PHS Year 1 Semester 2

PRIMARY HEALTH SYSTEM
PHS Practitioner Program
Year 1, Semester 2 Lectures
Determination & Healing
Ra Uru Hu
International Human Design School

PHS YEAR 1, SEMESTER 2: Determination & Healing
Practitioner Certification Program
Transcribed/Patricia Balentine
Proofed/Eileen Smith
Layout/Becky Markley
The Rave BodyGraph™ and Rave Mandala™ are registered trademarks of Jovian Archive Corporation.
PHS is a certificate program of the (IHDS) International Human Design School

All Rights Reserved. Copyright 2006 Jovian Archive Corporation
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PHS YEAR 1, SEMESTER 2
Table of Contents
TABLE OF CONTENTS
Lesson One ..................................................................................... 1

Colors 1, 2, and 3 ............................................................................ 1
Internal and External Determination ................................................. 1
The Terminology of Design Color ...................................................... 1
The Inner Architecture of the Crystal ................................................ 4
The Color/Tone Chain Schematic ...................................................... 5
The 1st Determination: Appetite ....................................................... 7
The Importance of Experimenting with the Design ............................ 10
Realigning People to Their Predisposition ......................................... 11
The Conditioning of the Internal and External ................................... 11
Appetite Determination................................................................. 13
Determination Therapy ................................................................. 15
Color/Tone Interface for Appetite Determination ............................... 16
Survival ..................................................................................... 17
Transference .............................................................................. 17
Appetite: What You Take In .......................................................... 18
Internal: Consecutive and Selective ................................................ 18
External: Alternating or Blending ................................................... 20
Aligning the Being to its True Nature .............................................. 21
Lesson Two ....................................................................................23

Taste: 2nd Design Color ................................................................... 23
Internal and External Determination ............................................... 23
Determination and Determination Transference ................................ 23
Internal Determination ................................................................. 25
External Determination ................................................................. 26
How the Crystal Functions ............................................................. 27
The Prime Design Crystal .............................................................. 28
The Beginning of a Color Process ................................................... 29
Inner Crystal Dynamics ................................................................ 30
2nd Design Color: Taste................................................................. 31
An Open/Closed System ............................................................... 32
The 2nd Color has a Natural Resonance to the 2nd Tone ...................... 33
Transference Shows You How the Physical Body Can be Distorted ....... 34
Experimenting with the Design is Necessary .................................... 34
No Choice .................................................................................. 35
Transference Deadens the Spirit .................................................... 36
The Crystal is Perfect ................................................................... 36
Being in Transference is Natural ..................................................... 36
Brain Function and Open Internal ................................................... 37
Important for Children.................................................................. 38

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Guides for Mothers/Preventive Knowledge ....................................... 39

The Highest Possible Potential for Awareness ................................... 40
Simple Rules to Enrich the Lives of Children ..................................... 40
Transference is a Scourge ............................................................. 41
Two Things to Remember ............................................................. 41
Lesson Three .................................................................................43

Thirst: 3rd Design Color ................................................................... 43
External Determination ................................................................. 43
The Inner Crystal Dynamic ............................................................ 44
No Choice .................................................................................. 44
The Physics of Flying in Space/Fractals............................................ 45
The Importance of Being in the Right Environment............................ 46
Physical Determination: Aligning the Vehicle to the Correct Environment
................................................................................................ 46
3rd Color: Thirst ........................................................................... 48
Theme: Hot and Cold ................................................................... 49
Externalization: Wet or Dry Environments ....................................... 50
First Step: Operate Correctly ......................................................... 51
Design Nodes Moves You to Your Purpose........................................ 52
The Simple is Magical ................................................................... 53
Relate to the Client According to Their Design .................................. 54
Light: Direct or Indirect ................................................................ 54
Clients Must Accept Knowledge Voluntarily ...................................... 55
Send MMI.rave Charts .................................................................. 56
Astrocartography......................................................................... 56
Chart of Color Breakdown ............................................................. 57
Nodes: Road to the Fulfillment of Purpose ....................................... 58
There’s a Perfect Environment for Everyone ..................................... 59
Tone Determines the Color Frequency ............................................. 59
The Future of Healing ................................................................... 60
Lesson Four ...................................................................................63

Touch: 4th Design Color ................................................................... 63
The 4th Color Makes it Possible to be Human .................................... 63
The Phoenicians on Ibiza .............................................................. 64
The Magnetic Monopole ................................................................ 65
The 4th Color and its Natural Transference ....................................... 65
Keynotes: Calm/Nervous and Active/Passive .................................... 66
General Keynote: Touch ............................................................... 66
The Circumstances of Taking Things In ........................................... 67
The Calm Circumstance ................................................................ 67

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Table of Contents
The Nervous Circumstance ............................................................ 68

Ra and his Experience in 1983 ....................................................... 69
Touch ........................................................................................ 69
The Not-Self with 4th Color Internalization is Unhealthy ...................... 70
Externalization: Active/Passive ...................................................... 71
Environment is the Bedrock........................................................... 72
Internalization and Externalization, the Bedrock of Transformation ...... 73
The Disruption that is Possible When Changing One’s Environment ...... 73
Authority is Only Correct in the Moment .......................................... 74
The 4th Color Base is Open ............................................................ 75
The World of Physics .................................................................... 77
The Process of the Monopole ......................................................... 77
The Great Sampling ..................................................................... 79
A Different Approach is Necessary for 4th Color Beings ....................... 79
Being Attuned to the Frequency is Important ................................... 81
Lesson Five ....................................................................................83

Sound: 5th Color Design .................................................................. 83
The 5th Color and its Relationship to Tone ........................................ 83
Sounds Can Adjust Programming ................................................... 84
Sound is a Healing Agent .............................................................. 85
Transference to the 2nd Color can be Devastating to the Vehicle .......... 85
The 2nd Color .............................................................................. 86
Normal is Dysfunctional ................................................................ 87
The 5th Color is not Limited to its Fixing Tone Relationship.................. 88
5th Color Design Can Lead to a Connection to the Rave Children .......... 89
Circumstance and the Upper Colors ................................................ 89
The Relationship between Line and Color ......................................... 89
Circumstance is an Essential Ingredient to Well-Being ....................... 90
Internal Sound: High/Low ............................................................. 91
Transference: Focusing on What is Going Into Your Body ................... 91
It’s Not What You Eat; It’s the Circumstance that Makes the Difference 92
Sound Allows Your Digestive System to Operate Correctly .................. 93
Mutation .................................................................................... 93
Autism and Prostate Cancer Connected to Incorrect Diets .................. 94
The Low Side isn’t about Silence .................................................... 95
The 5th Color Can be Aligned Quickly .............................................. 96
Transference to the 2 Closes off the 5 to Many Things ....................... 96
External: Narrow/Wide ................................................................. 97
The Transfer Trap: 2nd Color Internal/External .................................. 98
Focused or Diffused Environment ................................................... 98
Any Environment is Ok ............................................................... 100
The 5 and the 2: Health Dilemmas ............................................... 101

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Sound: The Synthetic Field for the Whole Tonal System ................... 101
Sound: The Universalizing Level ................................................... 103
The Lower and Upper Parts Have Different Themes ......................... 103
Lesson Six ................................................................................... 105

Light: 6th Color Design .................................................................. 105
Internal and External Determination ............................................. 105
The Difference between the Lower and Upper Design Colors ............. 106
The 6th Color: Light .................................................................... 108
Internal: Direct/Indirect ............................................................. 109
Direct Light .............................................................................. 110
Food is a Difficult Aspect of the Experiment ................................... 111
Strategy and Authority Aligns the Vehicle ...................................... 112
Indirect Light ............................................................................ 113
The External: Natural/Artificial ..................................................... 114
The Difference in Working with Lower and Upper Color .................... 116
2nd Color: Opened/Closed ........................................................... 116
The Closed 2............................................................................. 117
The Upper Color ........................................................................ 117
Being in the Right Circumstance................................................... 118
Using an Objective Scientific Approach .......................................... 119
Mutation .................................................................................. 119
Solar Plexus Mutation ................................................................. 120
Mutation at the 6th Level ............................................................. 120
Rave Children ........................................................................... 121
The Mutation is not about Seeing or the Light ................................ 121
The Refinement of Energy ........................................................... 122
Raves will not be Fixed ............................................................... 123
Transcendent Feeling ................................................................. 123
Lesson Seven ............................................................................... 127

Tone/Color Fixing ......................................................................... 127
Basic Division of Tones ............................................................... 127
Left and Right Tones .................................................................. 128
The Basic Formula: Left Tone-Left Fixing/Right Tone-Right Fixing ...... 129
Alessandro .................................................................................. 131
Internal: 1.2 - Consecutive ......................................................... 131
External 6.1 Natural ................................................................... 132
Andrea ....................................................................................... 133
External 2.6 External ................................................................. 134
Becky ......................................................................................... 134
Internal: 3.3 - Hot ..................................................................... 134
External 5.5 Wide ...................................................................... 135

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Table of Contents
Birgit.......................................................................................... 136
Internal: 4.4 - Nervous............................................................... 136
External 3.3 Wet ....................................................................... 136
Cathy ......................................................................................... 137
Internal: 3.5 - Cold .................................................................... 137
External 2.5 External ................................................................. 138
Deborah ..................................................................................... 138
Internal: 3.4 - Cold .................................................................... 138
External 3.1 Wet ....................................................................... 139
Eileen ......................................................................................... 140
External 1.6 Blending ................................................................. 140
Elfriede ....................................................................................... 141
Internal: 4.6 - Nervous............................................................... 141
External 4.2 Active .................................................................... 141
Ila ............................................................................................. 142
External 2.4: External ................................................................ 143
Inga ........................................................................................... 143
Internal: 4.1 - Calm ................................................................... 143
External 1.1 Selective ................................................................ 143
Josette ....................................................................................... 144
Internal: 1.4 - Alternating ........................................................... 144
External 2.1 Internal .................................................................. 145
Kaliopi ........................................................................................ 145
Internal: 5.5 - Low .................................................................... 145
Kumud ....................................................................................... 147
Internal: 1.5 - Alternating ........................................................... 147
External 1.3 Selective ................................................................ 147
Marina ........................................................................................ 148
Internal: 3.5 - Cold .................................................................... 148
Martin ........................................................................................ 148
Internal: 4.2 - Calm ................................................................... 148
Nicole ......................................................................................... 150
Internal: 5.1 - High ................................................................... 150
External 5.6 Wide ...................................................................... 150
Paddy......................................................................................... 151
Internal: 5.4 - Low .................................................................... 151
External 2.1 Internal .................................................................. 151
Parinama .................................................................................... 152
Internal: 6.6 - Indirect ............................................................... 152

vii

Ra ............................................................................................. 153
Internal: 4.2 – Calm -- External: 6.2 - Natural ............................... 153
Spyraggelos ................................................................................ 154
Internal: 2.6 - Closed ................................................................. 154
External 5.2 Narrow ................................................................... 155
Stephen...................................................................................... 155
External 6.1 Natural ................................................................... 156
Lesson Eight ................................................................................ 157

A Tone Overview .......................................................................... 157
Sharing this Knowledge .............................................................. 157
A Look at the Illustration ............................................................ 158
Left Side: Smell, Taste and Outer Vision........................................ 159
Right Side: Inner Vision, Feeling and Touch ................................... 159
The 1st Tone: Smell .................................................................... 160
Human Design is a Science ......................................................... 161
Cognition ................................................................................. 161
Seven Ways to Cognition: The Seven Sensors ................................ 162
Immune System Defense: The Nose ............................................. 162
The 2nd Tone: Taste ................................................................... 164
Pattern Determination ................................................................ 164
Salt ......................................................................................... 165
Five Primary Salt Measurements .................................................. 165
The 2nd Tone is Always the Base................................................... 166
We are Fixed to a Specific Base for Eternity ................................... 166
Five Archetypes......................................................................... 167
A Deep Chasm between the 3 and the 4 ........................................ 167
The 3rd Tone: Outer Vision .......................................................... 167
Pattern Recognition through Seeing/Right Eye ................................ 168
The 4th Tone: Inner Vision ........................................................... 168
Differentiation/Recognition/The Left Eye ........................................ 169
Five Salt Bodies and Seven Ways to Cognition................................ 169
Everyone has a Pathway ............................................................. 170
The 5th Tone: Feeling ................................................................. 170
Experience Differentiation/Sugar .................................................. 171
The 6th Tone: Touch ................................................................... 172
The Communal Defense/Skin ....................................................... 173
The 6th Tone Does Not Bring Benefit to Humans.............................. 174
Protect This Material .................................................................. 175
Sound ..................................................................................... 175
Individuality is Impacted through Sound ....................................... 176
Sound is the Medium of the Crystal .............................................. 176

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Table of Contents
Lesson Nine ................................................................................. 179

Tone: Cognition and the Splenic Binary ............................................ 179
Eating and Aloneness ................................................................. 179
The Theme of Cognition .............................................................. 180
The Splenic Binary ..................................................................... 181
First Basic Cognition: We are at Risk ............................................ 182
Development of Strategies for Survival ......................................... 182
Internal: Expansion of Strategic Thinking Potential.......................... 182
External: Strategies of Being in the World ..................................... 182
Tone: Where the Whole Framework of Life is Established ................. 183
The Splenic Binary: Security and Uncertainty ................................. 184
1st Tone: Defense Systems .......................................................... 184
2nd Tone: Offensive Strategies ..................................................... 184
Cognition is Achieved through the Sensors .................................... 185
1st Tone: Smell ......................................................................... 186
2nd Tone: Taste ......................................................................... 186
The Immune System .................................................................. 186
1st Tone Illustration: Security ...................................................... 187
Changing the Way the Brain Functions .......................................... 188
1st Tone: Developing Strategies for Survival ................................... 189
2nd Color of Hope ....................................................................... 189
Color is Magical/Color is the Medium ............................................. 190
Key for Cognition is in the Response ............................................. 190
Alignment Changes the Physical Brain ........................................... 191
Key to Our Work is on Two Levels ................................................ 191
A Health Support Mechanism ....................................................... 192
The 2nd Tone: Uncertainty ........................................................... 194
Pattern Discrimination ................................................................ 194
Salt and Creativity ..................................................................... 195
Each of Us Has a Very Unique Specific Chemistry ............................ 196
PHS is about Health and Perfection ............................................... 197
The Most Radical Change is in the Lower Colors .............................. 197
Lesson Ten................................................................................... 199

Tone: Cognition and the Ajna Binary ............................................... 199
Tone: The Inner Architecture ....................................................... 199
The Splenic Binary ..................................................................... 199
The Ajna Binary ........................................................................ 200
No Ajna, No Maya ...................................................................... 202
The 3rd Tone: Outer Vision .......................................................... 202
Seeing What Disrupts the Pattern................................................. 203
Two Dilemmas .......................................................................... 204
Inner Vision is Not Stable ........................................................... 204

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The Emotional System is What Makes Humans Different .................. 205

Mind’s Deep Control over Us........................................................ 206
The Importance of Living the Experiment When Involved in PHS ....... 206
The 3rd Tone Theme: Action ........................................................ 207
Pattern Recognition/The Right Eye ............................................... 207
Looking at Your Food When Eating ............................................... 208
Just Watching ........................................................................... 208
Achieving Cognition through Surrender ......................................... 209
Emergence of the Unique Personality Totally Dependent on the Unique
Form ....................................................................................... 210
The 4th Tone: Inner Vision .......................................................... 211
Visually Taking in Only Certain Things ........................................... 211
Re-Seeing ................................................................................ 212
The 4th Tone Keynote: Meditation ................................................. 212
The Left Eye/Differentiation Recognition ........................................ 213
The Eron .................................................................................. 213
The 3rd and 4th Tones Enrich Mind with Powers of Cognition through
Seeing ..................................................................................... 214
The End of a Process .................................................................. 215
3rd Tone: Seeing the World as it Appears in the Maya ...................... 215
4th Tone: Seeing the World That Could be the Maya ........................ 215
Transcendent Consciousness ....................................................... 216

