Episode Transcript
[00:00:00] Second part of session 103. We're going to finish today the archetypical mine, particularly in the last card of the cycle of the mine, which is the grade way.
[00:00:14] Let's begin.
[00:00:33] As I said in the previous episode, this is the last session where we get into material that is pertaining the original books, and so I would say most of the material regarding the model of the law of one and Ron's teaching and so on. However, the rest of the sessions that we still have, which is three more, also have material that is important because of the dialogue mainly, and the type of, you know, conversation that is being exchanged between Don and Ra. So don't despair. There's still material, but it's coming to an end. That's true. However, the podcast will continue, as you might have known already, and if not, just stay tuned for what's going to come next.
[00:01:21] In any case, yes, this is the last session where we talk about love one model material, particularly the archetypical mine. There's not actually much to be covered in terms of the great way. We already had an episode where we talk about that. I forget when, but we have already covered some of the great way, the card seven of the mind cycle. The cycle of the mind. So, yeah, we're just gonna pick up. Thankfully, we cover until question nine in the last episode. So that means that now for question ten, we have totally new material that is not related to question nine. So I don't have to give any introduction, aside from what I gave already, which again, is last part of the archetypical mind discussed in the raw material. So let's get into the first question, which is question ten.
[00:02:24] Here, Don says, in that case, I have a few questions on card seven. In order to finish off our first run through a run through of the archetypes of the mine, there is a t with two right angles above, above it, on the chest of the entity. In card seven, we have guessed that the lower t has to do with the possibility of choosing either path in the transformation and the upper two angles representing the great way of the left or the right hand path in a mental transformation that makes the change from spacetime into time space. You might say, this is difficult to express. Is there anything correct? And Don chuckles in this guess, Ra says, yes, there is something correct.
[00:03:18] So Don asks, would Ra comment on that? On that which is correct?
[00:03:24] So Ra elaborates. It says the use of the tau, which is the t, greek Alphabet for ticket, and that's the one that is on the chest of the entity in the card that t and the architect square is indeed intended to suggest the proximity of the space time or great ways environment to time space.
[00:03:51] We find this observation most perceptive. The entire mood, shall we say, of the great way is indeed dependent upon its notable difference from the significator. The significator is the significant self to a greater extent, but not entirely influenced by the lowering of the veil.
[00:04:11] So I think a disclaimer that I should also mention here. I've said it already for the past year and a half or more since I started getting into the tarot or the archetypical mind. I.
[00:04:27] I haven't studied the archetypical mind. I haven't even gotten interested, remotely interested in studying the tarot. That means that I am not your best source for interpreting this just because it is in the law of one, and I'm going session by session. I like to go through it. And this is my disclaimer to say that whatever I say may not have to do much with the stuff. Study of the tarot or the archetypical mind, maybe, but I will share some of my own opinions and what I see through this. Okay, so, just an all disclaimer and warning, please don't take anything here that is of perhaps much value for the study of the Torah, especially the interpretation of the symbols and so on. I think this is something that people become passionate about, and you don't really learn much from being, you know, just jumping here and there. And that's my case. I haven't learned much from the archetypical mind other than, you know, see some reflections of what my own mind perceives and understands. There. There has been some overall broad interpretation of this system of study, so I can't say that I haven't benefit from it. It's just that I haven't developed an interest or a passion for it. And so I like to be cautious in my.
[00:05:58] In my sharing here and saying that I. I don't consider myself somebody who can give you too much value on the archetypical mind. I've said this in the past. I'll repeat it again, and hopefully that sets the stage for.
[00:06:11] For this interpretation, especially with the great mind, which I'll do my best to give you what I have learned, because it's not like I haven't studied anything about it, but I have read interpretations of other people. There are not many people who actually studied this, so, at least from the law of one, as I understand it. And, yeah, my lack of interest has also not helped.
[00:06:37] But, okay, so there is a t indicating. I think there are two t's, aren't they? If we look at the card and I'll put it up here just for you to get a reference to. There seems to be two t's, one inverted and one on a right correct angle for us to see that. I'm presuming the angles on the top of the chest. We're looking at the chest of the entity.
[00:07:08] Those are the angles that Ra describes here.
[00:07:12] Do they?
[00:07:15] Or maybe it was. It was Don who said it, but, yeah, those. Those angles. Let's read it again. The use of the town, the architect square is indeed intended to suggest the proximity of the space time, of the great ways environment to time space. So they seem to suggest that there is a touching, I guess, of the experience of space time with time space as this transformation occurs, because that's what's happening. There is a change in the view of the self.
[00:07:49] The self is going through evolution at this point. And so the great way depicts, contrary to the transformation of the mind, which seems to be a very short moment in. In the cycle of.
[00:08:07] Of the archetypical mind. The great way depicts actually the whole environment. And again, I'll give you my interpretation of all of this, how it looks in practice to me.
[00:08:17] And hopefully some of the. The symbology here makes some sense.
[00:08:24] What else they said. We find this observation most perceptive. The t. Let's go back, because I already forget what Don said in his.
[00:08:38] There's a t with two right angles above it on the chest. Yes. So the two right angles is what Don said.
