing, particularly for those who have been condi- tioned. We don't have any rules. It's not the way it's supposed to be. I guess some of us, if they're mutative enough, I guess there are possibilities. I don't know how it works in that sense. I watch. I know the way it's supposed to be when it's correct. I know that this all becomes a very natural process, and finally the circle is closed. And there is the holistic being; there is the holistic aware being. Everything that we're doing is this movement, this whole process. --- PAGE 209 --- LECTURE NINE Dependent Variables and Angle Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 199 Without awareness, what is that? It's nice that there is this mundane pleasure that is taken in, the symbolism and the language of incarnation crosses. But they're ge- nerics, each of those crosses. The subtleties that lie underneath are extraordinary. The mundane generic level of it, the not-self sort of has some vague relationship to it. But it's not what it's about. The Whole Individual Program It's one of the things that the correct nine-centered being gets to do when they complete their Saturn cycle. They get to move into their environment and plant their cross. It's an interesting thing. Only when you move into that phase of your life post-Kiron, what we know as the roof phase, only when you move into that phase can you plant your cross. It's only then that you bring it to life. By the time you are at the end of that process at the Kiron where this personal focused view has been exalted through this process, it is here then that not just simply the Personality operates correctly in terms of its outer authority, but that its life begins to be the nuance of this [Angle-Incarnation Cross], and the bridge is made. This is a long way to go to try to get some- where. Here is the opening up of an ongo- ing relationship between the brain system and the passenger consciousness. This is what awareness is. You can have intelligence when you go like that. But you have to make the circle to have awareness. This is the whole program, the whole individ- ual program. When I look at the world of Variable, I'm beginning to get a sense that each Variable has unique techniques for fulfilling whatever it is that their Variable demands as a rule. I'm beginning to understand that every single Variable, in and of itself, not on- ly has a unique mathematical configuration—that is, no single Variable is going to carry all the story lines and so forth and so on—that each and every one of these Va- riables has its own mechanical way of completing the circle, of completing these four transformations or bringing the fourth transformation into reality. The fact is that if you do go across this [Transformation 2 to 3], this automatically happens [Transformation 3 and 4]. It's not like there's something you have to do here. It's not like this isn't functioning at all while you're going through this process. Again, this is a living thing. But it's about seeing that the moment that this process is correct, it opens up all of this. It demands certain things. It really does. The more I see it, the more I recognize it. First of all, it's deeply intellectual. The easy part is physical, all the easy parts are physical. And when I say easy, I suppose that's relative. But Strategy and Authori- --- PAGE 210 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 200 ty, dietary regimen, and being in the right environment, these are physical things. If you're operating out of your Strategy and Authority and you understand the context, these are things that you can move through quite easily in that sense. But the moment you move over to the Personality side, there are changes that take place in the way things work. Automatically, because of the nature of the Link Nodes, the perspective takes on its proper view; in other words, this view and the way it's intended to operate. But remember something, let's say it's day one of your Saturn to Kiron and you're looking for the first time out of that personal view, it's not like you've reached a state of awareness. It's the beginning of a process that techni- cally takes 20 years, 20 years of seeing correctly. Only 20 years. It's quite a thing. This is the way in which we're supposed to develop, the cognitive depth developing with the right environment, with the right nutrition, all of those things so that when you get to this point that the level of this goes from being deeply cognizant to step- ping into another state, that state of awareness that cannot be described because it's unique for each being as a potential. It's unique within the nature of the configuration, within the nature of the gate and the line and all of the things that go with it. And outer authority is deeply concerned with Base orientation. Who do you speak to? How do you speak to them? When do you speak to them? All of these things are all rooted here. But you have to get there. It's essential to understand the importance of this. The Dependent Variable & Cross Angle (2008-2027) Graph To look at it within the Variable context—let me go back a second here. We have angles per dependent Variable, and having those angles per dependent Variable, there is an assumption that all of these angles are operating correctly and of course they're not. They're homogenized. The homogenization of all of these particular angles in the way they operate, through all of these confi- gurations, is the way the distorted world is maintained. The distorted world is maintained ultimately through the expression of the Per- sonality. So the assumption that somehow because you happen to have a par- ticular angle that you're actually fulfilling than angle, that is not the case, nor is it the case here. If we were actually looking for where the true value is, it's something else. It's individual. It's never in the homogenized setup. All of this is going to produce the future. They're the ones who are coming in. They're going --- PAGE 211 --- LECTURE NINE Dependent Variables and Angle Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 201 to be not-self; they're going to be homogenized. It's what makes them so predicta- ble, by the way. If I had to look at rave history of an aware population group I would know nothing. There was nothing I could read. What's to read? I could experience each one, if you know what I mean. It's only because the world is so deeply homogenized and eve- rybody operates out predictable patterns that it's so easy to read it. And now given our ability to look so deeply inside of the construct, you can just see the way the Program is setting it up. The Last Generation with the Nodal Cycle of Inner Truth This generation to me is absolutely fascinating. This is the last nodal cycle of the re- turn to Eden of the 1st line, Inner Truth, this great era of light and knowledge. This is the last generation to be born with this buzz. It's the last one. And they're the generation that is going to dominate as we move forward. In other words, they're going to have to live their maturity in the next cycle. Now, if they're going to live their maturity in the next cycle, then it's obvious to me that they're going to be de- signed for it. That's basically what we're looking at here. As I move from the beginning from 1781 and comb through the historical process, one of the things that's so interesting is the ability then to begin to predict what dif- ferent kinds of population movements are coming in in incarnation and what that brings. What is this generation going to bring to the middle and the late 21st cen- tury, our century that we're in? That's just to be able to read the homogenized life, not what it is to be a unique be- ing, because after all that's what it's about. It's not about what happens to the ho- mogenized world. It is so clear what happens to the homogenized world. The only value of this Variable information that we have relative to this particular being is that it gives us this and all its values for this being. This is their possibility. It is not a possibility that can exist in the homo- genized world. It cannot. It's not possible. So, the beauty of Variable is that you can see the way in which the distorted order works. I'm discovering that day by day. You can see the whole homo- genized order and the way in which that homogenized order works. But the other side of that duality is this incredi- ble insight into what is possible for each and every one of us and how we get there, and more than that. --- PAGE 212 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 202 At this point, I'm not paying any attention to analytical values. By the third seme- ster in this academic year, I will actually do a clinic for all of you who have partici- pated in that whole process and I will do your whole story. I'll give you a real taste—but that'll come up in the third semester—to be able to see what that means in the way in which you can analyze that, the way in which you can provide insight for those who are really ready for it. The Greatest Signpost of All But the depth of it, to really understand what it means, this is the greatest signpost of all, truly it is. I'm going to be able to show you how you nuance your angle, be- cause after all, there are many nuances within the construct of angle itself. This is where the whole story is, the great signpost, because when you're really living your cross, wow, that's when your destiny, your fate, and your karma is going to be just right the way it's intended to be, the beauty that's possible for us; they're vehicles, after all. This is all mechanics. It's all mechanics for the benefit of the Personality Crystal, for the passenger, nothing more, nothing less. In correctness, the vehicle's life is the vehicle's life and it will be all right. But the glory is for the Personality. Ah, what a thing! We are here to be freed of this incredible burden of being lost in the flesh, caught up in the homogenized suffering of this plane. It was the old seven-centered ones who said that this is a planet of suffering. Well, that's what it was to be seven-centered. It is a sickness that it's carried forward into our species. And it's a mental sickness. We are not here to thrash about. We're here to sit back and see the glory of the movie, and to live out our role, to live it out to the fullest, and to live it out to the fullest to all its dimensions. Well, it's quite a challenge, isn't it? Q & A Ok, let's have some conversation and discussion. I open it up to your questions. Kumud's Comment on Her Story Line Kumud: I've been contemplating my story line, which I don't entirely understand, but I really grasp that my South Node start body place was relaxing with the nature of impermanence. And I've begun to recognize, first of all it was definitely a shock. The end of my story line is symmetry. I almost spent a day just in melancholy, it was such a shock. But I've begun to notice that my mind is constantly dealing—my conceptualizing and my thinking is trying to beat impermanence. It's so interesting to see that as if I could just hold on to a few things like a few open centers, or any- thing, actually, it's all so interesting. That's all I can say. --- PAGE 213 --- LECTURE NINE Dependent Variables and Angle Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 203 Ra: Yes, it is, but that's a nice description. The opening up of your story line, as I said, I will do real analysis in the third semester. I don't want to do it now. I don't want to set you up. I want you to look for yourself. I think it's important because there is a great deal more material I'll cover next semester so that you just begin to dig into it. As I said, there really are ways in which this can be done analytically. But you're on the right track. You begin to look at the elements that are there. You can see what I've done here in this illustration. Every single element that I have here in this illu- stration is what you need to consider to have a holistic picture of what the basic role and story is of a life. That's what you have here. So, all of these elements need to be woven in. The way in which the various aspects, whatever they happen to be, whatever the aspects are, slowly to begin this process of keynoting and linking things together. The great thing about the work we do is that we deal with word formulas. If you string word formulas together, slowly but surely you begin