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Table of Contents
The IHDS PHS Practitioner Certification Program Year 1
The Primary Health System (PHS) is a revolutionary approach to well being. PHS was
first introduced by Ra Uru Hu in April 2003. As empowering as Human Design is for
the Personality Passenger, PHS is the awakening key for the Design Vehicle.
PHS is the result of years of ground laying work in the sub-structure of the Line. PHS
is based on Design COLOR.
The PHS Primary Health System Analyst program is open to any student who has
completed the ABC and Rave Cartography Levels I and II. The IHDS is the official
Human Design and Global Incarnation Index certifying and licensing authority. The
IHDS offers programs leading to official certification in both teaching and practice.
The PHS Primary Health System Analyst is such a credit program. To complete this
program for certification, students are required to complete the entire three year
program of three semesters each year. This book is a transcript of the second
semester originally taught in Winter of 2006.

xi

xii
Lesson One
Colors 1, 2, and 3
Internal and External Determination
In the 1960’s there was a kind of science fiction phenomena. There was a very pop-
ular television show that was called Star Trek. It began with some kind of very me-
lodramatic music and a line that said, “We’re going to go where nobody’s ever gone
before.” Well, I’d like to welcome you to the second semester of PHS and we’re
going to go where no one has gone before. And we’re really going to begin the
process of getting into the heart and core of this knowledge and how this knowledge
can be of use to us in terms of the well-being of others.
The first thing that I really want to begin with is terminology. It’s something really
to get about where we’re about to go. We’re about to go into a new realm of lan-
guage. Language is so important to Human Design. And the language of PHS is very
precise. One has to be very careful, and you’ll see what I mean as we move through
today’s class, that you have to be careful not to confuse what we’re actually looking
at, which is the inner mechanics of the way in which a crystal operates and the way
in which the quantum operates as a whole. So, it’s just something to keep in mind.
The Terminology of Design Color
But want to begin with language and I want to begin with the terminology of Design
Color. I think it’s very easy, or it appears to be easy on the surface that when you’re
dealing with Personality Color and you’re dealing with the language of motivation
everybody has a kind of built-in radar as to what the actual value of that word is.
When we’re dealing with determination I think that for many of you it is a question
mark what is really there in this language. So, this is where we begin and we begin
with determination and it says: A genetic predisposition to form differentiation. In
other words, determination is literally the way in which our nature points us towards
our difference. In other words, it is natural for us to be different. It is born in us to
be different. We have in this language of determination this language embodies this
imperative, this predisposition to form differentiation. No two forms are alike.

1
This is the binary, the mirror to the Personality understanding of uniqueness. In

other words, that uniqueness is something that is not simply embodied in the way in
which one perceives through self-reflected consciousness, but that very perception
through self-reflected consciousness is made possible by a differentiated form. And
what we will see, because if you look below determination to determination transfe-
rence—in other words, this transference that we know takes place at the Color lev-
el—then what you have is a conditioned predisposition. In other words, we have a
changing of the language here. This is not the genetic predisposition or the predis-
position of one’s true nature; this is a conditioned predisposition to form homogeni-
zation, not differentiation.
This is a way to really understand the way in which we are constantly, because of
our genetics, being attracted to the other and to see very clearly that in determina-
tion transference that we have this
very primary conditioning where
we’re conditioned to be predisposed
to a form that homogenizes with
other forms. Of course, what we’re
going to see that’s not simply about
trying to look like someone on the
surface, which is a Personality game,
but it is about trying to get every-
body’s liver to work the same way
with the same medicines, the same
treatment, and so forth and so on.
Of course, that does not serve hu-
manity in any way.
So, we have determination. And

again, when we’re looking at the
terminology we see that automati-
cally it is a binary. In other words,
we speak of determination and de-
termination transference. We know
it’s Color, but at the same time Color
is really something that is part of the
way in which the surface is held to-
gether. And I think that when we’re
studying at this level, the Design side, that rather than talking about it as Color that
we talk about it in terms of the difference between determination and motivation as
themes.
The next thing is that we have two kinds of determination. And of course, what
you’re going to see is that it is actually four kinds of determination. In other words,
we have internal determination, but we are also going to have internal determination
transference. So, internal determination is a predisposition that drives differentiated
brain function. This is very, very important. In other words, if I can simplify that as
much as possible, it is a predisposition in our nature to have the brain we deserve,
let me put it that way. In other words, to have a very specific unique brain and a

2
LESSON ONE
Appetite−1st Design Color
unique brain in the way in which it functions in terms of the way in which information
moves through the vehicle.
You can see that this can also be influenced by transference so that we can end up
with a predisposition that conditions us to a homogenized brain function. In other
words, that at the deepest physical level we give up the potential of our uniqueness
to embody what is a commonality. Of course, in that we lose not simply our power
in the potential of fulfillment of purpose, but obviously it’s going to impact our well-
being.
Then we have external determination. In external determination we have its binary

which will be the external determination and the external determination transfe-
rence. So here we have a predisposition that aligns to differentiated environments.
In other words, there is a natural environment for all of us to be attuned to. And it
is in our nature, if we are correct, to attune to what is our natural environment. And
obviously, you can see that in the transference that predisposition becomes a condi-
tioned homogenization, being conditioned to the homogenized environment.
You can see how much external determination transference takes place in the way in
which human beings are employed. Factories, for example, where the chances of
everybody being suited to that particular environment are going to be slim; and yet,
the way in which we have progressed is through homogenization. That is, determi-
nation transference.
Remember something about the nature of being is that all of the potential of our
self-reflected consciousness is being determined by the form principle. It’s the form
principle. When you look at internal determination and you see that it is in our very
nature to have a unique brain, to really understand the significance of that. The
more unique it is, the more it maintains its differentiation, the more it’s aligned to
what is its correct determination, the by-product is a personality ultimately, or mind,
that is going to be the direct beneficiary of that.
So when we’re looking at this terminology I just want you to be very clear of the
language that we’re going to use and this language of determination to understand
what it’s about. Of course, as we go through this class today you can see that this
becomes one of the most important tools for us. So, it’s very important that we un-
derstand the basics.
Determination, the genetic predisposition to form differentiation, and this is as spiri-

tual, a physical law as any can be. It’s something for us to understand. We are de-
signed to be differentiated. It doesn’t mean that it is easy for us to achieve that po-
tential. But we are designed for that. It is what is fixed in our nature. It is the uni-
queness that we embody.
So, here you can see that determination is a predisposition to form differentiation. It
says “a predisposition,” it can be pulled away as we see by transference. But we are
predisposed to be perfect in our form. And then, of course, the transference steps
in, and the moment that transference steps in the form changes. It changes the way
it functions, changes whether that function is an internal process or an external

3
process, there is this conditioning that takes place that brings out homogenization.
It is here at the physical level, at the form level that we can talk about differentiation
and homogenization as the basic binary.
The Inner Architecture of the Crystal
This image is one for me that is deeply inspiring, it has been from the beginning.
But I want to try to get you to understand something, what we’re going to be looking
at. Everything about the crystal is that the inner architecture of the crystal is what
creates, ultimately, uniqueness. In other words, that the inner architecture of every
crystal has a unique potential. And we have to see that what we’re looking at is
what happens when neutrino information goes through the Design crystal. What ex-
actly happens? This is what the whole point is about.
The first thing that we know is that the neutrino stream goes in through the Base.
And in essence it comes out through the Color. But you see it’s a vortex. In that
inner architecture of the crystal are layers. We call them Base and Tone and Color.
And these layers are very, very important. It means that each of these layers has
an influence over the information
of the neutrino stream. And
each of these layers aligns the
Thirst Touch
neutrino stream to a specific
geometry.
What we’re talking about is the

primary programming that takes
Taste Sound place through the crystal. If you
go back to the basics of the in-
troduction to Human Design,
Human Design is about crystals
of consciousness. We are en-
dowed with two crystals of con-
Appetite Light sciousness. These crystals of
consciousness, because our ve-
hicles are made up of nothing
but crystals, think about every
cell and understand that every
one of them has a Design crystal, that we are made up of nothing but crystals, that
the way in which information moves, is that it moves through a Prime Design crystal,
and the Design crystal that is sitting there in your Ajna Center is called a Prime De-
sign Crystal, and through the inner architecture of that prime Design crystal, the in-
formation is then spread out, passed to all of the other Design crystals.
Of course, they step down the frequency as it impacts into the biology. But you
have to see what we’re actually looking at. We’re looking at the source of the pro-
gramming. And the source of the programming is all about this inner architecture
and this relationship from the Base to the Color.

4
LESSON ONE
The Color/Tone Chain Schematic
As I mentioned at the beginning we’re going to enter into a new language. But we’re
going to do more than that. Today I’m going to introduce you to a very profound
level of insight. I don’t know how to put that. And I don’t expect it to be absorbed
right away. We have quite a process to go through in this semester. Those of you
that attended the last PHS class that I did at the Ibiza event last year I mentioned,
and I’ve mentioned it before in this course in the first semester, the configuration
you see inside this illustration is not arbitrary. It has a very specific meaning and
value.
What I want to show you and I will take you to this image first, this is called a Col-
or/Tone Chain Schematic. I don’t want to confuse you so I want to take you through
this just on the surface to begin with, but I want to give you an idea of the way in
which this works.
We have our six

determinations
going around in our
circle, the Design
Colors. If you look
Thirst Touch
at the base line for
each—we’re dealing
with a hexagon
here, so as you go
around you have a
base line that is
there for each of
the different deter- Taste Sound
minations. So for
example, the first is
Appetite and here is
this base line.
You’ll also notice
something about
base lines, all base
lines you’ll see
there is a 2 present
Appetite Light
[red circles], and
we’ll talk about that
later. But let me
just try to explain
this first.

5
So, let’s say for example that we are looking at the very first Design Color, and we’re
looking at Appetite, and the first thing you will see about Appetite is that there is a
counterclockwise movement through these aspects [blue lines]. Here’s the 1, here’s
the 2, here’s the 3, here’s the 4, then the 5 and then the 6. It actually, in fact, is a
spiral. And it’s a spiral that goes this way.
If you go over to the 6th Design Color, you will see that the spiral 1, 2, 3, 4, 5, 6
goes the other way [orange lines]. So you have one spiral going this way, you have
another spiral going this way. These numbers are the Tones. So, what we’re look-
ing at is the relationship between the Colors and the Tones.
I’m showing you this—tonight is not a night where I’m going to get into explaining
specific relationships in all of this because we have a long way to go. But you need
to see this as an underlying theme in order to understand first of all why there are
these structures, but also I need you to grasp what is going on in this inner architec-
ture.
So, here you can see you have a spiral this way and you have a spiral that way.
Let’s look at Taste. If you look at Taste you can see it starts here—1, 2, 3, goes to
the 4 here and comes back like this [pink lines]. So you have a spiral like this.

6
LESSON ONE
If you go to the other side to Sound you have a spiral that’s going the same way.
In other words, what you’re looking at wherever you look is that you’re looking at six
intertwined spirals polarized, four going in one direction, two going in another direc-
tion. And all of this is the potential in this inner structure. So, what’s actually hap-
pening is that there is this tremendous field of energy and energy movement. And
as you will see when we get down to it the actual environment for these numbers
represents different qualities of the way in which Tones will impact specific Colors.
But I want you to grasp this inner architecture of this neutrino stream moving
through and seeing that it’s going through different kinds of processes. And all of
that is leading to a field of energy. What we’re going to see is that there are specific
chains that work in certain ways.
The 1st Determination: Appetite
Let me take you back, I think that’s a powerful enough tease to begin with and let’s
deal with today’s subject matter, to begin with the 1st determination. When we be-
gin with this 1st determination we have this theme of Appetite. Obviously, when
we’re dealing with determination we’re dealing with both internal and external phe-
nomena. An Appetite for experience is in many ways the external polarity to the Ap-
petite for something specific to
take into your vehicle. Touch
But what I want you to see in this

is a number of things. Every single
one of the determinations has two
binary keynotes, and you can see
them here. So, for example, Appe-
tite—you can see it as Consecutive
/Selective or Alternating/Blending.
What you’re looking at is the inter-
nal and the external. Internal de-
termination—Consecutive or Alter-
nating—so there is the binary; Ex-
ternal determination—Selective or
Blending—that’s the External envi- Appetite
ronment.
So, let’s think about that for a mo-

ment. How interesting, for example, the difference between Consecutive and Alter-
nating. Think about just eating and think about Appetite. Here you have two differ-
ent ways in which that can operate. That is, for example, only being able to eat one
thing at a time, only having an Appetite to eat one thing at a time, only having an
Appetite when there are many things that are possibilities to eat. For the beginning
of this work I’m simply going to deal with surface things.

7
But what I want you to see is that there is a real difference. There is something else
as well, that for example if this person is going to have certain medication for a cer-
tain problem they have, there are obviously two different ways in which that can op-
erate for them—either on the Consecutive side or the Alternating side. In other
words, it may be much more successful to give them different things to take at dif-
ferent times for the Alternating than it is for the Consecutive.
By the way, we are going to be able to see which is which in a person. Again, this
has to do with the relationship between the Color and the Tone. In other words, it’s
through seeing what the Tone/Color chain is going to be that we’re going to see
where the predisposition is. Again, remember, we are looking at predisposition.
We’re going to see the predisposition for the Consecutive or the predisposition for
the Alternating and we’re going to be able to see specifically which it is.
My assumption, by the way, is that it’s likely that there are people who will have Ap-
petite determination who will have a natural tendency to both sides, because it’s one
of the things in one of the tonal attributes. But generally speaking it will be one or
the other and we are going to be able to see where that is.
If we go to the External, when we’re looking at the external we’re looking at the pre-
disposition to align to differentiated environments. It’s a predisposition to be in an
environment that is correct for one. And you can see that there is this binary that is
Selective environment or Blending environment; in other words, two very, very dis-
tinctly different aspects. If you think about the personality of the 1st Color, which is
fear, you have communalist and separatist. There are the same basic dynamics that
are there, but of course this takes on a form principle level, being Selective about
environments. This can be an example where there are some people who are so
sensitive to the wrong environments that it can be physically detrimental to their
health. And being very Selective about the environment, the need for very specific
environments is all part of this basic determination.
Yet, on the other side of it is the Blending, any kind of mixing of things. And of
course, you can see this relationship to the internal. In other words, you can see
how the Alternating is a kind of internal Blending, the mixing of things. You can see
that here when you’re looking at this form of determination you can see that one is
much more rigid and the other is much more open. It’s a basic binary that’s there.
And of course, when we’re looking at this from the Personality point of view, we have
seen that it’s very difficult to pinpoint which side is which because most human be-
ings go back and forth at the Personality level. But at the Design level it is actually
something that can be fixed. In other words, it’s not a matter of saying, “All right,
sometimes they’re Consecutive,” or whatever, and knowing precisely what to service
because you can go direct to what the determination is intended to be.
The greatest dilemma, the real dilemma is what happens in transference. The whole
thing about correctness always brings us back to the surface. But, it’s only when the
surface is still, that we have a real chance to do our work on the inside. It’s so es-
sential for the vehicle to operate correctly. This is the only thing that can continually

8
LESSON ONE
align it to its base. That is, continually align it to where it is solidly in its particular
determination.
It’s one of the things to understand about this diagram is that any aspect of a Color
that is not the base—the 1, 3, 4, 5, 6—these Tones that are not the base Tones, they
are already much more predisposed to transference. It’s just simply the nature of it.
There is already this movement away from the base. And everything is being held
by the bases, by these very special 2nd Tones. And when we get to looking at Tones
you’ll see that the 2nd Tone is something really extraordinary. In many ways it’s
equivalent to what the 4th Color is, as being an unusual element within the construct.
But let me go back to the illustration. Here, what we’re looking at is that the deter-
mination transference is something that is very, very disturbing physically. Just
think about it, if you’re predisposed to be different and the only way you’re going to
be different is by being rooted continually into what your base determination is, in
this case the Appetite. And this is the only thing that is going to allow your form to
fulfill its potential, that you can see
Touch so clearly that the moment that
transference takes place is the
moment that this is not what you’re
doing with your body anymore. So,
it’s not the themes that the brain is
getting. And remember, this is one
of things that is so important about
internal determination is that this is
about the way in which your brain
works, and the way in which your
brain is focused, what is important
for it, if I can put it that way, what
avenues is it going to use to deal
with experience.
Appetite
This being, if this is an Appetite be-
ing, this is not a being that is going
to be healthy operating through
touch. It’s not. And it’s not because touch is bad. It’s simply has nothing to do with
the way in which they are predisposed to be different which means that they have
moved into a field in which they are being homogenized. And it means that their ve-
hicle is no longer being treated correctly. It isn’t being treated correctly in terms of
what it is internalizing and it is not being treated correctly in terms of its external
environment; not at all.
The moment that you move to the transference, obviously you move to different
thematics. And of course, this is one of the things that we’re going to see is that if
you’re looking at somebody who has Appetite determination and they are in constant
transference, in all likelihood you’re going to see that they have nervous problems.
These are people that can have lethargy problems. These are people that can be
overactive. Their vehicle is over stimulated. And obviously, ultimately, it is going to
be unhealthy for them.