[00:08:45] Let t do with the possibility of choosing either path in the transformation. And the upper two angles represent in the gray way of the left or the right hand mental transformation that makes change from spacetime into. Into time space.
[00:09:02] There is a change in space time, actually, not so much in time space.
[00:09:08] So, yeah, I think Ra is saying that, like, there is obviously something's changing when you're the environment. Let's put it this way. We say that the world changes when you change inside. Right. This is the biggest thing in the great way, because you're working with inner catalysts, with yourself, with all those things that have to do with you, as opposed to just living in the world as you have created so far. So to give you an example, somebody who is not at all interested in changing their worldview and they're just stuck there. Well, they have a great way. They also have a great way. Right. It's just that it looks, from a particular standpoint static. It's not changing much. So we can say that this person is stagnant. It's not fully. I mean, there are things that we need to process and change and, you know, inevitable sometimes. But let's take the very extreme example of somebody who's very stubborn and doesn't change its. Its ways.
[00:10:09] It's kind of rare, but just using it as an example.
[00:10:13] So their great way is depicting that. It's showing that, you know, it's just not changing much.
[00:10:23] So when this changes because of inner work, then this, the world starts changing. Yeah. And that's the proximity that I see between spacetime and time space because it's working obviously, with time space, it always is.
[00:10:43] So the entire mood of the great way is dependent upon its notable difference from the significator. So the significator is just the individualized consciousness, how it perceives itself at that point. And it's obviously changing. The significator is what changes. But the great way takes into account everything. So there is you and there is the world. The significator is you. And the world may be seen as the great way, not the world itself, but how we see the world and how we navigate the world and what are our intentions with the world. That's the sort of, you know, inward, outward relationship that is happening in the great way. And of course is being fed by catalyst. It produces experience changes, the significator transforms it, and by, as a result, it molds reality differently. So we're talking of course, about the archetypical mind, which has to do with the evolution of mind, the evolution being powered by the specific polarity that is chosen.
[00:11:54] So that's how I see the great way.
[00:11:57] It's an archetype in itself because it contains everything, right? It's almost like the living part of the archetypical mind, if I can put it that way. To me at least, right, it's that fractal that is moving and changing. And those changes, of course, are accelerated by our desire to walk this path of inner work. It always has to do with inner work, whether, I mean, I'm saying conscious inner work, everybody's doing inner work.
[00:12:31] But when you're conscious of it, you sort of accelerate that change. And it's the true self that is being manifested through this evolution.
[00:12:44] What else do they say? So the significator is the significance self to a great extent, but not entirely influenced by the lowering the veil, right? So when we lower the veil, and I guess they're talking about positive polarity here because there is no lowering of the veil. And there is. There's maybe using of the veil. I think let's pause for a second because this light of the sun is too bright.
[00:13:20] There we go. Let's regulate light. Too much light.
[00:13:25] Speaking of the positive path. So, yeah, the significant self is influenced by lowering of the veil, but not entirely, of course. And it seems like the great way is what we see is because of the veil. Right? That's. It's the beauty of creating the world the way we create it. Because of the veil. Whether you see it, you know, terrible or amazing, whatever it is in that spectrum of ecstasy of loving life or hating life because everybody's horrible, whatever. Whatever rocks your boat. I guess that's what's creating the great way of your mind, which, you know, again, it has to do with how we see the world. And how we see the world is dependent on our beliefs and our knowledge of reality.
[00:14:22] So what else does Ross say?
[00:14:27] They say the great way of the mind, the body or the spirit draws the environment, which has been the new architecture caused by the veiling process and thusly dipped in the gray, limitless current of time space. Now, this is important. This is an important part because all great ways of mind, body and spirit, in other words, how we perceive and navigate these three complexes are related to time. Okay? And the veiling process, of course, here we're talking archetypical mind, which is third density. The veiling process is the one, like I said before, is the one that produces the view of the world. So, for example, if you're highly polarized in the positive, you'll see the world beautiful. You would love it, you'd accept it, and you would have this equanimity around you that is because of the veiling process. It's not because, oh, yes, I removed the veil and now I see the world this way. You're not. You're still looking at the world through the veil, but you are piercing. You're seeing through the veil as opposed to with the veil. I guess that would be the negative entity. You know, I'm using the veil to its fullest extent to validate my existence and my. To justify my actions for dominating these poor peasants that don't know anything about anything. And of course, they're not me.
[00:16:06] And, you know, those in the sinkhole of indifference may feel a bit frustrated because the world is not reacting to what they want. And what they want is something they don't know that needs to come out, whether it's positive or negative. So they need to know that. And that's the frustration of the sinkhole of indifference or suffering, I would say, but, okay, let's move to the next question.
[00:16:36] Question twelve. Don says, I am guessing that the wheels of this chariot indicate the ability of the mind to be able now to move in time. Is this correct?
[00:16:50] Not really. I would say I have a different view. Ross says, we cannot say that the observation is totally incorrect, for there is as much work in time space as the individual who evokes this complex of concepts has assimilated. The reading gets sort of confusing for me here, so apologize if you have to read a couple of times.