to develop a language. This is a very important exploration for you both from the story line point of view, and also from the cognitive potential point of view, which for many of you you find more difficult. But the cognitive potential also is something that is very, very impor- tant. The story line and the cognitive potential come to life in the angle. So, when you're thinking about your story lines keep in mind what your angle is. It will give you another aspect, another way of catching a glimpse of what this is pointing to. Re- member, every step you take this way, this is an incredible gift for the passenger. This is the intellectuality that is necessary to liberate the passenger. --- PAGE 214 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 204 South Nodes Dominate at the Beginning of the Journey Question: I just want to check on a technical matter. When we split out the Nodes with link to/not link and vice versa, we get two different movements of South Node to North Node, one is the story line, one is the cognitive potential, if I understand correctly. But then now we're looking at them two South Nodes moving towards two North Nodes, so does it reintegrate when we're looking at in this configuration as one movement through the life from South Node to North Node? Ra: First, I put it in this configuration so you see the standard Link Node illustration because it's important to the analysis. There is no question that there is a true movement from south to north. This is part of the basic teaching of Nodes going back to my earliest introduction of the knowledge. And it is very important to see these two elements, the two South Nodes, as the ingredients at the beginning of the journey. Remember that it‘s not like you lose them, but their importance dominates in the early part of the story line. And remember, when we‘re talking about story line, theoretically, we should be talking about 30 to 50. So, again, you have to see it in a certain context. But within that context, the story line begins to unfold out of this* and leads to that* and so does the cognitive process. So, indeed you can look at it from south/south to north/north. Again, remembering that it‘s the De- sign that is ruling that and the Perso- nality is ruling that [down arrows]. Teenagers and Design Comment: When I had this teenager for a reading a few weeks ago, I actually couldn’t quite manage his story line, it was too new. He was a 4/6 profile and I mentioned to him the three phases of his life. Now, he was 14 and he sort of groaned when I talked about that he had another 14 years of making mistakes about your friends, and if you make it correctly it will be fine and your life will flower at 50. It was almost like I was looking at the conditioning to be in a hurry, I suppose. Ra: Oh, yeah, this is one of the things about the seven-centered mental disease that we live with on this plane. It‘s the way in which there‘s incredible pressure. I was just reading an article in the newspaper, The Herald Tribune, it was an article taken from The New York Times about the ordeal and the astronomical expenses that parents are putting themselves through trying to get their children in the right pre- school. There‘s enormous pressure on children to mature. --- PAGE 215 --- LECTURE NINE Dependent Variables and Angle Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 205 I go to the school and pick up my kids and I look at the 12 and 13 year olds and they look like 20 year olds to me. There is this race to grow up. As soon as the hormones kick in, it seems like the seven-centered propaganda is right because every single one of these teenagers has this sense that they‘re biologically empo- wered. That‘s why it‘s so important in the nine-centered life that at the Saturn opposition is when you really have to bring knowledge to your children. This is when they need to understand that they‘re not losing out on something because this is a different age; there is a great deal to gain. They‘re the first generation that truly can be empo- wered as themselves. So, there is no question that children are being placed under enormous pressure, and not simply in the advanced world. That pressure is part of everyday life in the poorest parts of the world where children are denied so much of their childhood be- cause of the poverty and the demands of life for those who have so little, and we have billions. Again, my thing with teenagers is very straightforward because I don‘t do that with my own children. I wait until a certain point. When they‘re interested, I give them something. But it‘s only when they get to a certain age. Like my son who will be 17 soon, he‘s now quite deep into Design and understanding it and understanding how it works and all of those things. It‘s the right age for it because it is at that point where you have the biological em- powerment that the great insecurities arise. So many things about how to deal with your life, how to deal with others and how to make sense of things, this is an ex- traordinary opportunity for these children at that point. The Basics for Teenagers: Type, Signature, Strategy and Authority So I stick to the basics. The first thing is Signature. This is something that teenag- ers truly grasp and they grasp it in a very deep way. You talk to them about their Signature and you‘re talking about something that they want and they‘re aware of it. So that opens the door to being able to help them, it really does. And simple things, the Strategy and Authority, the basics. It will be filmed in Ibiza. I‘m doing an event for teenagers. Free, by the way, so an- yone who wants to come with a teenager, please do. Basically that is what it‘s going to be. The basics: Type, Signature, Strategy and Authority. There will be nothing directly about the not-self and so many other things. The not-self can be a deep psychological burden. I‘m beginning to see through my work now in trying to outline the nature of the true nine-centered being, I‘m beginning to understand the patience necessary that you don‘t throw it in all at once, that you do bits and pieces in order to hone that whole --- PAGE 216 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 206 individual process and that sense of well-being and self. The most frightening thing for me about the nature of the world is how badly human beings feel about them- selves. And the idea that this is something that children are bred to feel when they‘re very, very young is something that is deeply, deeply saddening to me. I think that when you deal with themes like Signature, you‘re dealing with obvious themes that are directly related to their type that are clear for them, in that sense. This is a new technique for me. I‘ve tried many things with young people over the years, always looking to see what really gets them. This, I‘ve discovered, really gets them. Written question: Thus two separate developments from south to north, the story line development runs parallel to cognitive potential development, is that right? Ra: Yes, Elfriede, you‘re correct. About melancholy, is he individual? Individuality and Melancholy Question: This child had three individual channels, that’s all he had. And I asked him if he was ever melancholic and he said no; maybe when his cat died. He’s 14 and a pure individual and said no, that melancholy was not a part of his life. So I’m not quite sure whether that was a real experience or a conditioned way of looking at himself. So, does melancholy not figure, or was that also his not-self conditioned aspect talking to me? Ra: I would not believe a word of that. It might be language. And if it‘s not lan- guage—often to be individual and not go through sadness with hormonal shift at rel- atively deep levels, there would be something either deeply physically wrong or something deeply psychologically wrong, because that‘s just not possible. Comment: Just a comment about my own experience with melancholy that it’s a lot easier for other people to see my melancholy than for myself. So, it’s entirely possi- ble he’s melancholy and has no idea about it. Ra: Yeah, I suppose that that is possible to some degree, one would assume. I‘m purely individual and melancholy is about as obvious as obvious can be when it‘s there. It‘s just part of the chemistry. And I certainly remember my not-self teen years in terms of melancholy. And I know from all of the work I‘ve done over the years. So that would be very, very unusual. I don‘t know the context of it, but I would find that unusual. --- PAGE 217 --- LECTURE NINE Dependent Variables and Angle Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 207 Planets in the Nodal Positions Question: Ra, in some of the clinics that you‘ve done and I‘m thinking of my chart in particular, you talk about when someone has a planet that is in the nodal position, like my Venus is in my nodal position of the 59-3 which is my conscious Sun/Earth and it‘s actually in the same exact line, how does this mess up the story line? Ra: It‘s a very astute point, Cathy. Again, I have to wait until next semester be- cause I‘m doing the Design resonance and I‘m completing this week the Personality resonance. You have to be able to put those together with it, like the example of Venus. In other words, the way in which Venus is going to impact it. There is no question that there is a change in the way in which the Nodes are going to operate. It is quite a quite a complex analysis because it can change the story line, it can change the cognitive potential. It can change it in the sense that it doesn‘t change its basic nature, but it brings a totally different slant. Now, that doesn‘t mean that it‘s good or bad. I think that‘s very, very important to grasp be- cause your entry point was that it would mess something up. It‘s getting in the way, there is no question. But then again, you have to understand that in differentiation that‘s the way it‘s sup- posed to be. In other words, there are all kinds of different ways in which anything operates. One of the things I will be able to do, once we go through all the reson- ance work, is to begin to understand what happens when a specific planet in a spe- cific place in the planetary square has a specific influence on a specific Node, if you know what I mean. And then we‘ll get there. But you can‘t do it on your Design side because nobody has really been taught that knowledge yet, not until next semester. But on the Personality side with Personality resonance, you can begin to look at the values that you have in the planet in rela- tionship to—if you do it with your North Nodes. And then you can sort of begin to look at that yourself and intuitively take that in. You‘re quad right, just take that in and I think you‘ll begin to get a feel for it. But as I said, I have to get to the end of this process before I can do anything as complex as that. It is an important point to raise because obviously it affects a lot of human beings and it affects a lot of story lines. As a matter of fact, it also impacts the dependent Variable to some degree or another; that is, conjunctions that take place and so forth. But again, those are part of subtleties that come with understanding. Let me put it to you simply. If you have a planet connected to your Node, it is being distorted by that particular theme of experiencing. When I say distorted, it is pushing away a lot of other possi- bilities in order to be focused on a certain way of experiencing, either a certain way of experiencing through the body or a certain way of experiencing through the Per- sonality. It‘s sort of like what happens when you have an exalted or detriment. It --- PAGE 218 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 208 sort of fixes something. Basically this is kind of fixing agent. It‘s going to fix it to that particular planetary reaction. Both Nodes and Design Sun/Earth in 43/23 Question: Well, then another question I have is that I’ve been noticing lately in one of my study groups in one of my other classes, there is a person whose both Nodes are 43/23 and then I believe their unconscious Sun/Earth is 43/23. Does that just get almost impossible to read the story line, or does that get so focused and so con- centrated that it’s absolutely obvious? Ra: The later; it gets so focused and so concentrated. As a matter of fact, it can be quite alienating because it is so honed. And depending on other aspects in the de- sign, it