9
More than that, the moment that the vehicle displays homogenized form. The mo-
ment that that homogenized form is subject to wear and tear, the way that they’re
going to be approached in terms of healing is going to be related to their transfe-
rence and has nothing to do with their nature. And obviously, it is not going to be
able to help in any way, or ameliorate the problem for them.
The Importance of Experimenting with the Design
We have to see two sides of the story. We’re going to study in these years a very
deep, deep level of understanding the mechanism. Yet, we cannot forget the surface
and the simple in dealing with our clients. After all, this knowledge is important be-
cause it can be of value to other people. And our ability to be able to relate to the
other on the surface and the guidance that we can provide them is an essential in-
gredient in what we can do to be of value for them.
One of the basic things is that you cannot help anyone unless they are experiment-
ing with their design. And regardless of what level of awareness or personality de-
velopment they may have, how essential it is to understand that their vehicle needs
to be quieted—it is how I think of it, this constant tension that is part of the not-self
body. I’m accused of being very reclusive and I am. But I’m also a Manifestor with
my kind of aura. Occasionally I’ll go into my local village and I have a cup of coffee
or lunch there and the auras are so disturbed. I have three open motors so I get
this intense frequency.
It’s so obvious to me that what I’m feeling is the transferred determination and how
shattering that is for the vehicle, at least in terms of the aura. How the aura is un-
healthy as a result of that. And that you can feel the malaise, I don’t know how else
to describe it. I don’t go out very often for that very reason. But anyway, it is quite
something.
So, we have to see in dealing with our clients that we are going to have to make
sure at a therapeutic level that they are supported in the experiment of operating
correctly. This is something that is essential. Without that as a foundation it’s very
difficult to be able to be productive with them because so much of the dilemma be-
gins with not operating correctly, the power of the not-self, or the power of the
transferred determination. I think that transferred determination is a greater de-
structive force than the Personality’s not-self.
It’s obvious to me that when somebody experiments with their design, even if their
Personality is having dilemmas with the whole process, the fact is that you can see a
transformation in them anyway despite the passenger because you’re directly im-
pacting the vehicle. The moment that you can take anybody and align them to at
least the proper surface function, you can then begin to take away the constant rein-
forcement of the homogenization.

10
LESSON ONE
Realigning People to Their Predisposition
Think about the way in which this theme works. The determination: A genetic pre-
disposition to form differentiation. So we are designed to be predisposed to be dif-
ferent, but how? We are conditioned to be predisposed to form homogenization.
That’s what the conditioning is doing. That’s much more, at least from my perspec-
tive, much more damaging than what happens to the Personality and its not-self
from the Personality level. The fact of the matter is, the moment that the form is
homogenized, the risk is not that you’ve got a screwed up mental life, the risk is that
you’ve got a screwed up body. And that you’re not operating the way you should,
and your brain is not operating the way it should, and this is something that can be
devastating. So much of the healing begins with simply trying to realign people to
what is their predisposition.
I’m struck by something. I never liked the idea of the Judeo-Christian myth that we
are not born perfect, that this is our great trial. I’ve never seen it that way. I see
the perfection. And yet, I must say how odd that when you get down to the Design
level and you look at this, you see something rather remarkable. We are predis-
posed; nothing more, nothing less. It’s fascinating to think about that. And you can
see from the history of our civilization, of our specie for that matter, that that pre-
disposition hasn’t been an enormous advantage for awareness and consciousness
and well-being. It hasn’t. It’s quite something.
So, this business of being conditioned to form homogenization, this is the great med-
ical super threat. This is the thing that starts everything going wrong. The heart
and soul of the lack of well-being on the physical plane is a conditioned predisposi-
tion to form homogenization. So when we have a client who comes to us and they
are ill, it is absolutely essential for us to remind them that this is just a predisposi-
tion. We are predisposed to be perfect and healthy.
It is seven years now, knock wood, since I’ve been ill. The last time I was ill was in
1998 in Sedona, Arizona. It’s an interesting thing about the alignment of your form.
That the alignment of your form is something that brings extraordinary benefits, ex-
traordinary well-being. It’s not that I can set myself as an example because I can’t,
we’re all unique. But it’s really something to understand that the disease, the great
sickness out there is this conditioned predisposition to form homogenization.
So, not belaboring the point, but it’s an essential one. We have to see that with our
clients it must begin with the basics. If they’re not ready to operate at the basic lev-
el of the experiment, there is little that we can do with the insights and the therapies
that we could possibly offer. They have to be there first.
The Conditioning of the Internal and External
The second thing is to think about the Internal and External and the way in which
that conditioning leads to the dilemmas of the form. If you are being conditioned to

11
have a homogenized brain function, wow, it’s spooky, it’s like big brother. It’s like
planting electrodes in everybody’s head and having them all hear the same things
running through their mind all the time, if you take that to the extreme. What we’re
looking at is this pressure to conform the way in which the brain organizes the func-
tions of the vehicle. And ultimately, the way in which the mind is going to operate.
And yet, you can see what for me is a deep, deep spiritual level that we are predis-
posed. There is this predisposition that drives differentiated brain function. This is
our predisposition—to have a different brain. Think about it. Think about—I don’t
want to insult anybody, but sit down and think about the people that you meet and
you have coffee with and you chat with and you see on occasion and so forth and so
on. Aren’t they all alike—what they think about, what they’re concerned about, what
they’re talking about? Aren’t they? Well, they are. It’s sad, but true. This is the
homogenization process and it’s a killer.
Why do you think we get so excited by genius and these individuals that suddenly
emerge out of nowhere with something really incredible. It’s like, wow, it’s still out
there. But it’s all of us. This is the great dumbing down of humanity—this homoge-
nized brain function. And again, healing begins with correctness and correctness at
the most basic level—operating according to your Strategy and Authority. This is the
key.
One of the advantages with people that are sick is that they don’t come to you be-
cause of their Personality. They come to you because they have a vehicle problem,
and like any medicine, they’ll take it. It’s what human beings are like. So, there is a
real advantage. “Look, you’ve got to do this. Otherwise, there is no chance in being
able to help you. You do this.” And then you begin to lessen the degree of which
homogenization can take place; you begin to open up the possibility of being able to
return them to their base.
One of the things that I’m going to discuss a lot is how do we bring a client back to
their tonal base. And remember that the tonal base is always going to be this out-
line of one of the six aspects of the hexagon. So, this tonal base is something very
important because this is the pure alignment to one’s natural determination.
So, everything begins with understanding that anything we can do—think about it—
for the client begins with they have to follow their Strategy and Authority. There is
nothing else we can do. It has to begin with that. It’s very important to grasp that
because what we can offer are ways in which we can align them to what is their base
and how their base actually operates. For example, is it operating Consecutive
/Selective? Is it operating Selective/Blending?
Remember, that when we get to look at it in a chart [below] we get to see, and I’ll
put up the example now just so you can have a look at it, when we put it out in a
chart and we’re looking at the internal we also have to see that there is a specific
nature and dynamic to the way in which that operates. What we’re talking about in
analysis here is going to bring us into an analysis of the value of Sun/Earth in terms
of what it means in terms of the Internal. And of course, what the external is
through the Nodes.

12
LESSON ONE
The Nodes and the Sun/Earth, this Cross of Life, takes on a very specific meaning
here when we’re dealing with determination because we are looking at the Internal
and the brain function with the Sun, and we’re looking at the External. And more
than that, what we’re looking at is the conditioned ability, the openness to condition-
ing that is there in all of that. What level of openness to transference is there in the
client, and how is the transference going to operate.
Appetite Determination
When we’re looking at the determination we have to see that this Appetite determi-
nation that the real dilemma is that the being’s on the other side. That the being is
in the touch, is homogenized as conditioned to be predisposed to be calm/passive
physically, to be nervous/active physically, something totally different from the way
in which the theme of Appetite determination works.
Everything about a being that comes in with Appetite determination has to do with
what they take into their body as sustenance, it is absolutely essential for them that
it is correct what they take into their body to eat. And you’ll see in the lower three,

13
that is the 1, 2 and 3 of determination, we will see how important it is—the quality,
the nature, the type of food. And if this being isn’t taking in, let alone that they’re
not taking it in correctly, but they’re not taking it in at all in that sense, there is no
focus on that. And the way their brain is attuned through the homogenization is that
it is through the 4th determination of touch that everything works, that their well-
being works.
There is something else. When you look at Appetite determination you see Consecu-
tive/Selective with that Sun/Earth, and Alternating/Blending is North Node/South
Node. In other words, not
Touch only are we looking at this
in terms of seeing the ba-
sic keynote through its ad-
ditional binary, but under-
standing that it’s specifi-
cally related to aspects
within the design.
Of course, that ultimately

is the final step in our
journey, that as we go
down to come back up, to
get down to the basement
to come back up, what
we’re going to be able to
see is that as we move
from Base to Tone to Color
Appetite
we’re going to be able to
see the way in which the
inner determination, the
way in which that is fo-
cused on certain organs,
certain glands. It is focused in certain places within the vehicle. And at the surface
we’re going to see that those particular organs or glands or whatever the case may
be, that that’s where the attention has to be, that if those areas are healthy, then
the vehicle as a whole is healthy.
So, this whole chain is something that is enormously exciting to look at. And we’re
going to be able to map out these ultimately complete chains so that we can go from
the neutrino entering in through the Base, coming out through the Color and ending
up as whatever, a biology, and being able to read those specific tracks so that we
can then design both from an allopathic and homeopathic and holistic point of view
the kinds of things that will be of value, relative to that chain. And all of those
chains—there are a lot of them—are going to lead us to the ultimate recognition of
the mapping of this predisposition to be unique, and this predisposition to be physi-
cally unique.

14
LESSON ONE
Determination Therapy
I find it extraordinary. We know that, in a sense. We know that other than the oc-
casion of twins or multiples, that we see that there is this distinctness between us.
And yet, we have enormous commonalities that we express as certain kinds of body
types, certain kinds of bone types, certain kinds of facial shapes. I think about the
phrenology people who play with the bumps on your head to find your uniqueness.
It is clear to me that the more it seems we look alike, the less successful we’ve been
in terms of differentiating. It’s like one of these fears of the clone world. That’s re-
ally spooky because you know that differentiation died. Yes, there will still be diffe-
rentiation at that level because unless all of the clones come out at exactly the same
moment at exactly the same place, there will be always differences. However, I
want you to grasp that every body is predisposed to being a unique physical body, a
truly unique physical body. It is the potential.
It’s one of the things that always fascinated me about the thyroid. The thyroid is a
differentiation machine. It’s the closest we come within the vehicle to an instrument
that really demonstrates this predisposition to differentiation. And it’s so important
for us to grasp, this is the whole road and the road is physical.
I do love the form principle. It’s physical. If the medium is perfect, then the inter-
face is going to be wonderful. Give me this perfect vehicle with its perfect function.
And when I say “perfect” all I’m saying is the correctness of its unique predisposition
to be differentiated so that it is differentiated, then the self-reflected consciousness
that will emerge out of that will be appropriate. It just will. It lies within the form.
And of course, my whole thing is that it seems to me from where I sit that we can
actually begin to see how we can help people reach this goal. And it’s like Design on
the surface, in a way. You don’t have to awaken to benefit from Design. You don’t
have to be perfectly differentiated for your body to benefit from determination thera-
py. I think this is the thing that’s so important is that the more we move any vehicle
towards it predisposed uniqueness, the more we enrich the life of the passenger.
We’re pointing towards a healthier vehicle, and more than that, that the vehicle
aligns to its purpose.
The purpose isn’t simply the Personality’s assumption of purpose. It gives the Per-
sonality something to do in the back seat. Our purpose is embodied in our forms.
This is the vehicle, this is the Holy Grail, the great vessel, this is the magic, this in-
strument is the magic. And here we can see that the instruments are not homoge-
nized. They’re not intended to be. We are each intended to be these holy chalices
of absolute perfect uniqueness. It is our predisposition. Oh, do I love that—our pre-
disposition. Our job I think is to make it possible. Well, we’ll see, anyway.