[00:17:13] They say, we cannot say that the observation is totally incorrect, for there is as much work in time space as the individual who evokes this complex of concepts has assimilated.
[00:17:25] Okay, so, yeah, as many.
[00:17:32] As much work as the individual has assimilated, then there is work in time space.
[00:17:40] However, it would be more appropriate to draw the attention to the fact that although the chariot is wheeled, it is not harnessed to that which draws it by a physical or visible harness. What then, o student, links the harnesses, that chariot, the chariot's power of movement, to the chariot.
[00:18:00] Again, I don't know why I have so much trouble reading the last parts of the archetypical mind with Ra. They do speak in a very obscure way for me sometimes, and particularly here.
[00:18:14] So the first part seems to indicate to me that there is work to do in time space, meaning sort of meditation or introspection, as much work as we have taken in essence. So that's because dawn is talking about the chariots being on wheels, right. The wheels of chariots indicate the ability of the mind to be able now to move in time space.
[00:18:48] You see, I understand moving in time space as simply being in your thoughts. Right. And now moving efficiently through your thoughts. If we're talking about evolution of the mind, then would be trying to sift those thoughts that are relevant to you because they're causing a sort of, hey, look at me. There's something that you need to pay attention here.
[00:19:13] But still, the question is kind of too general. But I guess Ra understood what Don was saying, because in the ability, he says, the ability of the mind to be able now to move into time space, it's not like you reach the great way at some point, and then you can move in time space. Yeah, like the archetypical mind is always there. You know, it's a structure in which we see reality. So there is. There are some nuances here in terms of what time means for the mind. And I'll get to that. But just wanted to mention that to me, the question, I don't know if it's well formulated, and I'm surprised that Ra didn't say anything in particular other than saying that the observation is, it's not totally incorrect.
[00:20:08] And so they say that, yes, there is much work in time space as the person decided to assimilate, you know, as the individual who evokes this complex of concepts has assimilated. Yeah. So as. Right, that makes sense. The more you have assimilated experience, then there is some work in times, because you need to, once these changes happen. So, for example, we're talking about transformation of the mind prior to the great way, or to get to the great way, to see differences in the great way, there needs to be a transformation.
[00:20:45] Well, experientially, we know that when we have a transformational experience, which I have talked about in the past, these transformational experiences with which, of course, we can begin our journey or empower our journey of seeking. Seeking the mystery of the one. Ah, where that point with the transform, you need some pause. You need to integrate many things. And so there is a.
[00:21:13] There is a need for time to be spent there. Time in time space, if you will, which is, again, to me, reflection, meditation, contemplation, this sort of assimilation.
[00:21:27] Okay, so, yes, I think that's what ro links in don's question when he says that now the mind is able to move through time space.
[00:21:38] Yes. But it's only because it's invited to move into time space. So let me give you another example.
[00:21:47] Say somebody dear to you dies. You just don't go like, oh, okay, he dies. I gotta go do my stuff.
[00:21:54] There is time in which you're. You'll be forced to reflection, to, you know, to getting in touch with your feelings and looking at your emotions and so on.
[00:22:04] All these things are going to, of course, draw you to what we call time space. You're living. Your attention is not focused on the outside world. And the things that I want to do. I want to watch the show and I want to do this, and I just want to entertain myself. I want to eat this. No, you're moving to that space. I gave you a very, gave you a very strong example, but it can happen also. Like, somebody tells you something that makes you upset, you don't go immediately into your routine if you're upset. You may need some time there. So it's inviting the great way. I mean, the whole archetypical mind is working. But the great way is also, if it's. I mean, you can get upset and say, I blame it on that guy, and nothing happens. There is no. No catalyst has been processed or very little. Whereas, you know, if you sit and say, why did I get upset when this person said this to me? What's sensitive there from my part? What is my worldview here? What are my assumptions? What was I expecting? And so on? What's bringing you there?
[00:23:07] Okay, I have exhausted my limits of interpreting this.
[00:23:16] Okay. So then Ra says it would be more appropriate to draw the attention to the fact that although the chariot is wheeled in the car, that doesn't look weird. It has two sphinxes. And we'll get to that. It seems to be more appropriate. I don't know properly the symbology of sphinxes, but they seem to be related to time or to the movement of time. And I think there is a beauty here that I'll try to explain from my point of view in terms of what the sphinxes mean.
[00:23:47] So, okay, it's not harness. What moves the chariot. Then remember that the entity is holding crystal ball or what is it called?
[00:23:59] I'm going to call it crystal ball. Okay. So it's using that. And that represents the conscious mind. What does the conscious mind move with? Will? Direction of will. So the direction of will is here. Very important.
[00:24:14] And faith. Will and faith, Ra mentions all the time they go together. So in spiritual work or evolution of the mind, these two need to go together. Will and faith.
[00:24:29] They are the ones that move the chariot, in essence, because it's the one that is navigating the world as the chariot.
[00:24:40] So, yeah, that's my. And I. This. I cannot say that I. I figured it out on my own, although it stands obvious, as you look at the. The entity using the crystal ball or the one. I don't know what was the original thing. I think it was a crystal ball or something to that effect that indicated, as Ra said at the beginning, with the matrix, the conscious mind uses will. That's its main drive.