can be quite uncomfortable unless these beings are correct because it can lead to a lot of discomfort. Left Nodes with a Right Mind Question: I don’t have tonal transposition in my design. My Nodes are both left. So, have I understood correctly that after my Saturn phase I began to hone my body activeness and that supported my mental—the way I view possibilities actively? Ra: Exactly. Question: Ok, and then my right-fixed mind just takes it all in and stores it, if I was not distracted and not not-self. Otherwise, it’s just a storage after that. Ra: Exactly. That is what the right is all about. So, the whole thing about storing is you want to store what is precisely correct in a value. This lays the foundation for a broad outer authority because this is an ongoing moment-by-moment, breath-by- breath experience. It‘s not about just the main things that we would look at or think about, it is about the way in which one is taking in. This is adding to the depth. In the end you can see that the whole story lines builds the perceptive layers that result in this broad scope that becomes the outer authority awareness. So it‘s built on the story line. It‘s why living your story line is so important. This is where you get the essential, intellectual experience necessary for you in order to be able to dis- play what is your unique potential of awareness. Written comment: I didn't consider myself melancholic until recent years. It was just there as life. Ra: Interesting Inga, I guess that is quite possible. It‘s one of those things about the planing; I think individual emotional people can simply see that as not being me- --- PAGE 219 --- LECTURE NINE Dependent Variables and Angle Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 209 lancholic at all; just being their life. Yeah, it‘s interesting. I guess maybe that might be helpful, Kumud. Comment: I can understand what this boy is saying and it also depends on the type. If he is a Projector like me, I never saw myself as melancholic. Other people would mention it and ask what’s the matter with you? It was just that you’re in it; that’s who you are and you can’t really see it yourself. Or at least that’s how I expe- rienced it. Ra: Yes, that‘s a good point. Melancholy in a Double 3/60 Design Comment: What I keep thinking of on that same topic, a nine year girl I had as a client a few years ago who had a double 3/60 definition and not much else. I asked her if she was melancholic and she shook her head. But then I said, well, if you ever don’t feel so good, if you feel depressed, a good thing to do is to go by yourself and be creative. And I reframed it for her, she nodded her head. And I could see that she had it really deeply. So, that worked in that situation. She was clearly melan- cholic; I could see it. It was just another tactic. Discussion Groups Question: Thanks. I think I get the point of that. But on another note, Cathy and I had a brief conversation about the possibility of us meeting in some—I don’t want to call it a study group because I don’t know how to use this information, but I would love to meet with some others to share story lines and how they've fitted into lives. I hear you’re going to do a reading in the third semester and that sounds really cool. But I think possibility we could play a bit before then? Does that seem possible? Ra: Oh, I think those things are great. Again, discussion group rather than study group. It‘s about developing outer authority. I don‘t like to tell students that they have to do this or that, that it‘s good for them, blah, blah, blah and all that stuff, be- cause I don‘t think that‘s correct; everybody has their authority. But I think it is im- portant that the intellectual level of this is enriched through an exploration that many can go through; share the language, talk about things. I think it‘s very, very impor- tant. One of the things about the nature of our group is that we are virtual union, in that sense, and it isn‘t always so convenient. But I think for those of you who want to do those kinds of things, I think it‘s fantastic. Other than that it‘s just me. You can see at this level of the information, I‘m trying to draw you into this, not just simply that I go on and on about very complex things here. I think it's very important that you are intellectually involved in this process as well. Nobody else knows about these --- PAGE 220 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 210 things. It‘s why I don‘t want to give you everything at once. I think it‘s very impor- tant for you to begin that process of looking at your story line. You‘ve all looked at your angle and incarnation cross. Now you can just see it diffe- rently. Now you can see where you get to, you can get to that. But you have the deep understanding of that, the profiles and so forth. It‘s now about integrating all of that into what would make it all real; that story line, that cognitive potential that gives the character and gives that role its real life. And to begin to talk about all of the elements that are there because there are so many: the Link Nodes, the Colors, the Tones, all of it, and the way in which it works and to explore it. Yes, if I can encourage you, I certainly do. Again, you are more than welcome to use the reception room. I‘m more than happy to accommodate all that. Intellectual Information for the Passenger Question: Thanks. It sounds great. I think I just wanted to ask something about— often you comment that this is intellectual and we don’t know how to use it analyti- cally yet and things like that. For myself I would say that this information has brought some mutation. I don’t know if I understand it yet, but I suppose I’m ques- tioning is it really just intellectual or it is kind of degrees going on here? Ra: It‘s intellectual in the sense of the passenger and don‘t misunderstand the way I express that. For the passenger, it is only through the intellectuality. What I mean by that is the grasping of the detailed mechanics. But I think something any student of Human Design understands, that as you move through an educational process, you do go through transformation. It brings changes. It does impact. It does go in. So, it‘s not that it isn't having an effect. But again, understand the process that sto- ry line points to. It says it takes 20 years and I am convinced that that is true. That is, I don‘t think that you can—it takes a long time for that process to form, for that awareness potential to emerge. Obviously, that is lived in the life. That‘s the whole point. So yes, as you live, you progress in this process; layer by layer the signposts that point the way. But for the passenger and for the ultimate glory of that passenger— that‘s been my word today—it needs the intellectuality, which means that you have to have beings who not only are on that fractal—this is for them at the physical lev- el—but to go beyond that. You can see the numbers that are here in this room. We had a million visitors this year to the website, so make a comparison between the 19 of us and the million that visit. We‘re in a very different place and I think you have to be very careful about recognizing that. You‘re already deep in a process that‘s bringing you closer and closer, in that sense, to the tipping point for your passenger. My work with you is to get your passenger to grasp so much that this is just a shattering process for the mundane Personality. --- PAGE 221 --- LECTURE NINE Dependent Variables and Angle Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 211 Right Angle and the Ability to See Oneself Question: Ra, do you think that the right angle has an inherent obstacle to seeing themselves clearly? I meant the right angle, the lower profile numbers. Ra: Those lower profiles, yes, yes. I think that the correct right angle has the greatest opportunity of any being. How‘s that for a statement? The future is not about transpersonal karma. Everything about what‘s coming demands the deep self- absorbed process that the right angle brings. I think that we will see disproportio- nately more and more right angles going deeper and deeper into the Human Design process, because in their world it's going to be very valuable to be right angle in the future. Written comment: Could you mention a little more about the left angle in the con- text of today's class? Ra: Your point, Inga, is a complex story. I think the left angle for the next several hundred years is mostly about reproductive strategies of the Program for producing rave children. I think that that‘s fundamentally what they‘re going to be there for. It‘s certainly not the same role as the right angle. It isn‘t to say somebody who is left or right angle or whatever cannot be fulfilled in this life, obviously. But I‘m just talking about in evolutionary terms where the advantages lie. If you enter into an age where it‘s no long the global planning and you‘re in a go- out-there-and-do-it-yourself world, to be right angle is just right, after all. So, all things have their time. Everything has its time. Question on DRR/PLR Question: Ra, when you look at this configuration and this is such a good visual image, this 1, 2, 3 together being the vehicle, what carries the passenger and then the conscious Sun/Earth sitting there inside of all of that, I still never can get when it is the Personality Sun/Earth is left and everything else is right. I don’t really know what to say to these people. It’s very confusing to me. I feel like I need to tell them to be strategic, but to let their life take them where it’s going to take them based on the other aspects. Ra: Basically, you‘re giving them the right advice because there‘s nothing else you can do. This is why the Personality is such a big deal; it dominates their lives. Eve- rything about the nature of being we interpret through the function of the Personality Sun/Earth; everything. So, if that is left, then it has to operate strategically, but it has to let go of everything else. Again, that operating strategically is only in terms of the way in which its outer authority is going to operate. --- PAGE 222 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 212 It‘s intended to really be able to see in the sense how easy it is to fall into the em- brace of correctness. I think if you have a left Sun/Earth Personality, left internal Personality and everything else is right, I think that there can be deep advantage in that of letting go. This is somebody who can really be deeply impacted by the themes of Strategy and Authority. Environment and Personality Nodes Question: When you taught us the environment and the Personality Nodes, you stayed away from fleshing it with the tonal information. I have a 3rd Tone view, but it’s not about how I see possibilities, just to use language a bit oddly, because the 3rd Tone is eyes. Is that because again it’s all just fundamentally about the left and the right-ness, or the core dynamic here? Ra: Basically, the key to this is the fact that Nodes resonate. These are resonances. The resonance level is Color. So, what we‘re looking at here tonally is that we‘re simply getting to see the very, very basic influence of Tone, but still in the reson- ance. It‘s why we can‘t see it the same way as we do the internal, because in the internal we‘re really seeing the Tone. But when we‘re dealing with resonance, re- sonance is something that operates through Color. It‘s the reason that you look at a lunar and planetary square and you see that Color is added because that‘s the resonance key. Nodes also resonate. So, this is the by- product of resonance that you don‘t have a breakdown of the tonal values. But in terms of Link Nodes and the way in which the link Nodes operate, the tonal value of the left or the right is deeply significant. I hope that clarifies it for you. All right, to all of you, thank you. Thank you, Adrian for the graph. Tomorrow we will close out our journey with a good Adrian class. I have some really fantastic col- lection of good graphs for you. Ok, to all of you, I enjoyed that. I hope you did. Until next time, until tomorrow, bye for now. ~ --- PAGE 223 --- Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 213 Lecture Ten Variable Statistical Graphing Graphs Created by Adrian Kobler Hello and welcome to all of. We've come to the end of our first Advanced Mechanics journey. I was remarking today that in all modesty, I'm just overwhelmed