15
Color/Tone Interface for Appetite Determination
In the illustration that I have up now is the Color/Tone Interface for Appetite Deter-
mination.
It’s very important to

see that this spiral of
information is really a
way of grasping how
complex any of these
determinations are.
When you’re thinking
about the Tones, if
you can imagine the
way in which—this
illustration is better
[right]. In looking at
this illustration, what
you get out of these
six particular Colors
all operating out of
their bases and the
spirals they create,
that actually what
you get is three
double spirals.
That is, for example, I showed you how the

Appetite is going this way [above, blue lines]
and Light going this way [orange lines]. They
form a double spiral, a helix going in different
directions, like a double helix. The same
thing is true of Thirst and Touch. So, what
you’re looking at are three different double
cycles. You’re looking at three different con-
centric circles.
If I take you back for a moment to the Col-

or/Tone Interface [left] what you need to fo-
cus on at the Tone level here is that the
Tones are actually divided into three groups.
The 1st and 2nd Tones are Splenic. The 3rd
Appetite
and 4th Tones are Ajna, and the 5th and 6th
Tones are Solar Plexus. It’s really something
to understand that the way determination is
going to operate is that it is going to operate

16
LESSON ONE
through one of these particular tonal qualities.
And also to see that when you’re looking at all of the Color/Tone relationships and
these three concentric circles—next week, because I have a different set of illustra-
tions I’ll be able to show that to you—if you’re looking at these three concentric cir-
cles that are in there, you can see that in every single one of them this 2nd Tone,
which is Splenic, it is this Splenic Tone that is the root always of this.
Survival
Now, the reason I bring this up or just point it out and I just want to give you more
familiarity with this is to see that the perfection of being predisposed to being diffe-
rentiated in form is a matter of survival. It is one of the things that is the grounding
of what is the 2nd Tone. The 2nd Tone is deeply connected to our potential to survive.
It’s something to be so clear about is that this is not just a question of helping
people that are ill, it’s about understanding that we are all here to be aligned to our
uniqueness because that is our guarantee of our survival in the sense that, I’ve men-
tioned this in gray courses, we basically emerge with a kind of predisposed time on
the planet. And I say predisposed because other things can get in the way. If you
could take a vehicle from the beginning and not have anything, disease or car crash-
es or whatever, happen to it, and it would live out the fulfillment of its potential it
has a limit of how long it will survive. That would, in most cases, be a nice ripe old
age.
Transference
The reality is that this is what the 2nd Tone points us at. In other words, this unique
differentiation of the form is what is healthy for us. It is our basic survival. It also
means something else. There is less wear and tear. Every time that you transfer
away from your determination there is more wear and tear on your vehicle. There
just is. It’s my assumption, by the way in case any of you are interested, is that if
you operate correctly and I mean from birth and you have all the advantages of be-
ing helped to align, remember I see the major dilemma is transference. I think all of
us at some point will realize that this is the dilemma.
So how do we stop transference? We know that transference always takes place. In

other words, because we are only predisposed there is always the presence of trans-
ference as a potential. So, the moment that you’re operating correctly at the surface
then you lessen the power of transference to keep you transferred. In other words,
as long as every decision, because it’s really rooted to decisions, as you make each
decision the correctness of that decision realigns you to your correct determination.
My assumption is that when we get through this process we’re going to be able to
come up with therapies, remedies, whatever you may call it, companions that will

17
help keep the alignment to your base even stronger between those decisions, be-
cause it’s between the correct decisions that the openness to transference is there.
But this is the key. It is really the whole story for us. And one of the advantages
that we can have in being able to understand the chains is to be able to provide that
service that will help maintain that being in their base. And it’s these base Tones,
and I don’t mean to confuse terminology because we deal with Base in another lan-
guage here. I will have to give it another name, whatever we call it, the foundation
Tone or whatever it is, this 2nd Tone is going to be a key to our work because our
ability to bring people to that, being able to realign them to that is something that is
going to be very important in providing for well-being.
Appetite: What You Take In
Ok, I sidetracked enough there. Let’s go back to our story. So we have somebody
who has Appetite determination. The first thing that we know is that their founda-
tion in life is about what they take in. Not simply a matter of what they take in, but
what they need to take in also has to be available. And that’s something to think
about.
This duality that we have between the internal and the external—for example, let’s
say that internally it’s very important for you that you have some particular herb and
if you can’t be in a place where that is available, that’s a problem. And it’s some-
thing to understand about the relationship between the inside and the outside. And
that the inside and the outside are going to be different. It’s just one of those things
that we have to deal with in the complexity of all of this, after all.
You can and will have a different Color for your Nodes as you do for your Sun/Earth.
And of course, obviously that is going to add to the dilemma because it is trying to
find a way to bring those two aspects together, and to bring them together in a
healthy way. So, it becomes something that’s quite complex.
Internal: Consecutive and Selective
The Appetite determination, let’s talk about the Internal. When we talk about the
Internal we’re talking about the Consecutive and the Selective. So, let me move
along for a moment and again, this example of this chart was what I used at the
close of the first semester just to keep some continuity. Here we’re looking at the
internal determination and we’re looking at the Consecutive and Selective.
So, the first thing is that it’s essential to see that the whole theme of the Consecu-
tive and the Selective, this theme is here. And when we’re dealing with the Internal
we are dealing with this Consecutive. This is very important. So, for example, think
about it in terms of the 29. The 29 is a ‘yes’ gate, it’s a gate to entering into things.

18
LESSON ONE
Of course, what is healthy for this being is to be entering into things one thing at a
time, one thing after the other. Or perhaps there is a variation.
In other words, when you’re looking at the structure here you can see that the whole
Internal is that it’s absolutely essential that they’re operating either on one side or
the other. Remember,
it’s not like there will be
sometimes this and
sometimes that. It’s not
the way we are de-
signed. It is one of the
true subtleties. And
again, it is something
that we are going to see
through the way in
which the Tones interact
with the Color level. But
it’s one or the other.
Let’s take the example

that it is Selective. We
know from the analysis
that it is Selective.
Then here we can see that there has to be a real concern about the way in which one
enters into activities. More than that, the 29th gate is a sacral gate. Obviously, as a
sacral gate it’s also connected to the reproductive organs. In other words, we can
begin to make all kinds of associations about how this is operating here on the sur-
face.
But it’s something for us to see that, and I’m making no attempt by the way to do
any kind of analysis. This is for later. I just want to give you a sense of the layers of
the complexity and again to just see the track that we’re going to follow. My real
concern in this semester is that we have a deep understanding of the determination
and the way in which it operates and its relationship to Tone so that when we go into
the third semester we can go into the tonal level and at that point begin to start to
build a story. That is, a Tone/Color to the line story.
But here I just want to give you a sense of realizing that our advantage point is the
surface. In other words, when we’re dealing with a client this is where we begin, we
begin with their surface because that’s what we get. And we have to be able to see
clearly the way in which their surface operates and the way in which these themes,
their determination themes operate.
You can see, for example, that if we just speak about the overall quality, this Appe-
tite for experience as an example. And obviously, this is a definition. You’ll see like
in the case of the 30th gate where it’s not defined that this is an aspect that’s deeply
open to conditioning. Any opening to conditioning is an opening to transference, any
opening to conditioning is a vulnerability or a susceptibility to transference. So, we
have these layers that we’re going to have to move through. Again, there is no way

19
that we can move through until we have the underlying comfort with the way in
which the structure operates and the way in which each of these different determina-
tions operate.
External: Alternating or Blending
The other side is if we’re looking at the External. Remember, in looking at the ex-
ternal we have differences between the first three and the last three; in other words,
the difference between hardscapes and landscapes. So we have a very complex en-
vironmental analysis that becomes possible. And whether they’re going to be Alter-
nating or Blending, whether they’re the kind of beings that need to be fairly conserv-
ative in the environments that they live in, in terms of a lot of change would not be
good for them, but simply
a comfortable routine.
These are the kind of
people that can go from
house to work to shopping
to home and all of that is
very fine. And then you
have the other side of that
where you have the Blend-
ing side where there is a
real need for environmen-
tal mix.
Remember, when I am
speaking of environment
I’m not simply talking
about the hardscape or the
landscape as a physical
environment, I am talking about the environment in a holistic sense. In other words,
it’s not simply the place but it’s what populates the place. It is the beings that are
part of the environment. This whole business about the external is that in our pre-
disposition to differentiate our form there are specific physical connections that are
correct for us. And those physical connections are connections that we are only
going to find in certain environments, environments that are also correct for us.
So, it’s really something to grasp that once we have somebody who can be commit-
ted to their strategy that slowly but surely we can align them and give them support
mechanisms that will keep them in what is correct for them. We have to see it,
though. We have to see the way it works on the surface. So, for example, the Al-
ternating and the Blending, lets say it is the Alternating and we’re dealing with
something totally different here when we’re dealing with the Nodes.
I have an extraordinary fascination with the Nodes. They’ve really revitalized some
of my deepest insights in the knowledge. Just working at the level of nodal perso-
nality and what that means, the seeing, what you see in life, the world that you think

20
LESSON ONE
you see. When you see the Nodes at the unconscious level, they’re very profound.
This is not about the way you see. In other words, it is not a limitation of perspec-
tive in the sense of the Personality. It isn’t. It is almost like a homing device. It is a
predisposition to align to a correct environment.
So, the map is written for you. You can see that if you look at the 48 you can see
right away what the attraction is going to be, what that external fulfillment is going
to be, the big thing is going to be the 16th gate in this being’s life. And it actually
may be there and coming from the Personality and we’re seeing that. As I said, I
don’t want to get into the analysis. I just want you to understand that that 48th gate
is looking for that environment of depth. It’s not just looking for it; it is naturally
attuned to align to it the moment that it is there. But you have to get there. And
how do you get there? You get there when the totality, the quantum of Design and
Personality is operating correctly.
Isn’t it extraordinary that it all comes back to something so simple—decision making

and what a correct decision really means. It’s sort of like I can do better than Linus
Pauling—sweet Linus, he was the vitamin C guy—take vitamin C regularly, it will
keep you healthy. I tell you what will keep you healthy, keep on making correct de-
cisions. Every correct decision you make aligns you to your predisposition to be dif-
ferentiated. It’s really something to grasp. Every decision, every tiny decision in
your life this is where your well-being is rooted. It’s in each and every one of these
decisions.
Aligning the Being to its True Nature
As I said, the work for us, once somebody is operating correctly, the work for us is to
help align what has been a conditioned form to its true nature. And to be able to un-
derstand what to do by being able to see what the particular preference is. It’s like
what Design does. You read somebody’s chart; you’re just reading their differentia-
tion. It’s just that.
And here we’re going to read the correct determination chain. And when you see the
correct determination chain then you’re going to be able to give advice, which is both
philosophical and physical that is going to help that being hold to their Tone founda-
tion, to hold to that in between the decisions. Obviously, where this becomes
enormously important is for non-energy types. It’s enormously important.
I think that it’s true anyway that the beings that need these mechanisms the most
are non-sacral to begin with. The thing about the Sacral Center is if you’re a Gene-
rator and you are operating correctly you’re already doing enormous work at aligning
your vehicle to what is correct for it. But if you’re a non-generative being, then you
don’t even carry the life force itself which means that it’s all deeply conditioned. If
you’re a non-energy type, specifically a Projector or a Reflector, there are many,
many gaps in timeframes between decisions and it’s absolutely essential to have
some kind of mechanism to be able to align you to what is the correct determination.
This is, in great part, what the benefit of this knowledge will be.

21
So, we have been through what is a very complex introduction to the whole business
of Color and Tone and their chains. We have begun with looking at the 1st determi-
nation. Over the next five weeks we will look at each of these Design Colors and get
a deep basis or foundation in them so that we can enter into the next stage and the
next depth.
I have wonderful illustrations for you so I think you’ll really enjoy our next class be-
cause I have some wild ones, including trying to illustrate this vortex that is there
inside. I don’t know if you remember, Martin, many, many years ago, I think it was
in the very first training that I did in Germany you gave me a drawing of the energy
vortex of the Sacral.
If you look at the
Sacral Center you
see the way that the
channels go through
Thirst Touch it, it’s really some-
thing to imagine
what kind of a vor-
tex that Generator
really is. And I hope
most of all from to-
Taste Sound day that you have
this sense of how
dynamic and varied
is the inner struc-
ture of the crystal.
And that this is real-
ly what we’re en-
gaged in, figuring
out that inner struc-
Appetite Light ture, from that be-
ing able to develop
everything that is a
by-product of it.
One last thing before I take my break and I come back for your questions you’ll all
have access to these illustrations tomorrow. This is a wonderful chart to look at. It
really is. The dynamics of the spirals that are in here and the symmetries that are
here are very, very special and very unusual. The more you’re familiar with this par-
ticular overview of the Color/Tone relationship I think it’ll be very helpful for you as
we move along in our process, particularly when we start talking about the Tones
and the way in which they operate because it’s a lot to keep in mind. But this illu-
stration is something that really deserves good meditation and contemplation.

22
Lesson Two
Taste: 2nd Design Color
We’re going to look at the 2nd Color. But before we get to the 2nd Color of Taste a
couple of things I want to go through. First of all, I want to go back to these defini-
tions and make sure that—they’re sort of like a mantra. And I think because we are
operating on new ground and that the terminology is unfamiliar, I think it’s very im-
portant to keep it fresh.
Determination and Determination Transference
So, let’s talk about this determination: A genetic predisposition to form differentia-
tion. This is the thing that is at the very bedrock of what we are examining. In oth-
er words, what we are trying to see clearly is what is the genetic predisposition to
form differentiation. And once we understand what it is, that is, once we have been
able to see it through its chains, then the ability to be able to devise both holistic
programs to maintain this predisposition, and at the same time to help people who
have operated as not-self to realign to what is their correct predisposition.
You can see determination transference is the fundamental binary to determination.

Rather than a genetic predisposition we have a conditioned predisposition. Again,
it’s clear to see that at the root of the dilemma of what it is to be awakened both
physically and in terms of the mind of the passenger that we are dealing with the
phenomena of conditioning. The way in which conditioning changes the way in which
our biology functions. I think probably the most startling thing to really grasp is that
the conditioning impact of somebody in your aura, when you are not operating cor-
rectly, is a conditioning impact that is more than a psychological dilemma. It’s more
than dealing with somebody’s way of trying to turn your thoughts or your emotions
or whatever the case may be you’re really talking about the way in which, at least
temporarily, the wiring operates in the physical form.
This conditioned predisposition, as opposed to genetic, leads not to differentiation

but it leads to homogenization. It is here at the physical level that we see the fun-
damental dilemma of what it is to be an incarnated being. The dilemma is: Are we

23
going to take the road of differentiation, or are we going to take the road of homo-
genization?
It’s interesting to note, because it’s very important to keep these things in perspec-
tive, that the road to homogenization has been the victor. That’s just one of those
things to recognize. It’s like studying ancient history. If you study ancient history
it’s actually quite astonishing that you don’t get to study very many people. There
are these exceptions that stand out, usually because of the power they hold for
whatever reason, but the great flotsam and jetsam of their societies they’re totally
undistinguished. We know very little about the common person of 1,000 years ago,
2,000 years ago, and 3,000 years ago, and so forth and so on. We know something
about the rights and the dilemmas of those that are exalted and most of it probably
is lies anyway because history was written by those that were part of the court.
What I’m really getting at is homogenization has been part of the way in which we
have been designed to operate until we can get to a point of transcendence. It’s
something to see. It’s like the blame game. You can’t blame the first half of your
life for being fucked up because you honestly didn’t know. There’s no point in blame
in that. And there’s no point in looking at humanity and wondering what it would
have been like from the beginning if everybody was differentiated, because obviously
that’s not the way the evolutionary process works.
I like the Eden myth for nothing more than it’s a grand metaphor. This metaphor of
going out into the world and finding knowledge, well, it’s not like it’s under the next
stone. It’s a long process. So there is vast ignorance over vast periods of time that
deter humankind’s ability to truly differentiate.
What is fascinating for me is that we are given the predisposition; that is in our na-
ture. This is the thing that is beautiful and the thing we must hold onto. In other
words, we all have a predisposition in our form to be perfect. That is, to be the per-
fect differentiated being. And even those among us who are deeply involved in this
process, experiment in this process, we still have gone through very long periods in
our lives, myself included, where we were not-self and where our form was homoge-
nized in one way or another.
The thing to understand about the body, it’s why when I first began to introduce
Human Design one of the things that I talked about and continue to talk about is the
seven year cycle. It’s an ongoing process. The seven year cycles of cellular renewal.
It’s quite a job to realign the form to the predisposition of its differentiation. For
many beings, being caught, for example, in the auras of those that are there in their
lives, can end up being unable to leave behind the conditioning power that homoge-
nizes their form. And the homogenized form is a dead-end street. It really is.
It’s so interesting to think about that, is that though the plan is towards homogeniza-
tion, pure homogenization, total homogenization has never been something that has
been viable and could never happen. It could never happen because of the genetic
imperative. If everything is homogenized then the gene pool is really messed up.
You need to have the differentiation in order to enliven the gene pool.