[00:25:14] So, yeah, that stands to reason there.
[00:25:19] Let's move to the next one.
[00:25:24] Don says in question 13, I'll have to think about that one. Unless he pauses and says, I'll come back to that.
[00:25:33] We were thinking of replacing the sword in the right hand with the magical sphere and the downward scepter with the left hand, similar to the card five, the significator, as more appropriate for this card. Would Ra comment on that, please? Ra says, this is quite acceptable, especially if the sphere may be imaged as spherical and effulgent. Effulgent meaning brilliant or shining.
[00:26:01] So they did change this. I won't linger too much here, but they changed this. And that's why you saw the card as being already with the left hand holding the sword and the right one holding the sphere. And again, the sphere is meant to be understood as the will of the mind, the conscious mind, which is the one looking, seeking, exploring and asking and touching.
[00:26:37] That.
[00:26:40] That's it. So they changed that modifications to the original cards and that's it.
[00:26:49] Here's another long one, or sort of for the rest of the session that we have. Don says in question 14, the bent left leg of the two sphinxes indicates a transformation that occurs on the left that doesn't on the right, possibly an inability in that position to move. Does this have any merit?
[00:27:08] Ra. The observation has merit in that it may serve as the obverse of the connotation intended. The position is intended to show two items, one of which is the dual possibilities of the timefall characters. There drawn. The resting is possible in time, as is the progress. If a mixture is attempt, the upright moving leg will be greatly hampered by the leg that is bent. So big pause here.
[00:27:42] So there are two things here.
[00:27:49] There is rest and movement.
[00:27:52] This is the nature of our being. Yes. When you go right down into what makes us what we are. Especially I love this because this is what we, in essence, explore in the way I like to teach it or show how reality works through the direct path, you know that you are aware and that awareness is stillness.
[00:28:19] And then there is experience or perceptions. These perceptions or experience is activity. It's movement, right? So there is rest and then there is movement. That is the nature of time. You see, now, we normally think of time as being linear. And there is a movement, like we're running through time. We're not running through time, we're still in time.
[00:28:48] What we perceive as time is just a series of events that we call sequence. Right?
[00:28:56] For example, if you're looking, and this is a very narrow analogy, but if you're watching a movie like in the old days, I think everything is digitalized now. But if you're watching a movie in the movie theater, the film is moving, right?
[00:29:12] But you're still. And the image on or the screen is still. It's not moving. What's moving is our things.
[00:29:23] You are the observer. Rather. Even if you look at the light, light is still. And what's moving is a sort of film, right? And that film is what projecting the light of awareness as a sort of movement. And so light can say, oh, look at me moving. I'm a cowboy, you know, police or a sheriff or whatever, you know, and there's a horse running and so on. It's just light. There is no such thing as a horse running there. It's just, you know, the shadowing of the light in different hues of colors and so on. It seems like it's moving and you're there and you have a good time. You say, wow, what a great movie. Nothing was moving, actually. It's just a plate of light.
[00:30:04] Well, this is a plate of awareness. So we think that things are moving, that we are moving through time and I'm actually moving in space, but there is no such thing. When you look at it, you're just having the same experience. It's just that it modulates, it changes, you know, and your thoughts. It's the same thing. It's not only space time. Time space is the same thing. So mind and matter, or mind, metaphysical experience and the physical experience, they both owe their reality, or illusion, rather, to the same principle of awareness. And awareness is always still, just like the light, we can say is just a beam of light. It's not we. This is why, obviously, we get to the limits of the analogy, because light does have movement within the frame of the illusion in spacetime.
[00:30:54] But it's not a full analogy. It's not a perfect analogy. No analogy is perfect.
[00:31:00] So the position is intended to show two items. That's the position of the Sphinx. And that's why I said that the sphinx represents time to me. I don't know where I got this from. Maybe from my old readings and watching videos and shows and documentaries and so on. I just don't remember, to be honest. So it shows two items, one of which is the dual possibilities of the timefold characters. You see, we're not talking about reality itself, but the timeful characters, they're drawn.
[00:31:38] We are characters here. We are the ones that are apparently moving, right? So we are the character in this movie. We are not watching a movie. We are the character in the movie.
[00:31:48] The resting is possible in time, as is the progress.
[00:31:54] I'm going to add something else to this in a minute.
[00:31:58] If a mixture is attempt, the upright moving leg will be greatly hampered by the leg that is bent. To be honest, I don't know exactly what I mean here.
[00:32:08] There is, I guess, when is resting time? You're resting and you can't sort of move without disturbing the rest. And when you're moving, you can't rest without disturbing your movement.
[00:32:29] This may be very shallow, and I admit it, but if a mixture of these two is attempt, then moving leg, the moving leg. If a mixture is attempt, the upright moving leg will be greatly hampered by the leg that is bent.
[00:32:48] So I don't know. I leave it to you, to be honest, my mind cannot go any deeper than that.
[00:32:57] Now let me finish reading and I'll come back to what I wanted to say.