with what I am seeing. The mystery for me, I guess what keeps me intellectually stimulated, is understanding not simply the way in which the mechanics work within the personal context of what it is to be human on this plane, which obviously is the most important thing that Hu- man Design does to give human be- ings an opportunity to be prepared for what's coming, but it's what's coming. I guess it goes back to what it is to be an ego being as I am and to be correct in that. This ‗proving‘ business can be a real trip. I've always imagined there are cer- tain moments in my work in Human Design where I can just sort of walk away and it's done. I think part of that is just getting older. I've been doing this a long time now. I'm not able to fool myself, fortunately. The mystery of the Program has really been revealed to me and I'm at a place now where I think I'm beginning to under- stand how it actually works in the sense the way in which it is managed. The most fascinating thing about the way in which life works is that it's so deeply hierarchical. There are so many levels. It's not just a matter of the cliché of micro- cosm and macrocosm. It's about layers and layers and layers. It is the way in which everything about evolution works, the layers of crystals that peel off the Design Crystal. It is so beautifully integrated. And the same way you see that through the beauty of the crystal itself, through Base and Tone and Color and Line and Gate and so on. There are all these layers. Each layer brings not just simply a grasp of what is there, but it gives a hint of what isn't there. It's one of the miracles of the 2nd Tone. I am a great admirer of the 2nd Tone. It is this cognitive potential to be cognizant of something that you can't really be cogni- zant of. It is a gift. It is a gift of putting your head through the sky. It is just one of those things. My preoccupation, and all of you are certainly getting that from me --- PAGE 224 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 214 from just about every angle, is with Variable. And my preoccupation with Variable is a two-way street. It is so obvious through Variable you have the four transforma- tions, so in that sense Variable presents an extraordinary blueprint for individual transformation. It legitimizes my work in Variable, if I can put it that way. Pardon my black humor. Variable is the Key to Order But the other side of that is that Variable is the key to order. Given that Variable is a key to order, it means that the ability to be able to look at the evolutionary process suddenly has a way of being clearly delineated and provides an opportunity for un- derstanding the way in which incarnation works. I know a great deal about the way we come into form, what happens to us in form and what happens to us when we leave this form. But we're at a place now, at least from my perspective I am at a place now, where I'm beginning to see the mechan- ism that is behind all of that. My interest is history, the evolutionary pattern. To understand the way in which, by looking at the way life unfolds and looking at the way the incarnative program works, to begin to understand a deeper value in how this mechanism operates. So, one of the things that has benefited me greatly in this last year is the work of Adrian being able to provide me with visualizations over long periods of time involv- ing very sophisticated data in order to be able to get this look. I am, as most of you know, outer vision. So, the graphic presentations for me provide a different kind of cognitive potential. I'm at my best when I am looking at something. It is how I teach you; I look at whatever it is we're sharing as an image. But this is my key. This is the way in which I stimulate my neo-cortex. So it's very important for me to be able to visualize the complex information that we are collecting at that level and to begin to map it out. Evolutionary Views Today is not in any sense of the word a traditional class. It is sharing my enthu- siasm with you for what is happening in terms of all of this extraordinary knowledge that is unfolding, and at the same time being able to see it in such an impersonal and special context. So, I want to share with you some evolutionary views. More than anything else, and I hope that as we go along and I would like—the tendency in the group is that there are those of you who verbally contribute. I do appreciate it because I also realize that more often than not you're asking questions that are of interest to others in the class as well. But I encourage all of you as part of sharing of this intellectual process to really let yourself react, because it's the kind of imaging you don't get to see very often. By the way, the first four graphs I used this week for my holistic class for third year PHS --- PAGE 225 --- LECTURE TEN Variable Statistical Graphing Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 215 and Rave Psychology students. I wanted to inspire them about the nature of how important their work is in both internal/external Design and Personality, how signifi- cant this is and what Variable means, in that sense. Without any further ado; and again, thank you Adrian for all of this, here we go. Here's our basic setup, obviously. The Variable and Reflector Graph Let me see if I can give you a guide here so you have a sense of what we're looking at. Obviously, you're seeing the combination of Variable and type. You're seeing the combination of Variable and type from 1781, the beginning of the advent of the nine- centered being, to 2027 and that transition at the end of the cycle. So, we are looking at a mapping of over several hundred years across what is the Pluto Interregnum. In other words, in 1781 Pluto is in the 41st gate and gets to the 41st gate again in 2027, so the so-called Pluto Interregnum. What we're looking at is incarnations. You can see each grouping, each Variable, is being mapped here so you can see their movement. You're seeing this movement within the context of Reflectors. --- PAGE 226 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 216 So, as an example, look here at an example of a peak like this. And you look at a peak like this and you go down—by the way, each of these number groupings, ex- cept for this very first one, are nodal cycles, 18.6 years approximately. These are the nodal cycles. The way in which I look at mapping is through the nodal cycles be- cause the Nodes themselves are responsible for the incarnation. So what we're look- ing at is through the larger lens of the nodal cycles them- selves. This first one over here, which is only four years as you can see, is because the transition took place within a larger con- text of a larger nodal cycle. But we're just graphing it from that 1781 point because obviously that is what is significant for us. So when we're looking at something like this and we're following this line, we see that a specific Va- riable, in that Variable the amount of Reflectors incarnating is a huge burst. Now, my question is, all right, so there is this burst of Reflectors*. What is that all about? You can see that by the time you get here into the 1870s, about between 90 and 70 years apart, there is dearth of them*, let alone the peaking of this gray here*, but to see that there is a complete dropping down here of Reflectors. When you're looking at that, you also have to understand the human life span. If we take the average human life span in the 1800s, it was probably about 50 years, something like that depending on where you were in the world. So those Reflectors be- ing born here in this frame*, they were going to be alive basically until this one*, generally speaking. --- PAGE 227 --- LECTURE TEN Variable Statistical Graphing Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 217 In other words, what was the inherent purpose in having so many Reflectors on that particular Variable come in? By the way, we can go much further in our statistics. In other words, not just simply the Variable and the Reflector, but in fact what are the dependent and independent Variables, the story lines. It gets quite incredible. But just on the surface, my fascination is what happened here basically that made Reflectors so important that you needed so many of them? And what specifically was the quality of that particular Variable in that context? We know the basic function of Reflectors. Reflectors are here to see things that are outside of the norm. They're here to see things that don't fit in, they're here to see things that don't belong somehow. And the not-self Reflector always ends up in sit- uations where they have the power to be able to take advantage of that discern- ment. Again, what is going on historically at this point is being influenced by the birthing of these Reflectors at this point. It's the subject that I will be looking at next semester in my two Rave History programs. That is, being able to bring together the historical phenomena and being able to see the way in which the program prepares the ground for events decades and decades and decades beforehand through the incarnative field producing precisely what is going to be necessary for the phenomena that is going to emerge. Of course, it is not that the homogenized field is a great generalization, so it's not like saying it is determinism because it isn't in that sense. The homogenization has a certain deterministic quality. This is fodder for the mill, whatever that's going to be. So it's quite something to take a look at. The other thing you'll notice is here, because you see a trend, ob- viously. In other words, as we moved away from the last nodal cycle which we completed this year about three to three and a half months ago, we completed that nodal cycle* and we entered into this one over here*. And in going from that cycle into this one over here, you can see that we had a relative peak and we've been dropping ever since. In other words, the incarnative flow, those beings being born coming in, there are less and less and less Reflectors. There are already only a few of them. --- PAGE 228 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 218 Question: And this is just a mathematical projection using statistics, not actual people that might vary from this? Ra: I think for all of you—because this question keeps being raised between the sta- tistical as opposed to actual people as if the statistical is not representative—it's very, very important to understand that we could never get a population sample that was objective. People coming into the Jovian Archive Newcomer Center and down- load their chart, we already know that that whole collection of 400,000 data we have is not objective data. It can't be objective data because these are people who are coming to Jovian Archive, which means they're a certain slice of the population and not representative of the whole, even though they're real births, in that sense. What we get out of the advantages, statistically, out of being able to run these through logarithms at different varying points as to how many births a minute, a second, whatever the case may be, what it gives us is a panoramic statistic view that is the variation between this side or that side, the positive or negative of accuracy. I'm not suggesting this is accurate, but the variation is going to be minor. We're not doing anything different than anyone working with population statistics is doing. We're simply looking at a framework in which we gather up—and by the way, these calculations are built on millions of births in order to be able to give us an ac- curate picture. And as I stated the other day, I'm very, very secure with this infor- mation from this perspective. So, in looking at this, the thing that is very important to grasp is what's taking place here. The other thing is that it's very interesting to note that in 1781, you can see that there were very, very, very few Reflectors coming into the world. Again, that is a phase, but the reality is that what you're looking at here is rather a remarkable thing. Again, remember the big event of 1781, aside from the obvious nine-centered being, was the emergence of the Projector. So, one of the things that is so interesting here is that the origi- nal non-energy type, you can see that even this drop here*, even at its lowest, is substantially more Reflectors than there were at the beginning of the nine- centered being. As I