24
LESSON TWO
Taste−2nd Design Color
So, it says statistically that out of the mass of incarnating beings moment-by-
moment entering onto this plane, that there are always those that are predisposed to
have greater form differentiation than others. Now, don’t ask why. It’s always nice
not to ask why. These are the fractal lines of hierarchical development. One of the
saddest things, at least from the perspective of somebody like me who is a teacher,
is the recognition that the nature of our planet is such that the best you could ever
dream for is a half differentiated planet. That would be the best; that would be the
balance. And yet, we all well know it doesn’t work that way.
If you look out in society as a whole, I was looking at statistics today, for example,
for the State of Spain. There is this incredible statistic that there is something like
15 million people that earn 12,000 euros a year, that’s about $18,000 a year. And
there are 3,000 people that earn about 1 million dollars a year. This is just salary
people; this is not entrepreneurs so it’s not to be judged on the nation as whole. It’s
just something to understand about the way in which society is hierarchical. And it’s
not just simply hierarchical in the material sense. It’s hierarchical in the intellectual
sense—not everybody is going to get a Nobel. It’s hierarchical in the awareness
sense.
So, there is a dilemma out there. And one of the things that is so interesting about
the health potential of PHS is the ability to move people away from homogenization
who in fact in many senses can never truly escape it. That is, to realign their form
towards therapies that will in almost the Ayurvedic sense balance the negatives, or in
the macrobiotic sense, the negatives with the positives. Anyway, I didn’t want to get
into a long drift about that. I just wanted to make sure these themes are there.
Internal Determination
Then the 2nd binary, that is, the relationship between internal determination and ex-
ternal determination, these two areas are enormously important to where we have to
go in our process and truly have to be dealt with differently. In other words, they
are truly different things. This balancing between the demands of what the intake of
the vehicle requires, what the vehicle needs inside as opposed to what the vehicle
needs on the outside.
Internal determination is the Sun/Earth in terms of what it relates to specifically.

This is a predisposition that drives differentiated brain function. I cannot stress how
important it is to understand what the binary of internal determination is. Think of
it: A conditioned predisposition that drives homogenized brain function.
Think about the planet out there. Think about the 600 million people that can barely
read if at all. Think about the impact of homogenized brain function. I think you get
the drift. One of the things to really understand is that dysfunction in the vehicle
isn’t simply a matter that you’ve got a planet that’s sick, because that’s not really
what it’s about. There is an astonishing vibrancy to the survival instincts of a human
being. But then again, the thing that makes a human being “superior” to other

25
mammals is our brain functions, the level of strategic consciousness that we have.
Without strategic consciousness there’s no way for us to master the material plane.
So, it’s essential to grasp that this internal determination, this predisposition that
drives differentiated brain function, the less differentiated your brain function it’s not
simply about intelligence. Grasp that. It is about you having a self-reflected con-
sciousness that is correct for you, that is correct for your vehicle. When we’re talk-
ing about the Design, again, we’re not talking about mind. We’re talking about the
way the brain functions, which means that we are talking about the pituitary glands
and their relationship to the thyroid. We’re talking about information transference.
We’re talking about hormone production. We’re talking about the quality of it.
We’re talking about the level of chemical information that is inherent in the messag-
ing that is taking place. We’re talking about the synaptic roots that are going to be
taken. And whether they’re going to be taken in, whether they’ll be taken this way
or that way, all of this is about brain function and how easy it is for us when condi-
tioned to move towards this homogenized brain function. Slowly, when you look out
at the 6 billion people you’ll begin to see that the homogenized brain function is in
evidence out there, deeply in evidence.
External Determination
External determination: A predisposition that aligns to differentiated environments.

We are objects moving in space. And we’re really, in a sense, going to talk about
that today. We are objects moving in space. We have specific geometries, specific
geometries that we ride on specific fractal lines.
Our form is always seeking alignment, always. It’s not just seeking alignment, it
needs that alignment. Just think about it this way, think about it in terms of a mov-
ing object and resistance. What resistance does to a moving object is slowly but
surely it wears it down. So, what we do is that we devise ways to deflect the resis-
tance. So, we create an air foil. We drive the air around our moving object and we
reduce the resistance.
Basically, what you’re looking at in external determination is a predisposition to

avoid as much resistance as possible. So, your body’s consciousness—remember we
are talking about body consciousness; a design crystal is a consciousness crystal.
It’s not the way we understand consciousness through the Personality crystal be-
cause this is directly connected to our self-reflected ideas about what we think mind
is. This is body consciousness, and that your body has within it a radar, sensory,
neural mechanism, all these things, they have different mechanisms in order to be
able to check out the environments around it and to seek out those environments
that are correct for it. It’s inherent in the vehicle. But you can see what happens
with conditioning. What conditioning does is that it conditions what we’re going to
align to and puts into homogenized environments.
About 10 years from now, or next year, it’s very close, I mentioned it awhile ago but
I have forgotten the date exactly, that for the first time in human history there are

26
LESSON TWO
going to be more people living in cities than living on the land. You can see what
happens when you have a predisposition to homogenized environments that are
conditioned by a world of not-self. It’s very easy to see that. The denser the envi-
ronment, the more conditioned the environment is, and the more everyone is homo-
genized through that environment. So you have all these homogenized brain func-
tions in all these homogenized cities. What a lovely thought.
How the Crystal Functions
All right, I just wanted to do that little review with you to keep that fresh for you.
Let’s go into what I think is one of the main challenges for me, to try to get across to
you is the way in which the crystal operates. After all, that’s our job; that’s the job
here in PHS is to understand the way in which the Design crystal functions. Last
week I gave you this illustration to give you a sense of the interplay between the
layer in the process that we call Color with the tonal layer which is the level below
Color in the structure.
It was just to give you a taste of that. What my hope is, is that if I can show you
this illustration, I hope you all see that, I’m really pleased with this illustration; it’s
one of my favorites. It’s quite something to try to come up with ways just to be able
to illustrate some of these concepts. What I want you to understand is that what
we’re looking at when we’re talking about
Color is that we’re only talking about a fre-
quency in a certain place in the crystal. It’s
a frequency in a certain place in the crystal.
And it’s a frequency that’s there as the re-
sult of neutrinos pouring through the crystal.
When you have the neutrino stream going

through the crystal, the inner structure of
the crystal spirals the effect. What you basi-
cally have is that there are six spirals that
are operating within the crystal. They don’t
all operate in the same direction, and they
don’t operate in a balanced way in the same
direction. It’s like if you can think about the
way in which, let’s take the example of a
single neutrino on its journey through a Design crystal. That single neutrino is going
to enter the crystal by the Base. So, when we’re looking at our levels we have Base,
Tone, Color and that is the limit of what we can call crystal—Base, Tone, Color. Re-
member that. It’s very important to grasp.
When you talk about line you cannot talk about crystal. You can talk about body or
passenger, but you can’t talk about crystal. You can talk about the unconscious, if
you will. But remember that the way in which the quantum that is us comes into ex-
istence is that the magnetic monopole pulls together these two crystals and pulls
them together into a quantum.

27
The way it pulls it together is that it latches on to the end frequency, which happens
to be the Color frequency. So, for example, if you’re looking at the way that neutri-
no is going to pass through the Design crystal it is going to come in from the Base, it
is going to go to the tonal level, and then from the tonal level it is then going to go
to the Color level. And the Color level is the last frequency.
Basically what’s happening is that it’s the spin, in a sense, of the neutrino that is giv-
ing off a frequency and it gives off a different frequency in different places as it
moves through the Design crystal. It’s so important to grasp this as an inner image
so that you can begin to understand how our programming operates.
The Prime Design Crystal
When you’re looking at the Design crystal, it is officially called the Prime Design
Crystal. And it is a Prime Design Crystal because the body is full of Design crystals.
There are billions of them, every single cell, for that matter, coming in and going
out. All of those Design crys-
tals are communicated to, all
of them; all of the body’s De-
sign crystals are communi-
cated to through the influence
of the Prime Design Crystal.
It is the Prime Design Crystal

that takes in the basic pro-
gramming, and that basic
programming—think about
what we just looked at, this
predisposition to be differen-
tiated. There are no two crys-
tals alike. They’re not alike.
So there is a difference in the
inner structure of each of and
all of these crystals. It is
these various differences in
the inner structure that is in fact the predisposition. In other words, as the neutrino
is moving through the particular crystal the frequency that is the by-product of its
movement through the crystal is unique.
It begins with being shaped, if I can use that language, from the Base to the Tone
and when it finally gets to the Color frequency which is where the neutrino leaves the
Design Crystal. It’s at this Color frequency which ultimately is going to be very, very
important in our studies because it is this Color frequency that the monopole is going
to latch on to, that the monopole is going to pull together into this extraordinary
quantum that we call our lives.

28
LESSON TWO
So, let me take you into this illustration a little deeper. Again, none of this in es-
sence, is to scale or anything, if you know what I mean. This is not necessarily what
a Design crystal is going to look like. I’m just abstractly trying to give you a way to
see the process. By the way, the spirals inside are made up of 61 hexagons, just in
case you’re a number spiral freak and there are two of them, it’s a binary spiral. It’s
important for us to grasp that there are some very, very interesting things that is
going on in this process.
So, first let’s talk about, again we’re only taking about the Color level here, we’re
talking about the exit level. When we get eventually to working with the Color/Tone
relationship then I will take you into the tonal frequencies and the way the tonal
spirals work in relationship to the Color spirals.
The Beginning of a Color Process
It’s quite something to grasp all this. So, don’t feel overwhelmed at any given point
because we will work our way through it. But anyway, let’s talk about the beginning
of a Color process. Everything is layered. So, when you’re coming up from the
Tones, or whatever, when you’re getting to the Color frequency there are three
bands. And there is an opening band, there is the central band and there is the clos-
ing band. And you can see these bands are listed as A, B and C. The band that is
closest to the tonal level is the 1, so we’re talking about the 1st Color, and the 6.
And you can see that they are going in opposite directions. This is something very
important. You can see that the 6 is going clockwise and you can see that the 1 is
going counterclockwise.
You can see up here under the anticlockwise and the clockwise that you do not have
a 3/3 balance. The reason you do not have a 3/3 balance is because of the 4. Re-
member one of the underlying themes of transference is that it is the 4 that is re-
sponsible for transference, and if it were not for transference, the monopole would
not be able to grab on and hold us. So, because of the 4 we end up with an unba-
lanced configuration.
But let me complete the image. You have the 1 and the 6 and you can see that they
are point/counterpoint with each other, they go either way. And if you go to the
outside you can see the 4 and the 3. This is going to be the closing of that; you can
see it’s the same thing. In other words, you have the anticlockwise 4 and you have
the clockwise 3. So, you have this inner one, which is the first level above Tone.
You have the outer one, which is the last level that is before the quantum of line.
Then in the middle of this, and in essence if you’re looking at this orange band here
and you can see that they both come from the clockwise side you can see that
they’re both running in the same direction, it’s almost as if this middle one runs from
the Tone level all the way up and these two are like rings around the bottom and
rings around the top. So, if you could imagine a pipe and you could imagine that the
pipe is the 2 and the 5 then the bottom ring around it would be the 1 and the 6, and
the top ring around it would be the 4 and the 3. I hope I haven’t confused the hell
out of you, but anyway.

29
It is a very complex spiraling system that is going on. What is interesting about it is
that there are specific relationships here that are quite unusual. There is nothing
unusual about this central band that is operating all clockwise. That’s the 2-5. And
of course, the 2-5 already have a relationship because they are natural harmonics in
the way in which the Colors operate with each other. But when you’re looking at
band A, which is the low band, and band C which is the high band, when you’re look-
ing at them they’re very different. This is a 1-6 relationship, it’s not like that’s
something we see, nor do we see the 3-4.
In fact, at the Color level, obviously because of the way in which these bands work,
there is a relationship between the 1-6 and the 3-4 that is a new relationship that in
many ways needs to be explored. So much of that relationship is about the de-
mands of the 4 in terms of the way it transfers. And you can see that in the harmo-
ny of the 1-4 that the 1 has certain qualities that are similar to the 4, though it
doesn’t have the endless transference dilemma that the 4 has.
Inner Crystal Dynamics
This inner crystal dynamic, it is from this point that the vehicle is informed. I guess
this is the most important thing that I want to bring out at this point. We’ll be look-
ing at a lot of inner dynamics and they will get even more complex because we will
eventually bring in both the Tone and the Base. But what I want you to see is that
in terms of the body, the Prime Magnetic Monopole does not deliver the information
to the cellular Design crystals when it becomes the unconscious. In other words, it is
not about the information going to the vehicle through its line positions. In other
words, it has nothing to do with the quantum because as we well know the quantum
itself is just an illusion. It’s just an illusion held together by the monopole despite
however attached we happened to be to our particular illusions.
However, when we’re talking about the way in which the biology of the body is pro-
grammed what we have to see is that it is this final frequency, the Color frequency
that is sending the information to the vehicle. That is, sending the information to all
of the other Design crystals, all of the cellular crystals that are there in the body.
That’s something very important to grasp. In other words, when we’re going to be
looking at working specifically with aligning the vehicle to its true frequency, because
that’s what this is all about, there is a predisposition to a specific frequency and it’s
only homogenization that moves one away from it, so we’re aligning people to what’s
their correct frequency, what that means is that their Prime Magnetic Monopole is
then going to be giving out correct information at the cellular level. And you go
through this process where you go through this renewal process that takes place
over time.
It’s why I endlessly remind everybody to follow their strategy. This is one of the
things that truly benefits the physical vehicle. But more than that, to begin to see
what it’s really benefiting. It’s benefiting the capacity of the Design crystal to fulfill
its function which is to differentiate. That is literally what it’s all about.

30
LESSON TWO
But anyway, in this particular examination what I really want to show you is that we
have this—people are always asking how the information is passed, how does the
information move. It’s not simply a matter that here’s your Design data when you
look at somebody’s bodygraph, it’s really about understanding what that Design
crystal actually does and the way it actually functions. Because it’s only when we
begin to see that, that we begin to understand the dilemma is that we need to rea-
lign human beings to what is their natural frequency, because it’s all frequency.
So, that’s your taste of inner crystal dynamics. We’ll also, and it will be a continued
point of discussion as I go through outlining the overview for each of these Colors,
each class I’m going to introduce another level of information like this so that slowly,
but surely, we can begin to have all the tools we need to really grasp the way these
things operate. It’s a good one to meditate on, and particularly this relationship that
is here where you see this imbalance because this imbalance is very, very important.
It’s very important.
It also says something very important about the 2-5 and the continuity of the 2 and
the 5 and how important these two particular determinations happen to be, because
they are the central spiral of the whole Color system. They’re the most consistent
aspect of the Color system; just something to think about. Let’s move on.
2nd Design Color: Taste
We come to the 2nd Design Color and we come to the determination of Taste. This is
an area that is particularly fascinating for me. Aside from what I was just looking at,
and here we are looking at the 2-5 as an example, and the significance of it, the bal-
ance that is there in the way in which the construct works. That is, the way in which
the Color dynamic is built into the graph. They’re extraordinary mirrors of each oth-
er; very beautiful mirrors of each other. As a frequency, this is the central spiral of
the way in which the whole Color frequency operates.