[00:33:07] Ra finishes and says, the other meaning has to do with the same right angle, with its architectural squareness as the device upon the breast of the actor. Time space is close in this concept complex, brought close due to the veiling process and its efficaciousness in producing actors who wish to use the resources of the mind in order to evolve.
[00:33:32] Here is the great paragraph. So time space itself, they say, is close in this concept complex because of the veiling process and the efficiency that the veil has in producing actors, us who wish to move in evolution.
[00:34:00] So here is one thing that I wanted to share.
[00:34:08] Let me give two things.
[00:34:11] Is going to be a bit extensive, but I think we reach the end of the questions on the great way. Maybe there's one more. Let me give you this, hopefully is.
[00:34:25] It's helpful.
[00:34:29] So I'm taking from raw what they say here, right? Time space is closed because we are. The great way is in essence, how we project reality in the moment. In reality, I mean, of course, it's a combination of time, space and spacetime. But when you look outside of the world and you say, yes, you know, what a beautiful tree, what a great thing to have right now, or what a terrible scenario, what an ugly, you know, person and whatnot. All these things are projections of your inner self outside in the world, right? No need to be terrified. You can always change. And I'll talk about this. That's the point. The thing is that we first need to realize that, that for us, it seems obvious, you probably say, yeah, of course, Gabe, you know, that's obvious to me. But a lot of people don't see this. People who are not interested in this approach to reality, let's say.
[00:35:29] So when they look at reality, they just say, that's it. That's what it is. You know, it's final. Nothing can change it.
[00:35:39] And that's a very absolutist way. And we all get into that. We all have those points, right? It's just the more malleable they become, the more you see like, oh, look at that, you know, suddenly change. And I don't I don't hate people. I don't hate this kind of situation anymore. Oh, my job's not so terrible after all. Look at all the beautiful people. Wow. Look at the sunset and so on. Right? Things start to change.
[00:36:02] So that is what we are perceiving. That's because of the great way. The great way projects or adorns reality, depending on your inner self. That's why the significator is there, you know, with the sword and the thing, the crystal ball, and just moving around. Depending on what it itself is, it projects it outward.
[00:36:29] So that's why time space is brought to a close, I think, right?
[00:36:37] They're talking. See, the other meaning has to do with the same right angle, with its architectural squareness.
[00:36:45] Well, what is a square? In the archetypical mind? You will always find that it is the illusion of being in a 3d space, right? Being subject in a world, an individual, a human. I am a traveler. I am a starseed. I am so on and so on. All of that is the illusion, which, again, it's not good or bad. It's just simply how you identify. You always identify as someone in something, that something be in the world, let someone be in you however you define yourself or identify yourself. Yes. So that's the meaning of the right angle. And it's. It's built in there. It's. The significator is surrounded by the structure, and the structure obviously changes and is empowered by these elements that we talked about here.
[00:37:41] Now, because of the veiling process, it is.
[00:37:47] It's producing, in essence, this desire to evolve. And that's the character. The significator is a character that we are embodying.
[00:37:56] Now. The thing is, the significator, of course, is being empowered by the true self, which is the conscious, the unconscious mind. Yes. And that's why the significator evolves. And as it evolves, it becomes more and more the creator. Ah, that's the beauty of it. So as it becomes more and more the creator, the great way changes, and it changes into one direction or the other. Positive or negative.
[00:38:22] Let's say that the creator, once it is sufficiently channeled through the significator or the significator, feels more the creator, it will become that which is of the positive side, working with great power, the whole universe, or the negative side, working with great power as well, but on selectiveness.
[00:38:47] So that's what's happening. Okay, now, here's the thing.
[00:38:53] There is this idea that time is happening, and so we wish to evolve.
[00:39:02] There is a misconception that sometimes I feel people don't say it straight. But there is this feeling deep inside the questions that people ask about themselves and reality and all of this, especially in the spiritual path, or particularly in this. In the spiritual path.
[00:39:24] And how far do I want to go with this good example?
[00:39:32] In physics now, we ask questions about, you know, what are the things made out of? What kind of particles are they made out of? You see, you're asking a question that is, I don't want to say wrong, but it's misinformed because it's coming from the idea. And I'm trying to fast the idea that there are particles, discrete balls of thing in the universe that get together and do something and form things. This is our old notion, idea that reality is made out of blocks, building blocks, you know, ones and zeros, you know, always very masculine, right? It's just blocks of things.
[00:40:13] And we like to describe reality this way. But you can see that deep inside, there is a flaw here, or misinformation. And so rather, the question should be addressed at that point. In which case you would reform the question instead of saying, what is it made out of? It's how is it generated? How is this happening? That's a little bit closer to the issue now in spirituality, there's something to that effect in terms of what are we doing here? What's my purpose? So you hear evolution, oh, my God, I gotta get to work on that. You know, evolution, I gotta evolve and I gotta become the creator. And I gotta go reach seven density and get out of this mess, at least of third density because, oh, my God, third density is a mess. I wanna go to fourth density. There's a lot of love and understanding there, you know? Okay, so there's a flaw here in terms of how we interpret evolution. Because evolution is not about you releasing yourself from Samsara, you getting out of third density because, oh, my God, I'm so tired, you know, I come from another planet. We are six density over there. I don't know what I'm here for. Just here to give my vibe and so on, but I gotta get rid of this stuff.