said, this journey is for in- spiration. There are so many things to see. You can all track your own Variables according to your type, obvious- ly, and see the history of your fractal line, because you're looking at the history of fractal lines. You're looking at the history of the way, your way. It's been the way for that Variable. That represents that way. So, there is a whole history of your --- PAGE 229 --- LECTURE TEN Variable Statistical Graphing Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 219 way. Ultimately, we'll be able to get the history of story lines, personal story line histories. Time will tell. The Variable and Projector Graph Now, isn't that different? Come on, go back a step, way down here in 1781, go up a step. I talked at the beginning about being an ego being—I have seen more evi- dence of the veracity of the Voice's prophecy in these statistical graphs than in any- thing since the scientists finally discovered that neutrino had mass. It is an extraor- dinary thing to see this. Look at this level of Projector influx. The other thing that's so interesting about the Projector is that, of all of them, the Projector really stays basi- cally consistent. Now, again, you're also going to notice, because we are dealing with Variable, how the lefts and the rights really have a differ- ence. This is much more right up here, and this is much more left; in other words, the basic trend of what is predicted for 2027. --- PAGE 230 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 220 So, here you have this burst of Projectors coming in at the very beginning of 1781. If I drew this as a mystical drawing nobody would believe me. This is just population statistics. It's really quite incredible what you're looking at. And again, not just simply that you have this burst of the Projector coming in, and of course, other phases, which again are always going to be interesting. What are these peaks and valleys really about? What do they mean in terms of the overall development of what it is to be a Projector? But also the strength of right Projectors. Right Projectors are very impor- tant for the future. When you're looking at something like this, you're really looking at the emergence of and the beginning of the evolutionary track of the Projector. You can follow it through whatever happens to be your particular variation, whatever your Variable happens to be, to look at the track. You're going to see that when you're looking over there for the lefts, you're going to find them over here and they're always going to be below the rights. We have more rights coming into the world than lefts. That's why all of us with this knowledge, particularly those of you in the Primary Health System or Rave Psycholo- gy, know how important this knowledge is, what we understand about the nature of the emergence of the right and the demands of that. And also to recognize that without the proper development of Projectors, we're going to have problems as we move forward. The dark Eden says you lose knowledge and fade away. So, the only way we're going to retain knowledge is through the Projector. This is the way knowledge will be retained. This is their work. Their work is to master the systems. Without them, we will lose the resources. The last Projector who knows how to run a washing ma- --- PAGE 231 --- LECTURE TEN Variable Statistical Graphing Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 221 chine or fix it and they go, get those gloves. Anyway, pardon my humor. But that's the Projector map; an interesting one, indeed. The Variable and Generator Graph By the way, the next two graphs are divided up into Generators and Manifesting Ge- nerators so it's a much clearer image; you can see the differences which are impor- tant when it comes to certain things. Again, these kinds of events are themes that I'm exploring because they are so fascinating. For example, the Generators who came in between 1952 and 1971*, that may be quite a large chuck of people in Hu- man Design. Human Design is basically made up of these two nodal cycle groups [red boxes]. That's basically where it is. So, it's very, very interesting, for example, that so many more Generators were born in this cycle. You can see after that it is going downhill in terms of the number of pure Generators who are going to be incarnating to that low point that it gets to. By the way, that low point, there is not a huge difference, but obviously it is significant. You can also see that both the right, which is always the tendency to the top on the left of the bottom, you notice that they're both crashing in this case. In other words, it says something about the nature of the new cycle that's coming. What's predicated with the new cycle, that is, the Phoenix, is the theme of the 20/34 which says "I'm busy for myself now." And that ―now‖ is always. We're dealing with an environment that isn't going to have an infrastructure rooted in the background frequency of the 40/37 and the cross of global planning. It means that the Genera- --- PAGE 232 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 222 tor, even the correct Generator, that there is going to be a dearth of those who are going to be there to ask those kinds of things. In other words, when the individual is placed under stress, the not-self Generator is not going to do well at the be- ginning of that process. It just isn't, unless it is educated and is operating out of its Strategy and Authority. Again, it's interesting to see there was less, as an ex- ample, here*. You can see many less Generators coming into the world in the nodal cycle of 1933 to 1952, than in this cycle of the 1952 to the 1971. Again, there are all of these dif- ferent ways in which we can look at this data and begin to— well, I will begin to really interp- ret it. The Variable and Manifesting Generator Graph This one's interesting. Again, look at this in the beginning. It's very, very low. When you compare that to the Generators, look at the Generators in 1871, starting off with a big burst. Pure Generators and Projectors together, which is some kind of deep hint I think I just let out. Then you see the Manifesting Generator—very, very low incarnative process at the beginning of this cycle. You can see as well that it climbs up and it stays very much consistent. Yes, there are some obvious peaks that are very, very interesting in terms of what that leads to. --- PAGE 233 --- LECTURE TEN Variable Statistical Graphing Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 223 The Variable and Manifestor Graph Then there's my personal favorite. This is what was on the front when I opened up the class. We could call this the rise of the Manifestor. The Manifestor started fairly high anyway. The percentages are low; keep that in mind. We're seeing the graphs relative to each other, but the percentages are different in each if you look at the levels. For example, just so you can see what I mean, if we go back here [to the Manifest- ing Generator graph on the previous page] you can see that the low point here is about .75%* and you go up here and it's to 3%*. Here of course, it's very low* [Manifestor graph this page]. The high is just over 1%* and down here you're down to about 50%, somewhere in that neighborhood. You dip even lower down here, down to about .35%* or so. So, keep that in mind. It's still less Manifestors in terms of its relationship to the other populations. However, it's very, very interesting to look at. Obviously, there have been two very special peaks where Manifestors have been required. It was interesting because there was this almost panicked question from a Projector in the holistic class about, ―But, didn't you say that Projectors, this is their time and they're replacing Manifes- tors and how come there are all these Manifestors coming?‖ --- PAGE 234 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 224 Think about the age. The background frequency is going to change. When the background frequency changes, what we know is that the whole tribal, integrated, dependency world is slowly going to crumble. And we know that we're going to deal with a very individual ―for myself‖ world. We're going to be in a global cycle that starts in the 6th line of the 55 which is Selfishness. The fact is, there aren't going to be a lot of people to help you, but the advantage of Manifestors is that they can do. They can go out there and get things done. I think the most important aspect here is that this rise in Manifestors, let alone its value in the beginning of an age where independence is going to be very, very important, I also think that Manifestors show up in time to die. They show up generations before a war, to be the father for the war. I think there is a lot of that in this as well. But most of it, I think, has to do with the repro- duction or the producing of rave children. Because in fact, if you look here, this is a very, very powerful right orientation, very, very high climb here for right Manifestors. In the PHS class someone made a very astute comment that a quadruple right Manifestor is probably a very different kind of crea- ture. I can't even imagine it, particularly one that would be raised correctly. I have no idea how that would function. I really don‘t. There are so many fascinating things in all of that to imagine. Nonetheless, I call this the rise of the Manifestor. It's a false rise, by the way, be- cause like everything, the Program uses us, if I can be so—well, it just does. It takes advantage of the material that it has and it brings that material in so that it can unfold to that point. That's the thing that is so fascinating for me. It's all being set beforehand in the sense of simply the incarnative field. If you see the incarna- tive field as we do here as a homogenized whole, you're getting the fundamental theme that is at work. Comment: Actually a burst of Manifestors and Reflectors around 1896 so the guys were 18 years old in 1914. Ra: Yes, yes, yes, that's true, at the war; that is quite true. --- PAGE 235 --- LECTURE TEN Variable Statistical Graphing Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 225 Comment: Leela added the comment that a closed aura might make a good rave mother. Ra: It was Leela's comment, right, the closed aura; a good rave mother, exactly. Yes, yes. A closed aura Manifestor would make a good rave mother. It really would. As a matter of fact, I think Manifestors are ideal for working with autistic children for that very reason, that they do have a closed aura. They don't intimidate—I imagine for an autistic child to have a Generator mother must be horror; no offense, life is full of sad things. I don't imagine that feels very good. Comment: It is kind of odd that there are only a few quad rights studying Design in the IHDS. Ra: Yes, well, there is a time for everything, Cathy. This is one of those things. There is a time for everything. My formula is always the same. The 4% of the 4% until you reach them, until they know. We've had a million visitors for this year. There are a lot of quads in there. Their time will come. It's just the way it is. The Independent Variable DL-PL and Cross Angle Graph All right, let's take a look at some other pictures because this is a picture show. Now we've gone into something else. Again, it's very, very interesting to look at these things. One of the things that I am very concerned with is the understanding of the importance of angle. Here angle is something that is integrated. That is, angle be- ing integrated in relationship to the independent Variable. What is the relationship of various angles? --- PAGE 236 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 226 Again, this is something I'm just looking at in terms of long-term mapping to be able to see relationships between both independent and dependent Variables, and looking at the various ways in which that comes out. For example, here you're looking at Design left/Personality left independent Variable; in other words, your cross, your profile, your Sun/Earth configuration. You're looking at that in relationship to angle. So the number of right angles that are left/left and they're independent Variable, you can see that the way in which that operates and the way in which it moves over again that full period of time. You can see very little variation here in juxtaposition. These minor variations, everything has a value. The