31
When we’re looking at Taste, I don’t want to get into what were the general conver-
sations about Taste and looking at the various olfactory functions and all of these
things because I’m much more interested in laying out for you these new keynotes in
order for you to have Color keynotes that specifically relate to both internal and ex-
ternal determination. These are essential
tools for analysis for us; and to be famili-
ar with these keynotes is one of those
things that is important. Obviously, as
we work through it and use the language
enough it will settle in.
So, in talking about Taste, again keep in

mind that we’re looking at two different
binaries here. When we’re looking above we are looking at the Sun/Earth so we are
looking at brain function. When we’re looking below we’re looking at the Nodes and
we’re looking at the environment. When I say Sun/Earth and Nodes I’m just talking
thematically.
An Open/Closed System
So, let’s take a look at brain function and taking in, and think about Taste in terms of
what it’s really about. We have this open/closed phenomenon. Everything about
being open is so important at the mental level. In other words, for brain function
this is a way of—the 2 has two sides to it. What it takes in transforms it in the deep-
est possible sense. Yet, at the same time what it takes in can be so dangerous. So,
Taste is an open/closed system. That is something very, very important to under-
stand.
It is open in terms of what it takes in. It is closed in terms of its external environ-
ment. In other words, one of the things to see about 2nd Color determination in the
externalized world is that it is closed off from the external. In the external world it is
closed off. And that’s very, very important for it. These barriers are necessary in
the external environment.
It is the tendency—we’re dealing with binaries, after all—it’s so important to see that
everything about Taste is that the vehicle itself needs to experiment with what goes
in, and needs to avoid the experimentation on the outside. So, when we’re dealing
with Taste we’re dealing with something very interesting. It is about building bar-
riers and breaking barriers. You can be open on the outside but external, or closed
on the inside. There are all these binaries that are working here, and it’s all about
barriers.
The most important thing to understand is that in terms of what you take into the
vehicle that everything is a discernment process. In other words, it’s not about this
thing or that thing is the perfect thing, it is try this and see, try this and see, try this

32
LESSON TWO
and see. In other words, it is a developmental process in order to establish what the
barriers are actually going to be.
The 2nd Color has a Natural Resonance to the 2nd Tone
One of the most interesting things, the Taste being the 2nd Color, is its natural re-
sonance to the 2nd Tone. If you remember from our previous illustrations, and I will
go back and show you that if you look at what’s called the base line, or the founda-
tion line, in the hexagon for each of the Colors you’ll see that the Tone that is always
running along the foundation line is the 2, the 2nd Tone.
So, when you’re dealing with the 2nd Color, there is a very deep resonance to the 2nd
Tone. One of the things about the 2nd Tone is that this is a splenic Tone and it’s very
much connected to identification and alert systems. One of the things to see so
clearly about Taste is that one has to submit to many things that aren’t correct in
order to find what is correct, which is just an interesting way of looking at the way in
which this determination operates.
For example, if you have a 2nd Color child, a 2nd Color baby, just because it likes a
particular apple sauce doesn’t mean that you should just stay with that. In other
words, that child needs a number of options. It’s very important for them, particu-
larly at an early stage in their development to be able to go through the Taste Selec-
tive process and then to be able to wean it down and put up barriers against what
isn’t correct for it.
You’ll see that a 2nd Color determination baby will very quickly indicate to you that
they don’t want a repeat of this thing or that thing. But they will be very, very open
to the test. Even if they go through a number that they don’t like you’ll see that
they’re still going to be open to the test. It’s very much about what they are. And
then, that refining process takes place.
At the outside world, this is much more barriers that are pre-structured that need to
be broken down ultimately. Yet, at the same time those barriers become physically
very, very important; very important in terms of controlling access from the condi-
tioning field of the outside.
Whenever we’re dealing with Color we have to deal with what transference does.
There is a very profound difference between 1, 2, 3 and 4, 5, 6. It is the opposite
side of the spectrum. It is the binary, or the polarity. In the case of the 2-5, this is a
very, very profound binary.
What is so interesting for me in sound is that there are two qualities here, that is for
the brain high frequency and for the body low frequency. And what I mean by that
is for brain function - high frequency, and for relationship to the environment, a low
frequency. What’s so curious about that is the way in which that looks when you
step to the outside, because when you step to the outside you get the external envi-
ronment. The external environment is about narrow and wide. In other words, high

33
frequency, very narrowly streamed. And of course, ultimately, this is the way our
brain functions. This is synaptic firing of energy. This is a very, very high very fast
frequency on a narrow band.
Yet, for the body what is necessary is a low frequency spread out over a wide area
so that it is a much less evident, this is a need for not so much quiet as distance be-
tween noises. We live in a noise world; it is not a sound world. It is actually a noise
world because it is filled with so many artificial sounds. There is a great deal of noise
that operates in the environment. And what is interesting is that there are certain
high frequencies that are very, very disturbing for the brain. There are certain very
deep, low frequencies that can be very uncomfortable for the body. Again, it really
comes down to the quality of the environment.
Transference Shows You How the Physical Body Can be Distorted
But think about what the transference is. The transference really shows you how the
physical body can be so distorted. Instead of being open to what you’re taking in,
there is this narrowness to a specific frequency and you’re not going to let anything
else in. The body isn’t going to get what it needs. It isn’t going to get the spectrum
that’s necessary. It’s not going to be able to align itself to what is correct for it and
put up barriers to what isn’t correct for it. It just won’t happen.
This is the whole thing about the nature of transference anyway. And of course, at
the mundane level, because I have discussed this at the mundane level, you get
somebody who thinks that the mantra is going to make a difference in their life, or
playing Mozart is going to sooth them, when it fact it’s only going to make them sick.
That it’s not the sound that’s going to make the difference in their life. And it’s not
the sound that’s going to make them feel better. It’s amazing how many people
have 2nd Color determination who think that listening to music is healing for them.
That’s about as insane as you get. But in fact, that’s true.
What’s so astonishing about that is that if you take that to the extreme, and I do
have at times an absurdist sense of humor, it turns some of the greatest composers
of all time into destroyers of bodies. There is sweet Mozart rolling in his grave be-
cause you’ve got all these 2nd Color determined beings who think that listening to
Mozart is going to make them feel better. All they’re doing is homogenizing their
form and losing their potential for differentiation. Transference is something that is
enormously powerful in distorting the vehicle.
Experimenting with the Design is Necessary
Again, I remind you we cannot work with anyone who is not experimenting with their
design. That is, it is not possible to heal a body. It is not possible to align a vehicle
to its predisposition to differentiation if the vehicle is being run by the not-self. Then
you’re already dealing with somebody that is deep in transference literally all the

34
LESSON TWO
time. And obviously, they have diminished brain function. That is, it’s not about in-
telligence; remember it’s just narrowed into a homogenized construct where they’re
stuck in their limitation. The more homogenized the brain function, the more difficult
it becomes to break out of the mold. It becomes a Catch-22.
Again, it is something to see very clearly about the psychological power that is in the
hands of those that seem to be available to heal others. In other words, those
clients that will come to you need to be clear that the first message that they’re
going to get is, “I can’t help you until you do this. And I can’t help you until you do
this at least for awhile. I can’t do anything for you.”
It takes us back to I think the most fantastic thing about Human Design that on the
surface is the great healing. Step-by-step, as yourself, decision upon decision, every
decision aligns you to what is correct for you. Every decision aligns you to your pre-
disposition. Every decision that is correct aligns you to your predisposition. Every
decision that is not-self aligns you to a conditioned homogenization.
So, in dealing with clients this is a beginning step. Then we can look at how we can
help them because obviously their form is infected with not-self homogenization. It’s
not an easy thing to break that. It isn’t. And of course, to align them, or re-align
them to their predisposition means to move them away from their tendency, which is
to sound, and move them to the correct determination, to the Taste determination,
and enter them into that process. This is always a dilemma for us, that without the
experiment the vehicle isn’t ready.
No Choice
No choice is an incredible thing. It is always so clear to me that people who go

through various processes, regardless of the way in which they’re thinking, there is a
choicelessness in all of that. This is just the fulfillment of their process. Somebody
who is truly going to be transformed physically by this knowledge it has to be natural
for them to enter into the experiment. This is where it begins. It doesn’t matter
whether they’re spiritual, and it doesn’t matter whether they’re looking for the truth,
and it doesn’t matter whether they know about any of this, it doesn’t matter if
they’re aware or not. Truly it doesn’t. If they’re unwell and they want to be healed
they will listen, at least temporarily. They will experiment at least temporarily, and if
it works then they will continue in the process and you know that they are on their
way to being transformed.
It’s a reminder for all of us that 70 percent of the work is to get the people to expe-
riment because that’s the key. Whatever work we do with them is only going to be
effective as long as they are maintaining that. And yet, what we can do can be truly
extraordinary the moment that they are in that experiment.

35
Transference Deadens the Spirit
Transference is devastating what it does to the vehicle. It really is. It’s a deadener.
It’s deadening the spirit, it really is. Everything about the potential of the Personali-
ty, everything about the potential of self-reflected consciousness is determined by
the quality of brain function. If you’re Taste and you’re listening to Mozart to inspire
your brain—I don’t mean to hammer on poor Mozart—but it’s not doing you any
good. And it’s so common.
Transference is the great sickness out there. It really is. And of course, what’s hap-
pening is that you’re changing frequency. And this really is the key. You’re chang-
ing frequency. And the moment you’re changing frequency there is something that
is not you any more. There is a deep imbalance that is taking place in the way in
which you are intended to operate.
The Crystal is Perfect
This is the whole thing about the crystal. The crystal is perfect, the structure is per-
fect. The neutrino going through is just going through. And yet, how amazing it is
that we can be conditioned, primarily conditioned, at the level of Color away from
our true nature by changing the frequency there. It’s the same thing, by the way,
with the Personality crystal. The conditioning is so deep. This transference level
isn’t something that you have a handle on. Nobody has a handle on Color level.
There is no conscious access to anything that is below the line. We’re not designed
that way.
So, the deepest malaise that exists in humanity is something that’s just simply there
below the level and it is a simple thing. Not only is it a simple thing, it’s not a bad
thing. I’m trying to get to my long term point in this introduction to crystal dynam-
ics. The vast majority of crystals of consciousness that have ever incarnated are not
going to be awake or aware, or truly healthy. The advent of Human Design, the
mystical presentation of this knowledge in 1987, it’s clear to me that it’s only since
then that there is any possibility for anyone to truly transcend because the key
knowledge, the basic knowledge is available.
And yet by being clear about the nature of the world and understanding the endless
hierarchies of the construct it’s also obvious to me that this is not for everyone. It’s
one of my standing jokes. The knowledge I share with you is perhaps some of the
most extraordinary knowledge available on the planet. But there are 20 of you in
the classroom. You know what I mean? It’s just not the way it works.
Being in Transference is Natural
It is really something to grasp that we have had a very, very short opening of a win-
dow. We are coming towards the end of the round. This is the last global cycle with

36
LESSON TWO
the inherent 61 in it, the ability finally to penetrate through to the inner truth. Here
is this opening; here is that opportunity ultimately to be able to hold it together. In
stating that, I want to make a point about the fact that being in transference is what
is natural. Being not-self is what is natural. That has been the conditioned evolution
of humanity, the homogenized humanity that ultimately will go sterile, which is basi-
cally what it’s all about.
So, the work to be done is that those beings that are on your fractal line, those are
the ones that can be transformed. Those are the ones that are ready; those are the
ones that have that opportunity. There is a great test, it’s a very simple test—if they
live the experiment you know they’re ready. It’s very obvious, not everybody is
ready to live the experiment.
Brain Function and Open Internal
Taste looks like a left moving fish and sound looks like a right moving fish; it seems
kind of fishy to me. But anyway, I don’t want to get into Piscean humor right now;
but nonetheless, it does have that fishy look, doesn’t it? I can’t get away from that.
Let’s talk about some things about Taste for a moment. First of all, about the brain
function and the open for the internal. It’s so important this understanding of the
open internal, the closed external; this is the purest quality of the way in which this
determination operates. It’s interesting, it is operating in the sense that it is primari-
ly—let’s talk about the internal—primarily open. I talked about sampling different
tastes, different qualities going in until there is a natural alignment to what is your
favorite, what’s the one you like the best, whatever the case may be.
However, what’s really important to

grasp is that the openness is actual-
ly a way of becoming closed. It’s so
interesting. In other words, the 2nd
Color brain function cannot for a
long period of time be multi-
exposed. In other words, that
would be unhealthy for it. So you
can see in an awful lot of people
who have 2nd Color determination
who are transferred over to sound
they end up with a differentiated
intake, a spread. I shouldn’t use
that word because it will confuse it.
They’ll take in a lot of things they
will never have truly honed down
that taste, because the whole thing about being open is so that you can figure out
what to be closed to.

37
It’s almost like the immune system itself in the way in which it operates as an arche-
type. Again remember this connection in the pure resonance between the 2nd Color
and the foundation quality of the 2nd Tone, is the way in which the immune system
needs to experience things coming into it in order to recognize whether it is useful,
valuable, or whether it’s dangerous and so forth and so on. That it’s a learning
process and that the vulnerability of taking it in is remedied by recognition and then
there is a resistance that is built up.
Important for Children
Here when you’re dealing with the 2nd determination what you can see is that this is
very, very important knowledge for children. All of it is, obviously, all of it makes a
difference in the way we raise our children. In dealing with 2nd Color determination
with a child, though, there are very, very obvious things that are necessary.
One of the things that I notice is that there tends to be homogenized tendency in
children to orient to only certain things, and I think a lot of that is the transference
to the 5. I think it’s the transference to the 5 that distorts all of that. There is no
real growth process. In other words, they are closed instead of being open because
there is a natural tendency to be closed. The barriers are necessary.
The other thing is that in terms of the vehicle and its elimination of resistance you
can see that it seeks out being closed in the external world. In other words, where
we derive at the 2nd line resonance, and talking of line where we get the theme the-
matic that we call hermit. In other words, what we’re looking at here is that the
closed-off environment is a healthy environment to begin with.
You can see that both the open and the closed have ultimately different goals. The
open is there to determine what needs to be closed off. The closed is there waiting
for what will, in essence, gain access and open it up slowly. So you have the two
sides of the coin.
So it means, for example, that these babies, these children need to have a very pro-
tected environment. For example in the first 3 ½ years, the first 3 ½ years all of the
synaptic development takes place in the brain. As a matter of fact, there is an
enormous rush of brain development, then by the time that children get to 3 or 3 ½
years old there is a cut back. In other words, synaptic roots that had been opened
up get closed off because they don’t turn out to be viable for the ongoing develop-
ment.
It’s essential for these children that for the development of their brain function how
important variety is for them, to be given opportunities for various tastes. I’m not
just talking about variety of dishes or types of food as much as I’m talking about
archetypes of tastes. Again, that’s something that we’ll go into later when we look
at all these things in chains. But whether it’s going to be sweet or bitter or sour or
whatever, it’s really much more in that kind of categorization. But it’s very impor-
tant for those children to have all of the possibilities in order to be able to discern,