[00:41:27] That is the same materialistic sort of view, if I can make the analogy there.
[00:41:34] Why? Because evolution is not about, you know, studying, working, passing, something like that. Evolution is an impulse to play, an impulse to, wow, how can things change? And of course, the more you become in touch with yourself, then things become more marvelous. So you begin to enjoy a lot more reality. Because, yes, in the end, it's all about having fun and that's precisely what happens when you stop worrying and you just stop. You start living life from that point of view in which things are okay. You know, I trust, I have faith, you know, and my will is directed towards this discernment that only the things that are aligned with my heart. I'm just gonna say that that's what produces, you know, this feeling. So you see, that's the change. And that's one of the things that we miss sometimes because of the initial question or the doubt. What do I need to do to get rid of this ego? You don't get rid of the ego. You just realize that it's not true.
[00:42:53] It doesn't define you, so you don't get rid of it anything. It's just shining some light on it, you know, getting to understand what it was. So it's just on. It's the unwinding of the mind that has been confused. And it thinks that it's a knot. It's not a knot. It's a continuous thing.
[00:43:15] It's another image.
[00:43:17] The other thing that I will share is this idea of this is how the great way to me works.
[00:43:30] There's always a change, like I said, there's always a change that is being presented to us.
[00:43:36] How we accept this change, how we process this change is really what's making the person evolve and more aligned with itself.
[00:43:48] To give you an example, we tend to think, and this is closely aligned with the idea that we have to evolve. And evolve is better than before. Yes, it's true there. But when we, for example, if we look at the world, which is such an all view of right and wrong, I'm doing things right, I'm doing things wrong.
[00:44:14] These things don't actually exist. There is no right and wrong. I mean, you can invent that if you want to label things. There is no right and wrong. What there is is just always an experience that can be enhanced. Period. That's it. So when you look at your. All your darkness, all your things that are.
[00:44:34] I can't deal with this because it's too much, you know, this is too difficult.
[00:44:40] I am this, I am that. All the darkness, all of that is just experience that can be enhanced and enhanced. I don't mean, obviously to enhance the darkness or the. How we react in ignorance of what it is that is there with the world, but enhancing this in the sense of becoming more aware of what it is. And the more you understand it, the more it seems to.
[00:45:06] The less it seems to take control over you. And now you have I don't want to say control over it, but just non influence.
[00:45:15] It doesn't have an influence on you. So that becomes your strength. That becomes something that you feel pretty comfortable with, and you're not affected by it anymore, so you feel lighter, you see? Whereas if you look at it from right and wrong, yeah, we're looking at the world a bit, you know, dualistic in that point. This is something that is blooming. Everything, every single experience is just blooming, and we're just looking at it from that perspective.
[00:45:44] I think I digress a lot, but that's. That's something that I had in mind, and hopefully it helps. Let's move to the next question.
[00:45:56] This is question 15. Don says, I am assuming that the skirt is cued to the left for the same reason that it is in card number four, indicating the distance service to self polarized entities keep from others. And I am also assuming that the face is turned to the left for the same reason that it is in card number five, because of the nature of catalyst. Is this roughly correct? There is pause here. Ra says, please expel breath over the breast of the instrument from right to left.
[00:46:30] Then that was done as directed.
[00:46:33] Ra says, I am Ra. That is. Well, your previous super is indeed roughly correct. We'll talk about this. Don is going to ask about this very instance of blowing the breath over the breast of the instrument.
[00:46:50] So your previous supposition is indeed roughly correct.
[00:46:54] Ross says, we might also note that we, in forming the original images of your peoples, were using the cultural commonplaces of artistic expression of those in Egypt.
[00:47:05] The face is drawn to the side most often, as are the feet turned. We made use of this and thus wish to soften the significance of the sidelong look. In no case thus far in these deliberations, however, has any misinterpretation or unsuitable interpretation been drawn.
[00:47:28] So let's see what the supposition, previous supposition was correct.
[00:47:35] I think it was everything, actually. This is something that Don or they notice in the cards.
[00:47:44] What is it? The skirt being skewed to the left, just like in car number four. I forget what that is.
[00:47:53] Is it because it's concealing more and it's more exposed on the right, like, mean, more open? I think that's what it was. I could be wrong. And also the turning to the left for the same reason that in car number five, because of the nature of catalyst. So the nature of catalyst being more perceived as negative, I guess. Is that what it was? Because of turning to the left. So here we see something else. Like, okay, those interpretations were right. Like, in number four and number five. Like I said, I don't remember the full interpretation of it, what Ross said, and so on and done. But I guess the most important point here is they say that they. The images. And I think it's also, if you look at egyptian imagery, I don't know. As soon as I read this, I feel or I remind myself of the images in Egypt. They're always, like, sideways, like looking to the left or the right, I'm not sure. But they were all painted that way. Not sure why. Maybe culturally their art was that way. I don't know. But they're saying that they did that because they were used to that in Egypt. Right.