Independent Variable DL–PR and Cross Angle Graph Here is the Design left and the Personality right. Again, there are always going to be these things that are interesting, the way things are working, what is necessary and whether these formulas, in terms of their percentages, what their variance is from general population. All of these things come into play in order to be able to read over the long term what is really going on. Again, you will have these to look at. I just want to get to something else. --- PAGE 237 --- LECTURE TEN Variable Statistical Graphing Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 227 The Independent Variable DR–PL and Cross Angle Graph [Note: This graph was not discussed.] The Independent Variable DR–PR and Cross Angle Graph Here's the right/right. Again, juxtaposition stays relatively the same. There is an era where, in fact, it appears that there is almost, in an 18.6 year cycle, very, very few of them that actually came in. But generally speaking it's rather consistent. The thing to really consider here is how all the rights are pointed up as they move to- wards the end of the cycle. --- PAGE 238 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 228 The Independent Variable and Cross Angle Graph Here you get to see them all together. You get to see all the various Variables in re- lationship to their angles and you get to see the way in which they operate. Again, it is fascinating. You can distill that down to which Variables have higher levels or low- er levels of the various angles, and ultimately all of that leads to an answer. That's my joke. It is something really to reflect on. When you look at the independent Variable you get to see that every single one of those Variables within that family, there are different ways to integrate with the world, the way in which the mind/Personality integrates with the world. Of course, this is something that comes alive when one is correct. That is, when the circle is completed. What fascinates me in all of that is just beginning to see all the various combina- tions, because there are all these various combinations. And as I layer them over each other, to begin to see the way it works. For example, there are illustrations that I haven't shown you yet that show precisely what's missing in each Variable and where it can be found in other Variables. In other words, the interrelationship that is there, and an interrelationship that can only be met through the Right Angle. I don't mean that by the ―correct‖ angle, if can put it that way. Ultimately, what this leads to is just simply an ability to see the script, because it's a script. All of this is not layered on top of each other so you can actually see the script in the way that you can see your tonal frequency on the [un- known word] graph. You're seeing the script. You're seeing the writing of the Pro- gram. --- PAGE 239 --- LECTURE TEN Variable Statistical Graphing Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 229 Of course, what that means is that we can go deeper and deeper and deeper into understanding how each Variable, each component is designed. And designed both in the sense of the way it operates in the homogenized world and designed, obvious- ly, for the benefit of those who are going to be able to operate correctly. Q & A So, as I said it would be nice to have a discussion if there is any graph that you want to look at, that you want me to go to, I'd be more than happy to do so. If you have any thoughts about what you have seen or what you are looking at, that would be fun as well. So, I open it up to you. Seeing, Seeing, Seeing Comment: I want to refer to Lynda from a class last week, I think it was, with all this new information there is something really churning inside, some kind of knowing and patterns that are going through and it's just impossible to describe it in words. It's just very exciting. Ra: I remember when I first landed on the island of Ibiza and I met somebody the very first night who brought me to somebody's house and there were a group of people sitting there. They immediately took me in. It was rather sweet. They were rather bright people and they were having an interesting conversation. One of them was a man I would later get to know rather well. He was, I guess you could call him a guru hunter. He literally had been with just about everybody, the Indian crowd, all of their bright ones. He knew many of them. He knew many of them personally. He ended up being a modern Sufi or something after all of that. But nonetheless, he was going on about the comparisons about various people, the different philosophies and so on. At some point I said to him, ―This has been your trip, what's it all about?‖ He said to me, ―Seeing, seeing, seeing.‖ I didn't really get what he was saying to me, I must say. I really didn't. Today I think back to that and I smile. It is what it's about. And I think when you begin to see—this is the whole thing that's so beautiful about view and perspective, the Personality external—when you begin to see it, it brings— is sounds schmaltzy—it brings joy into your body. And it doesn't mean that it makes you giddy or delirious or whatever. I don't even know if that's the right word. But I don't know any other word for it. Seeing is such a beautiful thing. It's deeply stimulating. I think for some people seeing can be also quite painful. I am aware of that. And yet, at the same time, the very pain of that, in and of itself, has its own beauty because it is so deeply, pier- --- PAGE 240 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 230 cingly, revealing. It's all about seeing. Awareness is about the ability to see. It isn't about anything else. To be able to see what is and why it is, so that you don't have to do anything about it. Just see it; just watch it. This is the perfection of the pas- senger. The level that we are at now is two things. It's both the expansion of the peripheral vision—after all, that is my only rightness is my view; it's the expansion of the peri- pheral vision—and then the whole strategic work of making sure that all the pieces that form that peripheral vision are clarified and properly revealed. This is what I do with these programs, what we have been doing together, is bringing the essential detail points to understand, in the end, what it means to look at a graph like this [Variable & Reflector]. Truly I can't, I can't describe to you, at least not now, what it is that I see, because I actually feel it rather than see it. I don't even know how to describe that. This maya is so perfect. In its perfection is this incredible predictability. After all, it's not intelligent. It's not a living thing, in that sense. It's a construct. It's an evolved construct based on 15 billion years of serendipitous mutation. To be able to see it is to transcend it, truly, because I don't live by the same principles as the Program. The Program is here to serve my potential. It provides existence. It provides the magnificence of the way in which this whole process works, these forms that are evolved to this level of cognitive potential, all of the things that go with it. In a sense, I guess, it's a way of getting deeper and deeper, or closer and closer to the basic formula, how the formula expresses itself. I know that formula in physics, but it's something else to see the spark that creates life. Life comes as a by-product of the Program. So, this view is all about beginning to analyze the "it-ness." Truly, that's what makes it so special. Changing the Future Comment: I'm really enjoying the fact that we are looking at the cognitive poten- tial. It's like I've been waiting for it. So, for me I'm really pleased and I enjoy all this information in my analytical work. Of course, the not-self is great and we have to talk about it, but it's the other side and I'm really enjoying that, going deep in that. Ra: Yes, it's one of the things that I—the WA Theoretics that I do in OC16, which are perhaps one of the most extraordinary examples of what conditioning really is and the way in which we live in a maya is managed. Everything in the end about the way the maya is managed is controlled by our reproductive engine. If we have ho- mogenized relationships and homogenized children we have a dumbed down poten- tial intellectually. We have a dumbed down potential in terms of the spirit necessary to be able to break through. You cannot break through if you are homogenized. So, when I look from this perspective, that is looking here at births, looking at the incarnative flow, it is something to grasp that it is the births that make the future, --- PAGE 241 --- LECTURE TEN Variable Statistical Graphing Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 231 you know. You get to see what they're carrying and you get to see if they're not cor- rect where that goes, how that follows the homogenized line where, in fact, there are all these extraordinary possibilities to change the future, because you don't change the future in the future. You change it by raising children correctly. Then the future automatically changes. It's quite something to see. This is the gene pools. It's what it's all about. Anomalies Question: So what we are looking at in these graphs is the potential for not-self average dumbness in the sense that the Program is depending on that. Anomalies are a separate, not really figured in the way the ups and downs of the graphs look. Ra: Well, no, they will come in at the same time, but what level they'll come in on is a different story. In other words, the Program needs them to be homogenized. The vast, vast, vast majority of them will be homogenized. However, my point is that if you change birth, the way in which children are raised, you change the future. It's a no-brainer. I mean that within the context of, if we see, for example, that the Pro- jector is going to be an absolute essential ingredient for the future, then the raising of Projector children becomes a greater priority than the building of libraries, be- cause the libraries will decay and go to dust at some point, but Projectors can always carry the knowledge. So, the way in which we look at the future, we have to see the future within the con- text that the knowledge was given to me. It was given to me for children. I've been saying this for 22 years. It was given to me for children so they could be raised cor- rectly, so they were properly prepared for their time and able to be free of the way in which their fractal is being used by the Program, because that's not your way. That's the homogenized way. And you can break free of that. So this is quite some- thing. Generators and the First World War Question: I find it all fascinating, but I particularly find it fascinating this graph that you have up that the Program did not need a lot of Generators for the First World War [see the graph on page 221]. It wanted to feed the cannons with Manifesting Generators. What was that about? Aren't Generators good slaves, or did the war need particularly headlong Manifesting Generators? Ra: Ah, what a great moment. Fools rush in where wise men fear to tread. There is nothing more foolish than a Manifesting Generator jumping out of the trenches and running across into across into a blaze of machine gun fire. They're great fodder; absolutely great fodder. And they're so good at pretending that they're angry that they're really good for war. They're terrific. --- PAGE 242 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 232 Pure Generators, no, they're very different in that sense. There isn't this headlong rushing that's necessary. When you see the war counts, if you look at it you're al- ways looking at this influx of Manifestors and Manifesting Generators. It's this Mani- festing quality and all that goes with it. After all, the theme of the Manifestor is pu- nishment—punish your enemy, punish them, they do you wrong, all that stuff. A Quad Right Manifestor Comment: I had a very interesting overview reading with a Manifestor, born in the '40s, and he's had several readings. When I looked at this chart he was all Right, and he's an emotional Manifestor. I felt it was very important to alert him to his right-ness. At the end of it, he said in all the other consultations he's had that the information never really landed because he didn't get that he was closed off. And that through explaining right and how that operates through