38
LESSON TWO
differentiate, say, “No I don’t want those; this one.” The only way they can react
that way at that point in their life is that it’s a natural body thing to like this and not
that, and so forth.
The other thing is that at the external how important it is for those babies to be pro-
tected. The exact opposite of the 5th Color baby whose low frequency, wide envi-
ronment, take them out into the great outdoors, take them to the park, let them
hear the birds chirp and blah, blah, blah is the worse possible thing for the 2nd Color
determination baby that needs to be really sheltered. They go out in a carriage that
is bullet proof and has screens and all that kind of stuff—really protected until they
are ready to take in the world bit by bit.
Again, to really see what that means that at the very earliest age, this is—I don’t
want to put it into the terminology of tragedy because it sounds like Shakespearean
drama, but nonetheless whenever I look at things at this level there’s a shudder that
goes through me because I think about these zillions of babies that are on the planet
that are going to have a 2nd Color determination and they are not going to be neces-
sarily given the advantages they need in order to differentiate. They will not have
the closed environment that’s very important for them. They will not have the open-
ness and variety. After all, think about how homogenized the way in which we feed
our infants are. It’s absolutely extraordinary.
I have the same thing with my dog all the time. Our dog eats food. It rarely eats so-
called dog food. It just eats food. There is this assumption that all creatures have
to eat out of a tin because they sell you their food in tins. It is the same thing about
the way in which we feed our children. You go into the supermarket and there’s this
jar and that jar and they’re basically the same things that have been puréed and this
is what you’re supposed to give your baby. You give it this and you give it that.
I always thought that it was astonishing—all kinds of food have been given to my
children to try even when they were very young. It’s just something that’s interest-
ing about, for me, diversity of diet is one of the most important things to enhance
mutation. It’s obvious to me that 2nd Color babies have the potential of being deeply
mutative or simply having it all cut off. In other words, that mutative potential can
really be sterilized.
Again, we’re talking about the form itself. And you can see the translation of this.
It’s not like you can say to the baby, “Look, follow your experiment,” because you
can’t. That’s where the tragic part comes in, you can’t do that. The baby needs an
ally. The baby needs an ally that is aware and conscious.
Guides for Mothers/Preventive Knowledge
One of the things that I think is a long-term goal of mine is to be able to prepare a
guide for mothers for their children in their first seven year cycle, which is the first
Saturn quarter. Knowledge like this, being able to provide such an insight and a
benefit is something that will be enormously important. And I see the pediatric side

39
of PHS working with the health and well-being of children, that this is an area where
we can be enormously helpful in being able to nurture differentiation in these child-
ren, and to be able to nurture proper brain function.
I don’t think humanity grasps how clever humanity can be, in a sense. We have this
enormous homogenized brain function in homogenized environments in which you
have cities today where you have 25 million people living. Talk about the most out-
rageous conditioning aura box you can ever imagine, and you’ve got it. It’s just
there.
So, when you’re dealing with these themes I want us to look at as well at what can
be preventive knowledge, to prevent these things before they happen, to stop the
potential for the negative impact of homogenization and to be able to do this for the
benefit of children. They all are, by the way, because if I talk about each of the de-
termination Colors within the context of the infant, again you’ll see this is a specific
formula. It’s obvious the need to be able to get this information out and to be able
to help benefit these children.
The Highest Possible Potential for Awareness
The other thing is, what happens when you provide a child with the right alignment
to proper brain function, what happens on the other side after the quantum. In oth-
er words, what are the advantages to the Personality self-reflected consciousness?
It is clear to me that the moment that you align brain function to its predisposition to
differentiate is the moment that you provide the passenger with the highest possible
potential for awareness. In other words, it’s not being limited; its potential for
unique awareness has been established. It’s only a matter then of whether the pas-
senger or not can surrender. Whether the passenger can let go of the illusion and
simply use its self-reflected consciousness to experience the world.
Simple Rules to Enrich the Lives of Children
It is my feeling, and it’s more than that, it’s a knowing that I have. Give me a 2nd
Color determined baby and a mother that’s willing to follow the simple rules of this.
Isn’t it always amazing, it is to me, that it’s always simple. This is very profound
stuff. And yet, my tendency as a messenger is that I realize that only simplicity is
something that is transferable. It’s so easy to transfer this knowledge to a mother.
It’s so easy to say to her, “Look, let your child decide what it likes. So make sure
that it has a cross-section of things to sample. Don’t just settle on this kind of apple
sauce. Buy a couple of different brands. This kind of thing, different tastes, different
things, and through the range of what Taste is.” Not a difficult thing for a mother to
comply with.
On the other side, is the protectiveness that’s necessary for the child, but not at the
point of excluding the potential of opening, and for the mother to simply understand

40
LESSON TWO
those simply ways of dealing with its child. And if you add to that surface knowledge
that the child is this or that, Generator, Projector or whatever the case may be, that
it has this open and that open and so forth and so on, empowered with that know-
ledge a mother can do what all mothers want to do—enrich the lives of their child-
ren. It’s only natural. And to offer them a greater possibility than they had them-
selves. Any of us that are parents—that is the bedrock of our connection to our
offspring. They are, in the genetic sense of the word, our continuation in the world
and we want them to do well and be empowered.
I would like children to have full potential of their brain function, wouldn’t that be
nice. And when you think about this language that we’re using, when you think
about what internal determination is about and you let that really sink in deep, what
that means to have the way in which your brain organizes, puts out, takes in infor-
mation, to have that homogenized into the lowest common denominator is a very,
very frightening thing, and we do it all the time. That is, humanity does it all the
time, does it to their children all the time, and does it to each other all the time.
Transference is a Scourge
Transference is a scourge. The moment that we can realign beings to correct deci-
sion making we begin this process. And when we can give good information, solid
information, I think this combination of conception mechanics and being able to look
at determination dynamics in babies and being able to give concrete advice based on
that whole strand of information—the conception information, the Color information
and ultimately the Design information—this is the best stuff that any parent could
ever be offered. It’s Doctor Spock without any bullshit. It is basically, here is the
formula for being able to enhance the potential of your child both in terms of their
inner development and in terms of what kind of environment is correct for them.
It’s like the sound child. If you put the sound child in a narrow, or in a small room,
it’s going to be very unhealthy for them. If you have a 5th Color determined child,
give them a convertible sofa in the biggest room in the house. There are certain
things to grasp about the relationship between what’s best for the inner development
of any child, and what is essential for the well-being of their outer development in
their relationship to the world around them.
Two Things to Remember
So, today we touch on something that’s very important. There are two things to
keep in mind about today’s class. One is to really think about the way in which the
crystal works because we have to be able to see the relationship in the inner dynam-
ic, not simply looking at the spiraling of Color, but the spiraling of Tone and the spi-
raling of Base and how they all work together. This is what we’re going to see in the
chains. In this way to really understand how we are programmed and how the in-
formation gets out.

41
The other thing is to begin to recognize that one of the most powerful tools we’re
going to have, and one of the most rewarding aspects of our work in terms of being
practitioners of PHS is what we can do for mothers of young children and the guide-
lines that we can give them. Specifically, because we won’t always have conception
data, but the guidelines that we can specifically give them in terms of determination
and its relationship to their specific design—how best and how in the healthiest way
not simply to look after the Personality development of your child, but to do some-
thing really deep and profound. That is, to help them align to what is correct for
them in their world, and to bring to them the full potential of what they were en-
dowed with, the full potential of the neo-cortex that they were given. The full poten-
tial of the consciousness that is possible in them.

42
Lesson Three
Thirst: 3rd Design Color
External Determination
Welcome to the 3rd Design Color. Before we get into looking at Thirst I really want to
talk about external determination for a moment because there are some things I
would really like to say about the way in which external determination really deter-
mines so much the very nature and success of our lives, which is quite an extraordi-
nary thing.
When you’re looking at external determination you have this predisposition that
aligns to differentiated environments. So, again we go back to this basic of what you
can read intuitively when you look at somebody’s design is that if you look at the ac-
tivations in the design you can see that as the predisposition to being self, to being
correct. And yet, you can also see the overwhelming amount of openness to condi-
tioning that is there in everybody’s design.
When we have on one side the predisposition that aligns to a differentiated environ-
ment, on the other side we have a conditioned predisposition that aligns to a homo-
genized environment. Again, the impact of conditioning is enormous.
Let’s begin for a moment to think about what external determination really means.
The vehicle is a consciousness. I think this is one of the things that is so important
for us to understand about the examination of a Design crystal. We tend to think of
consciousness in relationship to the Personality crystal because it makes it easy for
us, it’s how we’re communicating with each other and it’s the way in which we
process the mental plane. So we have this assumption that this is what conscious-
ness actually is.
It’s difficult, I think for those that have a close relationship with mammals, for ex-
ample, there is this beginning, or inkling of the possibility that consciousness can be
a transcendent field, that there’s consciousness in other things and other forms. But
it’s really important to understand that we are a binary consciousness. We are a bi-
nary in terms of the aspects that make up this quantum that’s the whole that is us.

43
The Inner Crystal Dynamic
It’s something to understand about the Design crystal. When we move to the inner
crystal dynamic, see that the Design crystal is going to function in the same way as
the Personality crystal. It’s going to be receiving the neutrino stream. And in re-
ceiving that neutrino stream as the neutrino information enters in through the Base
it will leave through the Color. It is
leaving off an information source that
is being interpreted by the inner struc-
ture of the Design crystal. It is this
interpretation of the neutrino informa-
tion through the Prime Design Crystal
that all of the physical programming of
the body takes place.
When you think about the complexity

of what it is to be a human, what this
bio-form is really about, the hundreds
of millions of cells, the zillions of neu-
rons firing, the whole construct, it is
so extraordinary, it is so enormous.
And yet, when you come out of the
womb you don’t fall down as a puddle.
There is this inherent consciousness in
the form itself. And it takes an
enormous intelligence, and I’m very
careful in the use of this word. It
takes an enormous intelligence to
guide all of these bio-functions.
When we think about the Personality

crystal, the only thing the passenger is dealing with is the by-product of the form
construct. You’ve got a certain kind of brain with a certain kind of hormonal consis-
tency in the vehicle with a certain kind of perceptive gifts, whatever they may be,
and given the physical limitation of that construct the Personality, the passenger
then takes advantage of whatever it can as a self-reflected consciousness out of that
form principle. So, the intelligence that is running the vehicle is really extraordinary.
No Choice
So, I want to go back to external determination. I had an interesting experience

yesterday. I dropped by online and I was talking to some new students in Design.
It’s always interesting for me because I don’t get that opportunity too often. I had a
question and answer period with them so that they could just ask me questions.
Classic questions come out. The first question that came out, everybody’s question
was for me to give them some kind of explanation of No Choice.

44
LESSON THREE
Thirst−3rd Design Color
When the question came I was just giggling, because it’s an enormously complex
thing and yet it’s very simple, and at the same time if you don’t see, it’s very hard to
grasp. It just is. One of the things is about the way in which life works because ul-
timately when I say there is no choice there is this ultimate question about, “Do I
have a choice to follow my strategy?” Answer, “No, there is no choice. There is only
the illusion of choice.” “Do I have a choice in studying or not studying, in living the
experiment or not living the experiment, being correct or being incorrect?” Answer,
“No. No choice.” And boy is that difficult for human beings to swallow. The vanity
of the passenger, after all, and it’s not a healthy vanity; it is not-self vanity.
The Physics of Flying in Space/Fractals
Let’s think about predisposition for a moment and think about the life process, and
think about what actually happens to us. Everything about existence is movement.
It’s one of the oldest preambles that I have in any kind of course that I’ve taught
about Human Design is to talk about the fact that we are moving in space. I think
that the not-self tends to nod off with concepts like that because it doesn’t seem to
fit into the way in which they see the world. They don’t see themselves flying in
space. They don’t see everything moving. They don’t understand that the very ve-
hicle that they have, that even in the greatest illusion of stillness that they might
have that they are vibrating at an incredible rate. And that vibration in movement is
just singing its way across the cosmos. We are all flying in space.
I think one of the reasons that the not-self mind has difficulty with the physics of fly-
ing in space is that it comes with consequences. The consequences are that within
the construct of physics as we understand it is that all movement is uni-directional,
and has been uni-directional since the big bang, since the beginning of the cosmos.
In other words, everything has been moving outward and away from everything else,
and has been doing so at an incredible speed.
There are no options in the geometry of things. There are fractals, though. And
there are alignments in the geometries. There is a huge dance that is taking place.
And in that dance there are always those that you’re going to meet on your fractal.
And those that you meet on the fractal they’re the ones that they’re either ready for
you or not, or you’re either ready for them or not. It’s one of the most fascinating
things.
Think about it. Let’s say that, as is obvious, you’re all on my fractal. Let’s say that
for argument sake, because it’s only for argument sake, let’s say I had never met
the Voice and the by-product of my being on your fractal chances are we probably, if
we ever did meet, it would be inconsequential. In other words, when you’re moving
in space and you’re moving along fractal lines and whether you’re right angle or left
angle or juxtaposition it makes no difference. With a right angle it will simply bump
into you. With a left angle you will see it coming, whatever the case may be. In
other words, everything about existence is about the interaction, the interconnection
of all things.

45
Remember, this is the great work of the monopole, is to hold not simply each and
every one of us together in the illusion of our separateness but to hold it all together
in the illusion of oneness. As much as the universe in its speed from moving out-
ward from the big bang is trying to separate everything and monopoles are despe-
rately trying to hold it all together again, trying to find this balance.
The Importance of Being in the Right Environment
So, one of the things to understand about external determination, because that’s re-
ally my point here, is that if you’re not in the right environment, you are not going to
meet the right forces. And even if you are in the right environment and you meet
the right forces, if they are not fulfilling their potential, well, it’s just ships passing in
the night. And yet, it all begins with being in the right place and your body knows
where that place is. And there is real difficulty here. The real difficulty is that inter-
nal and external determination can have deep conflicts between the two of them.
We’re dealing with Color and the Color of the Sun/Earth is invariably, not always, but
invariably going to be different than the Color of the external determination. What
the body seeks is very different from the way in which the brain needs to be looked
after. In other words, there can be inherent conflicts in this.
But it’s absolutely essential for us in our work to realize that the advantages of
transformation and transcendence in this life have, in essence, more to do with
physical external determination than internal determination. Now, that isn’t to dimi-
nish the importance of internal determination, I don’t want to do that. But what I
want to make clear is that this alignment to the differentiated environment and all
that means is aligning to an environment that is correct for you.
Without being able to get to that environment, you’re not going to be able to meet
what is there for you to meet in this process. And if what you meet is ready to meet
you, these are encounters in life. These are transforming relationships; however one
experiences them, whether they are mundane or spiritual, whether they’re lovers or
friends, whatever the case may be.
Physical Determination: Aligning the Vehicle to the Correct Environment
So, for me, when we look at physical determination and we begin to analyze it I
don’t want you to lose track of what we’re really talking about, is that we’re talking
about aligning the vehicle to the correct environment. And that the correct environ-
ment isn’t about an address, a correct environment as we have been looking at and
as we will see, because today I will give you a complete graphing, differentiated en-
vironment has a holistic quality to it. In other words, it’s about many, many aspects
of the environment.

46
LESSON THREE
Remember when we’re talking about a differentiated environment you’re not talking
about a selection between this room or that valley, which is part of
hardscape/landscape as generalized themes. What you’re talking about is this room
and who may enter into it, or who is already into it and that landscape where there
are others who live there or not. In other words, one of the things about the diffe-
rentiated environment is that you’re aligning to an environment that is going to be
advantageous for you in your relationship with others.
From the very first moments that I looked at Human Design and health it was ob-
vious to me that well-being is a transpersonal phenomenon. We understand that in
a crude way, in the way that germs are passed from one person to another. But for
me it’s so much deeper because we see that from the auric level and the condition-
ing level and all of these other things that we can see within a design view. So, the
environment becomes something that is absolutely a number one priority for healing
the vehicle.
It was very exciting in April of last year when we were covering the subject of Color.
One of the things that came through me at that moment was this kind of clinic where
you would have literally six different kinds of physical environments, because healing
is something that is going to be so environment related when we’re dealing with our
work. In other words, what you’re going to discover is that so many of the clients
that you will have that one of their biggest dilemmas in life is that they’re in homo-
genized environments.
When you enter into a homogenized environment, you enter into an environment
that does nothing for you. It does nothing to align you to your predisposition be-
cause it’s gone. It conditions you to homogenize to an environment that in fact may
be extremely unhealthy for you. Then everybody else is also in that environment.
It’s what we have in cities today.
So much of lack of well-being in urban environments is the urban environment. And

it’s not because this thing is toxic and that isn’t, because there are all those things as
well, but it has to do with the level of homogenization in which it’s not possible for
you to be predisposed and live out the predisposition of the differentiated environ-
ment. You end up in some skyscraper with filtered air, shaded light and computers
running and static carpets and cubicles and this is the way you have to make a liv-
ing. And you end up with all kinds of problems that are eventually are diagnosed as
other things when in fact so much of it has to do with the external determination.
Now, it isn’t to say that there aren’t beings where that’s fine for them, and there are.
But it’s certainly not going to be the vast majority of them. It’s clear to me that the
traditional health of rural people, even in the last thousand years where there were
hygiene problems and occasional plagues and things like that, but the basic well-
being of the rural being, that the moment you had the industrial revolution and the
moment you pumped people into factories was the moment you ended up with all
kinds of illnesses and the spread of illnesses has so much to do with the environ-
ment.