[00:49:09] We were using the cultural commonplaces of artistic expression of those in Egypt. Okay. So they use it at the time. They've said several times that the imagery is dependent upon a culture that is not anymore here. So let's try to not get too hung up on what they represent.
[00:49:32] I guess we can do that. But I. I find that all of that is like trying to analyze too much a culture that we don't resonate with anymore. You know, it's old. It's like trying to resonate with our grandparents and their.
[00:49:47] It's not the same, but you get the point. Like, what is it that this now represents to us?
[00:49:53] Trying to get the essence of it rather than, you know, the imagery and the things that they did. So I don't know. Maybe if your grandparents or your grandfather used to dress really nice, maybe you don't want to dress like him, but, you know, copy the essence. Why was it nice? You know, what did he do, tailor stuff? Did he wear specific colors? I don't know. I'm going on a sideline here.
[00:50:20] So they made use of this and wished to soften the significance of the sidelong look. Okay. So they're trying to say, listen, you know, we did that in the past. It doesn't really mean that much. But at the end they say, in any case, you haven't interpreted anything that needs to be, you know, corrected or anything like, they're fine. They're fine interpretations. As we have seen over time in the archetypical mind, it's not so important to get things properly right, but rather, you know, how do you interpret them? And I guess I can, you know, bask in that suggestion, knowing that I don't need to understand perfectly what the archetypical mind is, just my interpretation of it. I just hope it's helpful for you guys, it has been helpful to me, to be honest, to a certain degree, but not enough to make me passionate about it, to be honest.
[00:51:20] Next question. I think we're getting now to the end of the session, where there's just an exchange where they talk about the instrument conditions and all that. Don says, our appropriate time for working right now, I believe, is close to a close, and I would like to ask.
[00:51:39] And he pauses. That is the two times we had to expel breath. And he pauses and says, what is the problem? Or what is. He pauses. Why in this session do we have to do that when we didn't in most others? You can see Don very concerned here, and he should be. I mean, I would be. I would have been concerned a while ago.
[00:52:02] I just commend their bravery to continue on. So he is expressing his concerns here.
[00:52:12] Ra says this instrument is unaware of the method used for contact ra. However, its desire was particularly strong at the outset of this working, for this working to transpire. Thus, it inadvertently was somewhat premature in its leaving of the yellow ray physical body.
[00:52:35] In this state, the object was dropped upon the instrument, which you call the tie pin microphone. The unexpected contact caused injury of the chest muscles, and we would advise some care, depending from this working, to avoid stress so that this injury may heal.
[00:52:54] They finish off saying, there is a metaphysical component to this injury, and therefore we wish to be quite sure that all portions of the environment were cleansed. Since this place of working has not its usual level of protection, we use your breath to do so, to so cleanse the environment which was at risk.
[00:53:15] So, couple of things here. Not too long.
[00:53:20] Carla is, in essence, unaware of the method in which they contact Ra. This was all, in essence, a great coincidence that everything aligned itself for them to have the contact. So it's a even more admirable feat, achievements that they did.
[00:53:45] But her desire is so strong that, you know, she allows the working to happen, the contact.
[00:53:52] And this somehow made her inadvertently leave her body too soon, apparently. Remember, her mind, body, spirit complex was not in the physical body.
[00:54:08] And so that's how Ra could talk without interference, basically, of her thoughts and everything else.
[00:54:14] But when that happened, it seems like they dropped a microphone on top of her chest, that sort of. I mean, we're not talking about a big microphone. You know, this was like bullet microphones, very small. You can see them in the pictures.
[00:54:31] But yet, I don't know, somehow it impacted. Maybe this is how sensitive the contact was. I wouldn't even say Carla was this sensitive, like, a little, you know, pin microphone would harm her physically, like bruise her, strongly doubt her. But the sensitivity of the contact is that maybe a small tap, like if you tap yourself on the chest or somewhere else, you feel a little, you know, disturbance there. It's like waves of movement going on. And maybe that was impacting for the whole hour. Who knows?
[00:55:09] Wells. So, because also the metaphysical.
[00:55:15] There is a metaphysical component to this injury. I'm not sure what that would be, but the.
[00:55:23] Also the place of working, the room was not as cleansed as before. And we're. We're gonna ask why now.
[00:55:34] But, yeah, that's. That's what was happening.
[00:55:38] Question 17, Don says, is the reason for the lack of usual level of protection, the fact that it has been a considerable time since we have worked in here. Months, remember, had been months since the last time. And Ross says, actually, no, that's not the reason that you haven't been here for months.
[00:55:56] Then Don says, well, what is the reason?
[00:55:59] Ra says, the lack of regular repetition of the so called banishing ritual is the lack of which we spoke. And then Don says, from this, I assume that it would be most appropriate to daily perform the banishing ritual in this room. Is this correct? Ra says, this is acceptable, or that is acceptable. So the cleansing of the room was this banishing ritual, which they mention at some point. I can't remember where. I know that I linked it in one of the episodes, so I had to look it up and see how it was performed. And I left a link to that video somewhere.