him, that he finally saw that he is sensitive to everybody around him. That it finally felt like that the piece that was missing was finally showing up and that he could finally relate to his design. Ra: By the way, it's the best mike you've had in three years. Treat it like gold. And don't ever do anything bad to it. Yes, again, it's interesting because of my comment earlier, my whole reference about how they make great mothers for rave children. We'll, they'd make great fathers for rave children, too, those quad right Manifestors. I think that's a lot of why they're coming. In a sense, it's sort of the Manifestors last revenge that they're going to help bring forward some of these raves. Manifestor Children Question: Does that mean that we should be very careful bringing up the Manifestor children that are being born now? Ra: I think you have to be careful with all of them, truly, because this is why we're here. But there is no question that according to the statistics we've been looking at, there is an enormous jump in this nodal cycle far beyond the average that we've been having for awhile. The average in the previous cycle was about 8½% of the population. And you can see that, by the way, in the statistical stuff at Jovian we collected during this nodal cycle, though we're obviously collecting beyond it, but that just happened. When we go into this next cycle, there is an enormous jump in the number of Mani- festors who are going to be coming into the world, and obviously right. You can see the strength of the right coming in as well. There is no question that children being born in this nodal cycle truly need to be raised correctly. These Manifestors need to be raised correctly. Otherwise, they are going to be obvious instruments that are going to be used by the Program. And when Manifestors are used like this by the Program, it's never really a good thing, not for the Manifestors, not at all. We have a real huge change coming. --- PAGE 243 --- LECTURE TEN Variable Statistical Graphing Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 233 A Quad Right Manifestor: Sensitive and Closed Off Question: So with an all Right Manifestor, are they more aware of their impact or are they just more sensitive to what's coming in? Ra: There's your all Right Manifestor and you can see that there is going to be more of them than any other kind of Manifestor. And all Manifestors are on the rise whether they're coming from the left or the right. You can see that it doesn't make any difference. Usually it does. Usually you see that the left is always dipping slightly when you get to 2027, but not here with the Manifestor. Manifestors are going to be in demand. Obviously, the right/right is very powerful. This is the quad right* and you can see how strong it is in rela- tionship to all of the others. So, we're going to meet them, all of us who are professionals, those of you who are working out there, the analysts who are working out there. They're going to start meeting a lot of these. We're going to have approximately 15% of the incoming population who are going to be Manifestors. That's a huge leap in the number of Manifestors. It means that within the not-self context, we're probably going to have a rise of ju- venile delinquency and all these other things, frankly; a lot of problems with youths; again, the angry Manifestors. Most of them aren't going to be raised correctly. And there's this huge amount of them that are coming in. I leave it to your imagination what that can lead to when they're 20, 30 and 40 years old. But to be specific in relationship to your question, what distinguishes the Manifestor is its very tight, closed and repelling aura. So there is something that is very odd about the quad right Manifestor. It is deeply, deeply sensitive. Yet, at the same time, it is very closed off. So, one of the things about it is that these will tend to be very, very insular beings. They are going to be very much within themselves. This ultimately is their power. So much of their knowledge is internal rather than external, the experiential know- ledge within their own process, which ultimately can be of great value as outer au- thority to others. To get to that level of awareness, again, that's quite a process. --- PAGE 244 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 234 It's a process for anyone. But for Manifestors at a late stage in their life is not nec- essarily an easy thing. The Program and Profile Numbers Question: I was wondering what sort of statistics there are on profile. I have a re- lated question. I know that there is a mathematical law that the tax people use to check if you're really making things up or not, because apparently the number one figures more times than any other number. It has to. I'm not a mathematician. Adrian might know about this. And I've seen a lot of charts with many 1s. I've seen charts with other high numbers of lines. But 1s subjectively I've seen that a lot. Ac- tually, I have eleven 6th lines and I'm kind of curious what I'm going to feel like on the 16th of February, 2027. And I'm wondering if the Program will play with profile numbers at all. Ra: Oh, yes indeed it does. I think you'll have to wait for Adrian's books or I get to that subject. Profile is one of those things that is enormously important in terms of seeing the differentiating process and all those things. But I'm more interested in your comment about the eleven 6th lines. To survive, and hopefully you will, and hopefully all of you will beyond 2027, to be somebody with so many 6th lines, you're finally going to be in the right age in the right time. I have ten 1st lines. Since 1960 when we entered into the global 1st line cycle, my life has truly been deeply, deeply connected to the world. It will be that way until 2027. It will be that way until the end of the 1st line theme. Then I will really be out of place in this world. I assume that will be very clear to me because I remember what it was like when I was 13 years old to live in a 2nd line theme, up until I was 13. Being a 5/1 I had very little connection to all of that, never really felt like I be- longed in the world. The moment that the background frequency shifted to the 1st line in its retrograde movement, my whole life changed. So, any of you who are carrying 6th lines in your design, it's the 6th lines that are going to be able to deal with the future. You can look at the 6th lines in your design. If you have them in your profile particularly, it is going to be a very important transi- tion for you. There is going to be a real shift in the way you feel about being in the world. To answer your question, yes, we look at those things. Comment: I find it interesting about the 6th line. I think I only have three in my design. It's the 55.6, the 2.6 and the 45.6. So I guess I'm kind of getting my foun- dation to get to that point so that I can survive or live during that era. Ra: Yes, I think that it's like me. I have the 20th gate, the 6th line, which is about the wisdom of being able to see how things work and all that stuff. It's clear to me that having the 6th line there gives me that gateway in my own process in the re- lease of my own vision, gives me that ability to be able to see beyond 2027 in a sense. And obviously if I live long enough to get to that point, I think that what I'll get to see is that what my 6 of my 20 saw is, in fact, what is. That's the movement, --- PAGE 245 --- LECTURE TEN Variable Statistical Graphing Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 235 to finally to come into the era in which that is what is. I don't know how else to de- scribe that. But I think you know what I mean. BG5 and Variable? Question: Ra, I have a question. One of my students was asking me—he may have heard the buzz of classes with Variables and Penta—about the BG5 and Variables. I didn't know what to say to that. I think I said ‘no’ for now, but maybe I was wrong. Ra: No, I think they're confused. That's not something I'm doing. So I don't know where that comes from. Manifestors and Penta Question: I agree. The fact that people become more receptive like Manifestors, more right beings, doesn't give them the possibility to be in groups. Manifestors are still not going to be—I believe they won't be able to be in Pentas, Manifestors are not meant to be in a Penta anyway, right? Ra: Yes, none of the basic configurations are going to change at all. It really isn't about that. Those beings who are Penta beings, it's obvious in those beings who are WA beings, it's obvious. Those people who don't belong in trans-auric forms, it's ob- vious. The basic constructs remain the same. What is interesting is that for me, part of my work in WA Theoretics is to do both ends. In other words, what we're looking at here is a way of understanding the in- carnative program. When you look at WA Theoretics, you get to see how the incar- nating program is organized on the ground. So, in that sense, there is certainly a relationship. There are in all of this—I don't even want to touch it right now—but the underlying gene pool themes are part of incarnating phenomena. That said; because I really don't want to get into that one now. For me it's obvious that the Program is designed to populate WAs. The world is basi- cally organized in WAs. Most human beings spend their entire life in WAs. If you live in a city, if you live in any environment where you're going to have more than five people at a time near you at any given time during the day, you're living in a WA. Basically, the whole world is organized in WAs. WAs are built on Pentas. So, fundamentally, there is a relationship here between this whole incarnative process in Generators and the way in which these Generators are designed to func- tion within WA. And whether they're design to function within WA within OC configu- rations, or whether they're part of the power base, all of that is inherently a connec- tion between this and the way it works on the ground. --- PAGE 246 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 236 It is too early for me in my work to even broach the subject. I still have 23 lectures to do in WA Theoretics in order to lay out all the necessary information in order to be able to take the WA construct, the Penta construct and be able to see how it is con- nected to the incarnating field. It's fantastic, all of that, but it takes time. All of this takes time. Statistics Beyond 2027 Question: Oh, that was so intriguing, that gene pool comment. Anyway, what I'd like to know is, has Adrian done statistics for beyond 2027? Does that Generator de- cline go on declining, for example? Adrian's written answer: I started. Results of the Breakdown of the Cross of Planning Ra: You see Adrian's answer, so he's started. There is a lot of material to cover. It will be very interesting to take a look at the next cycle. As a matter of fact, the di- lemma in all of that is the population statistic you have to deal with. Let's put it this way. I don't mean to paint a dark picture, but nonetheless, I will have to. Let's take what happens when you lose the Cross of Planning as a background fre- quency. The moment you lose the Cross of Planning background frequency it means that the interconnectedness and global dependency of the global economies and the way in which the basic industries of nations need to export and all of these kinds of things that are the foundation of what life is, that formula about those people waking up in New York in the morning who have to eat breakfast, their assumption is that the food is going to be there, that it's going to be there in the restaurants, in the stores or in the refrigerator. They're going to assume that there are people who are going to deliver all of those food stuffs every day. And they're going to assume that there are farmers who are going to grow it, that are going to take it to market, that are going to sell it, and so forth. All the chains that are there in the interdependency that allow our world to exist as it is are based on one thing and one thing only: the background frequency. Human beings are not such nice people. We all know that. The civility of the world we live in today, the relative civility—by the way, most of the world is not civil, at least the attempt of it—is the by-product of this Cross of Planning era. So, the first thing that's going to happen when that begins to deteriorate is that