[00:56:37] And somehow I feel that this was done in the sixties, session 60 something, but funny story or interesting story. When I went to Kentucky, we watched Jim do the banishing ritual. He performed it in front of us as a sort of, you know, depiction of what they used to do. And we watched him actually do it, like three times or four times, because he. In the first one, he did a misstep. And so he corrected himself and said, because of that misstep, I need to do it again. And so he did it again, and I think he faltered one of the words at the end, and he said, that's another mistake. I need to redo it. And he did it again. He wasn't cleansing anything. I mean, probably did by doing the ritual, but he wasn't doing any cleansing for a specific work. He was just reenacting it for us. And, yeah, it was nice to see Jim do banishing ritual.
[00:57:37] I liked it. It was fun.
[00:57:41] So I think he was the one in charge of doing the banishing ritual. So I'm presuming that from that moment on, he started doing it every day. And that's how he got so good that still now, 40 years later, he still does it.
[00:57:57] I don't know if he still performs it in his house, but, man, that house was beautiful. It just felt like I was in my grandma's or grandpa's house. It was nice.
[00:58:12] So let's move to the next question. That's it for today.
[00:58:19] Don says, question 20. I don't want to overtire the instrument. We're running close to time. I will just ask if there is anything we can do to improve the contact or make the instrument more comfortable, or if there is anything else that Ra could state at this time that would aid us.
[00:58:35] Ra, we find the alignments quite fastidiously observed. You are conscientious. Continue in support one for the other, and find the praise and thanksgiving that harmony produces. Rest your cares and be merry. I am Ra. I live you glorifying in the love and in the light of the one infinite creator. Go forth, therefore, rejoicing in the power and in the peace of the one infinite creator.
[00:59:05] That power of the one infinite creator is love. That peace of the one infinite creator is itself love in motion, peace at rest.
[00:59:16] Speaking of movement, stillness, conclusions right at the hour. Mark.
[00:59:29] Yeah. So, once again, to make this a practical thing, and without obviously being a student of the archetypical mind, much less of the tarot, inner work, everything else here can be summarized in any tradition, really. To inner work, to discipline, to commitment, to devotion, whatever it is, whatever word is.
[00:59:59] Maybe all of them. Why not? Right? Because they all refer to the same thing, which is, I like to call it a commitment to truth.
[01:00:07] And a commitment to truth requires a lot of honesty. And to be honest, you have to be spontaneous, you have to be genuine. You have to be a real you. And who is the real you?
[01:00:23] This is the whole process of mental or mind evolution. We've come to a close to all the talk of the archetypical mind at this point. And we've also come to a close of the arch, not the archetypical mind, but the mental cycle of the archetypical mind. Remember, there are two other cycles, body and spirit. We didn't get to ask questions to ra, not many about it. They were all like side notes of the other questions in terms of body and spirit.
[01:00:55] But in the end, it's just one mind. Remember, it's not like you have a mind. Oh, that's my mind. And then I have a body, okay, that's my body. And it's sort of like I was given the analogy of the materialistic view. Like we're linked, they're linked somehow by some ether. And then there's the spirit. You know, it's like three things that I am made out of. It's just one continuous thing. And that's why it's called the archetypical mind and not the archetypical body or the archetypical spirit. It's one mind. And that mind, when it's localized as it is here in this experience, let's just call it. Let's not even call it illusion or third density or whatever it is, just in this experience that we're having, is filtering through this archetypical mind.
[01:01:42] But in the end, it's all about this. It's all about you being sincere. And that sincerity is, you know, that's the commitment to truth that I talk about. What is the truth? Well, undeniable truth is that I am aware.
[01:02:01] That is the absolute truth. Nobody can say, although some people like to play with this and say, oh, I can't be sure if I am aware. Well, yeah. How do you know that you can be sure? Oh, because I know. I know that I can be sure. Well, what elements of yourself is aware of? Of the knowing that you cannot be sure that you're aware?
[01:02:24] You know, it's a funny thing, but yes, the mind can get into those tangles, you know, and say, I don't know if I can know. Well, how do you know that you don't know that you can know?
[01:02:36] You have a knowing. Knowing is inevitable. Knowing is what you are. What you know is what changes. And so that's the commitment to truth. Once you know, then stay with that, start there and see what it takes you.
[01:02:57] I don't have anything to say. I wish I had more to say, but this is it. This is the last session where we talk about archetypical mind and everything else. I see that there is some other third density talk, and here and there the rest of the sessions have, of course, important material. So we're probably going to cover them in two parts each. So we're looking at ending this series in August. Can you believe that? It's been four years. For me, at least, it has been four years. Some of you have been watching this for a couple of months, and some of you have been here for years, but, yeah, it's coming to an end. Four years and four months.
[01:03:43] I was tempted to have four years. Four months. And four days. Totally. But I don't think it's gonna get to that point. We'll see. Maybe it will. That'll be interesting. But for now, I say goodbye to you. Thank you so much for being part of this journey. And I won't say anything else but leave in gratitude, peace and love. I'll see you in session 104.