de- pendency on, for example, those food stuffs that you want in the wintertime from some place that isn't wintertime so you can have them fresh, there are certain things that are going to change. There are certain things that are going to change in that whole chain. The moment that you affect any aspect of that chain, things begin to deteriorate and break down. --- PAGE 247 --- LECTURE TEN Variable Statistical Graphing Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 237 The fact of the matter is that for most of the world, that is, the advanced world, the deterioration is something that will take time. It will take 30, 40, 50 years before it is really evident that there is a new age at work. But by the time you get to that point, as always is the case, like the financial crisis today in which those who are going to suffer the most from this are always those who can handle it least. It is the cruelty of the way in which the world operates. It is something to understand about the change from the cycle of global planning. When we move into the Phoenix, one of the first things you're going to see is the breakdown of the services that are there to provide for the other. This whole busi- ness about charity is deeply connected to the tribal bargain and its religions that are part of the tribal bargain. This is all breaking down. It will no longer be the back- ground frequency. That means you're going to have an enormous chunk of the pop- ulation that is immediately is going to be placed at risk. On any given day, we keep 40 million people alive through some kind of charity, on any given day. It's not like it's a big prediction that there is going to be some mas- sive disease and there is going to be this or that. You don't need that. The Program is going to provide it. It is a sad thing, but it is so. So, in looking ahead in order to try to understand what the population is going to be, it's rather difficult. For example, the United Nations and their population department and their statistics, they project that there is going to be a maxing out of population growth sometime around 2050, for whatever their reasons happen to be, limitations of water and resources, depleting birth rates in certain places, all this kind of stuff. But it doesn‘t take into consideration what we know. That is, that we're going to have a change in the age and the background frequency of that age. And that is going to accelerate the two billion approximate human beings on this planet who are at risk on a day-to-day basis. So, looking forward statistically, I would treat it with care. It's interesting to look, but again, I have concerns about how to treat that information. I'm certainly inter- ested in looking at it but it is something that is going to be difficult to predict. My assumption is the planet will shed about one billion people over a 40 or 50 year pe- riod, which is an enormous shedding of population. My assumption is that will come towards the middle of the century, towards the middle to the later part, the '50s to the '80s, somewhere in there. The backlash in all of this is really going to be devas- tating. Again, remember that everybody born before 2027 is going to carry the Cross of Planning in their imprinting. So it means for approximately 84 years, the Uranian cycle—obviously some people will live much longer—the majority, the frequency to try to keep things together to try to keep on looking after each other, all of that that we've had since the beginning of the 1600s, for this next 100 years we're going to have human beings who are going to be trying to hold on to it against a background frequency that no longer supports it. --- PAGE 248 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 238 So, we're going to have a mixed bag. And we're going to have areas in the world where we still have remnants of what we understand of our societies today and we're going to have other places that, literally, are going to be devastated by it. We're al- so going to have a return to regionalism in that sense. Regionalism is something that really begins to break down the greater institutions that were a by-product of the Cross of Planning and the global, sort of communicative awareness that was part of that. We‘re going to have a retrenching back into regionalism because the bar- gains aren't going to be there anymore. It's quite a shift, after all, that the next 100 years present to us. The Stock Market and Neptune in the 49 Question: You mentioned yesterday, I think, before class, or maybe last week, that you were surprised about Neptune's veiling of the 49. You weren't expecting the markets to crash quite so instantly. I wondered if you'd comment. It appears that the greed that fueled the crash was such an obvious train wreck waiting to happen, the not-self greed, I'm surprised that you're surprised that it happened so fast. Ra: Yeah, what to do (laughing). Neptune is not something that we can understand. It's so deeply difficult. Again, it's a 165 year cycle. It's not something that we're intended to grasp. There are great, great mysteries in Neptune. I don't feel any shame in my misreading of it. It's interesting to think about it. You talked about greed. I'm a dualist, so I see both sides of everything. For me, I simply go back to a theme, a theme of deregulation. What's so interesting about Neptune is that it is really a deregulator, because it's so hard to regulate any- thing under the influence of Neptune. It was so obvious to me with Neptune going to the 49 that I knew, because I know this is a histidine codon the 49 shares with the 55, the 55 does the internal mutation, the 49 does the external mutation. The 49 is the key to the way in which our world has been operating specifically for the last 400 years. It is the 49th gate that is the principles of the tribe. Living in an age of the 40/37, the 49 has taken on enormous power. It controls the resources of the tribe. It is there to satisfy the needs of the tribe. It is there to sa- tisfy the needs of the tribe for shelter, for food, for protection, for sex, for money. It's not just the financial institutions that are in trouble right now. This is Neptune on the 49th gate, and the principles upon which everything has operated over hun- dreds of years are really being changed. And yes, my past experience with Neptune transits, because I watch them a long time, is that it takes awhile until the transit passes before there is this moving away of the veil for some clarity to come through. But what I think is happening is not so much that this is what Neptune is doing, is that I think that the 49th gate is already deeply, deeply mutating. And Neptune is covering it up. It's not so much that this is Neptune's act. It's Neptune's conspiracy, if I can put it that way. It's Neptune veiling what is going on behind the doors of the 49th gate. --- PAGE 249 --- LECTURE TEN Variable Statistical Graphing Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 239 According to what I understand, the 49th gate and the 19th gate are intended to lose their connection to each other. The 49th gate is redirecting the needs. The needs are going to have to find another way in that sense. Now, that isn't something that is affecting us in the direct sense that it is affecting our channels. It is going to make a difference in terms of the way in which they used to work and the way in which they will work in the future. But the major change is for those raves who are going to be born, because they're going to have a circuitry that's influenced by this mutation and that influence is, at its deepest and most profound, now with the 49. The 49 is setting the stage for the 55. What the 55 is doing is you don't see it all, because it's all internal. It's all the neural networking and the development of the Solar Plexus awareness system. It's totally different. What's happening in the 49 is affecting everything. So, my not seeing that was that I was assuming Neptune was going to affect the financial institution. What I got to see was the 49th gate is al- ready mutating. That's the big thing. We're in the last nodal cycle. The moment we entered into this last nodal cycle, eve- rything is shifting towards that tomorrow that's coming, everything. And before the 55 is going to release this full mutation, the 49 is going to set the framework for it. It's going to set the groundwork. So, we have a huge shift taking place. Will the Markets Ever Come Back Up? Question: What about Jagruti's question. Can you predict whether the markets will recover? Ra: (Laughing) If the markets will recover…the homogenized world is based on ar- rangements. We know that; it's Cross of Planning. So, within the relative sense of the word, yes. That is, this crash is not something that is intended to destroy the society at this point. That's not what it is about. It is simply a by-product of the mutating of the 49. I certainly wouldn't invest in anything that you want a payment for in 2030. I would be very careful about anything like that. But again, what we're simply going to see is that the way in which the general re- source system has been working is going to go through some adjustment. But all of this is very superficial. The most important investment that anybody makes in their life is correctness. If you invest in your correctness, your authority will guide you no matter what the situation is. But again, you have to remember that the stock mar- ket is based on one of the essential aspects of the Cross of Planning. And stock markets will disappear so fast, they'll be one of the first signs that the world's got the flu; I tell you. --- PAGE 250 --- ADVANCED MECHANICS I A Digital Book for Advanced Students Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 240 The Source of the Crash is Housing; The Tribe in the 49 Comment: So, it kind of makes sense, obviously, that the source of the crash is really in the housing and that's the tribe in the 49. Ra: Yes, yes, yes, absolutely. The bargain between the bride and the groom has been broken. "You promised me a house." (Laughing) "I'm sorry." Yeah, sure it has. The Program is so beautiful. It is unfortunate that in the subjective reality of the homogenized world so many people suffer in all of this. I'm blessed with the fact that I'm unemotional and not particularly empathic, because it would be terrible, be- cause you can't save them. That's the saddest thing of all, isn't it? You can't save them. It isn't about that. You can save yourself. That's what you can do. And if you're really lucky and you can save yourself, maybe you can save somebody else. This is what you can do, because all these things that I look at, all of this lovely graphings, this is the iron fist of the Program driving everything the way it drives it. The beauty for us is that to see so clearly, you find your way, you take advantage of it. It makes such an enormous difference to be able to—I was given the name "Hu." I'm here to serve the human spirit, not the rave. It's the human spirit. It's the beauty of what can be us. It's the end of our movie. It's a great privilege to have an opportunity to fulfill the limitation of what it is to be us. There will be no more of us. This is really the jewel, the next 1,300 years. Those children who will be raised correctly, those children who won't have neural shutdown, those children who will plant their cross, who will have their story line, who will fulfill the potential of their cross, wow. I'd like to see those generations come into the world, because this is what we're for. We're here to make sure that those who are human are going to live out the beauty of the true human experience. And it is beautiful. There's no question about it. Anyway, I hope you enjoyed all of that. Thank you very much, Adrian, the graphs have been of great benefit. I hope all of you will enjoy pondering them. Do ponder them, by the way. I think they're very inspiring. I think it gives you a chance to step outside of yourself and see with a totally different view. To all of you, hopefully I'll see you next semester. Have yourself a nice vacation and enjoy it. Until next time, or those of you I see tomorrow, bye for now. ~ End of Advanced Mechanics I ~ --- PAGE 251 --- LECTURE TEN Variable Statistical Graphing Advanced Mechanics I is a program of the International Human Design School (IHDS) All Rights Reserved. Copyright 2008 Jovian Archive Corporation 241