47
And the potential of any human being and this is my real point about how difficult it
is to bring human beings to the potential of awakening, because you have to be
lucky. And if you’re not lucky, then the only thing that can help you is to be aware
and correct. But you have to be in the right environments to meet the right forces.
If there is a fractal line for you that is to lead you to any kind of transformation or
transcendence you do not get there on your own. There is a whole string of fractal
connections, signposts along the way, allies along the way; it is part of the process.
And it goes back to the environment. And it goes back to the surface in the sense
that Strategy and Authority is of enormous value in aligning the vehicle. It is the
first and major step in aligning the vehicle. But you also have to see that even when
you’re following the correct strategy you can end up in situations where you’re
trapped in an environment that is unhealthy for you, you just are.
One of the things that is so important for us is that once somebody has entered into
the process and has entered into the experiment, then there is the possibility of
slowly, in some cases, aligning people to what their predisposition is, aligning them
to certain environments, getting them to experiment with those environments. So, I
want you to keep an eye on external determination because it is very much an im-
portant theme for us.
3rd Color: Thirst
We come to today’s Color and we’re going to be looking at Thirst. Again, you can
see here the polarity of Thirst to the other side, to light. Keynoting can be magical
sometimes. It can be very inspiring. There is a whole series of keynoting that has
to be worked out for us as we
move through this process of
moving from Color to Tone.
The Color/Tone chain is incredi-

bly important because without
our understanding of the rela-
tionship between Tone and Col-
or there is no way to tell wheth-
er the Thirst as an internal pre-
disposition is going to be keyed
to the hot or to the cold. It’s
something that I have men-
tioned from the beginning and
it’s very important to keep this
in mind. I am showing you the
double binaries. I’m showing
you the double binaries as
physical potentials for either the internalization, the predisposition to brain function,
or the externalization, the predisposition to environment alignment.

48
LESSON THREE
Theme: Hot and Cold
So, for example, here brain function, in terms of what is taken into the body that the
real theme here is hot and cold. So, for example, it’s not so much how much liquid
is involved. The real theme for these beings is whether the liquid is hot or the liquid
is cold. For example, let’s say that your brain function in terms of internalization, its
natural predisposition is for cold liquids, that’s its natural predisposition. If it’s condi-
tioned to take in hot liquids, and I can imagine everybody thinking about babies now,
at least I do automatically. If they’re conditioned to take in hot liquids it is going to
have a homogenizing affect rather than a differentiating effect on the development of
the brain, or the way in which the brain is going function in terms of the impact on
the hormonal information and all these other things.
Again, like so much of the knowledge, it is a simple keynote but it’s incredibly impor-
tant because there is no gray area. This is the interesting thing about how binary
operates here. The way we’re going to know whether it’s cold or hot is through the
relationship to the Tone. But again, I have to go through and describe how Tone in-
teracts with Color in order to be able to explain how we are going to actually do the
analysis. But I do want you to
understand that’s what’s
there. That is why in this illu-
stration of the Color/Tone
chains you can see that these
inner fields are very, very im-
portant, all of them. And
they’re going to be part of the
way in which we diagnose in
terms of the internal and the
external where the accent is.
In other words, like looking at

detriments and exaltations, or
this and thats in lines, we’re
going to be able to see firm
this or thats. These are fix-
ings. So what Color does is
that it sets up a fixed predis-
position. And it sets a fixed
predisposition for either the
hot or the cold. It’s always been something that is interesting for me to think about
because there are so many ways of looking at things. I’m deeply attracted to the 3rd
Color; that is, the way in which I’m designed. My mind is a 3rd line mind. It’s inter-
esting for me to see that I have enormous difficulty being attracted to cold liquids.
It’s one of the rarest things to see me, even on the hottest days I drink coffee. So
it’s just interesting the way in which these things work out.

49
But it’s very important to understand that hot/cold brain function is the key to the
material plane. And boy isn’t that an odd thought, but it really is something to think
about. We know that when we go through the resonance of the 3rd Color to the 3rd
line and we get to the obvious, the trial and error, but the discovery and material
quality of the 3rd line because it is deeply, deeply material. And it’s interesting to
note that this is the by-product of the hot or the cold. And it’s very interesting. It
means that, quite frankly, if you’re somebody that is both hot and cold in the liquids
that you take in, chances are that you’re diminishing your opportunities on the ma-
terial plane. I don’t think anyone has ever said that. But nonetheless, that one is
beauty for me; I really like that one a lot.
Externalization: Wet or Dry Environments
Let’s think about the externalization. What you can see here in the 3rd Color is that
there is this predisposition to align to either wet or dry environments. So, for exam-
ple, as I tried to point out, it’s not so much environment in the sense of just thinking
about buildings or whatever. It is a holistic perception of environment. And the
wet/dry environment could also end up being having a lot of emotional beings
around in the wet environment and a lot of very cool splenic beings in the dry envi-
ronment because the environments themselves bring certain other beings who are
aligned to them.
Here in this 3rd Color is the predisposition to the wet or the dry. So for example,
when we have the Tonal keys we’re going to be able to look at the mapping for this
3rd Color design being. And in looking at the mapping we’re going to be able to see
that hot liquids and dry environment, or hot and wet, or cold and dry, whatever the
case may be.
The other thing is that the hot and cold is probably is also about the reaction or need
for warmer or colder places that are very healthy. Temperature is going to have a
lot to do with the way in which this color is going to operate. It’s going to be there.
When we’re looking at the internal and the external, what you need to see is that
these are binaries and these are binaries that are fixed. They are fixed binaries. It’s
not like you’re going to go back and forth. The thing that’s interesting about that is
that when you look at transference at the Design level it’s so costly. When we think
about motivation, I’m talking about the Personality for a moment, when you’ve got
the false motivation this is a self-reflected consciousness game. It’s just about the
way the Personality is going to see. It doesn’t change the potential of the self-
reflected consciousness. It doesn’t change it.
But when you have transference at the Design level, you’re changing the vehicle.
You are moving away from what is correct for the vehicle completely. And you’re
moving away from it, in this case from the Thirst to the light, and you’re ending up
with a totally different determination, a fundamental movement towards what is in-
correct for you and taking in what is incorrect for you.

50
LESSON THREE
When you understand what that means, it means that you move to homogenization
in both areas. In other words, you begin to take into the vehicle what will homogen-
ize the brain, basically dull it down. That is, move it to the common denominator
and move it away from the differentiation. When you are in transference at the De-
sign level in terms of external determination you end up in the wrong environment.
That is, the conditions are wrong. It may be wet once in awhile, or dry or whatever
the case may be, but the reality is that the whole pursuit of the vehicle, because the
vehicle moves.
It goes back to where I started. It is one of the great mysteries; it’s one of the
things to really grasp. Close your eyes and imagine that you’re just flying in space.
It’s movement. And as you’re flying in space, if you’re not operating correctly you
build up resistance and that building up of resistance changes where you’re going,
what you bump into, what you meet.
The moment that the vehicle is moving away from what is its true alignment, its true
geometry and fractal, the language of Human Design is loaded with geometries. The
geometries that are there in the angles, the geometry that is there in the Nodes, it is
full of this direction in life. It’s what it is. It’s what it’s all about; it’s all about
movement. So moving to the right thing, moving towards the right thing, this is ab-
solutely essential for our process.
First Step: Operate Correctly
Again, the first step is that you operate correctly. That is the first step because that
begins the whole process of aligning the vehicle to the vehicle’s authority. But I
think that you can begin to see that there are so many conditioned habits that even
as you’re moving to what is correct for the vehicle in terms of its authority, you’re
still carrying the homogenized conditioning that has pulled you away from your pre-
disposition.
In other words, you’re still hot and cold. That doesn’t make any difference if you’re
any other Color. But if you’re a 3rd Color Design it makes an enormous difference, it
just does. So, what we have to deal with then is an experimental therapeutic ap-
proach. That is, their experiment. So for example, let’s say that they are cold. That
experiment of no more warm drinks, no more hot drinks. What you will see out of
that is that along with operating out of their authority they’re going to start to feel so
much better.
That feeling so much better has an enormous impact. After all, this is brain function.
So as they’re beginning their experiment to operate correctly, as they being to align
to the right intake for their predisposition they begin to gain the advantage ultimate-
ly in the way in which their inner chemistry is operating so that the self-reflected
consciousness begins to gain an insight.

51
It’s aligning them to the perfection of their physical direction. The same thing is true
for the environment. The environment becomes something that is much more diffi-
cult. It’s one thing to say to somebody, “All right, hot drinks. You have a 3rd Color
Design and hot drinks are what it is for you. You experiment with hot drinks and you
follow your strategy.” That’s not a difficult thing to get across to somebody.
However, when you’re talking about environments, take for example people who are
living in northern climates that are living in flats that have central heating and you
end up with environments that are deadly dry. They’ll blister your lips in an after-
noon. There are so many beings that for part of the year, for example, are in very,
very dry environments. If you’re a 3rd Color and you’re here with a predisposition for
the wet, that’s going to be devastating for you.
Design Nodes Moves You to Your Purpose
It also is going to mean that as long as that is the consistent environment you are
not going to meet those forces that are correct for you. You’re not going to reduce
the resistance on your vehicle; you’re not going to be able to enhance whatever your
geometrical potential is in this life because nothing is bringing you to your purpose
faster than your Design Nodes. They are moving you physically to where your pur-
pose can be fulfilled.
If you’re there in that environment and you’re predisposed for a damp environment,
you’re in real trouble. Yes, you can recommend to them that they get some really
good humidifiers in order to put liquid into the air. You can recommend that they
take Turkish baths where there is lots of steam and dampness, whatever the case
may be there are things that can be recommended. But again, it’s much more com-
plex and will be in certain situations than simply about what kind of intake. The en-
vironment, as you will see, is always going to be a greater challenge for us in order
to be able to provide alignment therapies, to be able to provide alignment practices
so that these beings can begin to see the advantages of proper externalization.
Again, it goes back to that fantasy of the kind of clinic where you have the dry area
and you’ve got the damp area. You have these different environments so that you
can do the work in the right place. Think about what that means at a very basic
mundane level on the surface. Let’s say that you have a 3rd Color Design client and
their predisposition is for dry and cold, they come in to your office and it’s very damp
and you offer them a hot cup of coffee. Right away you can see that nothing that
you’re really going to do with them particularly is going to be successful. It’s just
not. You’re doing precisely what is incorrect for their vehicle. And you can bet that
this is going on every day, all the time, in every kind of clinic you can imagine all
over the planet.

52
LESSON THREE
The Simple is Magical
Again, simple is magical. These are simple themes. As we progress in this you will
see that they’re not so simple. There are so many nuances of each of these general
thematics. But on the surface, the simple surface, if you’re not taking the right in-
take, if you’re transferred to the other side, remember that when you have a client
and they come to you and they don’t know anything about Human Design, let’s just
start with that premise. They’re not well and they’re a Generator and you tell them,
“The first thing you have to do is that you have to experiment with response,” and
you explain what that is and you tell them what to do. And you tell them that you
can’t help them until they have experimented with that for a couple of weeks and
then for them to come back, something like that.
If that experiment is holding, if they manage to stay with it, what is actually taking
place is that they are moving away from the conditioning of the transference. This is
what happens to you when you’re operating correctly. It’s one of the basic themes
of making decisions as yourself always aligns you to your correct Color, it aligns you
to your correct motivation, and it aligns you to your correct determination.
But that doesn’t mean, in terms of determination, that it is aligning you to whether
or not you’re on this side or that side of the basic binaries of internaliza-
tion/externalization, because they have been conditioned throughout your life. They
have been conditioned from the moment you came into the world and came into
your parent’s environment, from the way in which you were treated as a child, the
way you were conditioned.
A 3rd Colored child, a 3rd Colored baby, what is with the 3rd Color baby that isn’t here
for hot, is only here for cold. Should it be breast fed? The answer is no. But you
can imagine how many human beings have been nurtured incorrectly. Not just
simply in terms of what their intake is, but they come into environments where
they’re helpless. They’re not in charge of whether it’s wet or dry. They’re not even
aware that’s an element in their existence.
Our work begins with Strategy and Authority because it pulls the powerful transfe-
rence conditioning away. So at least we’re moving them in the right direction. In
other words, we’re moving them back to what is their core and what is correct for
their vehicle. And then begins the process through the analysis, obviously down to
the Tonal level, through the analysis to be able to see what their natural predisposi-
tion is, on what side of the binaries they are, either in the internal and external, and
then to be able to prescribe for them what they need. This is the key.
So at the simple level what I’m hoping that you’ll get today is that I’m beginning to
show you the way in which we are going to do the surface analysis, to begin our
process of providing therapies for clients. In other words, to do the basic reading,
the most important one, it’s like your type reading when you first get a reading and
you learn your type. This is the equivalent at the Design Color level. In other
words, getting this fixed—ok, this is what is correct for them.

53
Relate to the Client According to Their Design
Again, one of the things you always have to keep in mind is using the knowledge in
the way in which you relate to the client. What I mean by that is that for example
according to type, you can’t just simply tell them this is what you have to do. You
can ask the Generator or invite the Projector, so forth and so on, would they like to
try this. Would they like to try that, whatever the case may be.
It’s very important to pay attention to whether they are right angle or left angle,
what their profile is so that you can understand how not to create dissonance with
them, to be able to communicate with them and to communicate with them in an
efficient way that is respectful to their design. But the key is to realize something
about the first step. This first step, the following the Strategy and Authority, that
experiment. This is to eliminate the Color transference; this is to help them align to
what is their correct Color.
In the same way when you begin the experiment, it also helps the Personality to
align to their correct Color. This is all about that process. But even like the Perso-
nality, when it is aligned to its correct Color doesn’t mean that the Personality, yet,
the passenger as such, has the awareness to be able to break through. The same
thing is true in terms of the Design. In other words, that the vehicle begins to move
away from its central conditioning element, transference, but in doing so it then
needs to be assisted. It needs to be aligned to what is its true predisposition, its
predisposition internally and the predisposition externally.
Light: Direct or Indirect
Let me just give you a brief look at this on the side of light. You can see that we
have for the internal, direct or indirect. This is something very important to under-
stand about light therapies, the kinds of things where people use light to help
people. It’s something interesting to note that there are those that need direct light
and need the direct contact with the light. Again remember that what this direct
light or indirect light is actually feeding. If you’re a 6th Color design it is feeding the
way in which you are predisposed to operate as a differentiated being through your
brain function; in other words, the way in which your body is orchestrated, the way
in which the life is orchestrated.
Here is a classic example where the 6 is an unusual element. It’s an unusual ele-
ment because—let’s imagine that I could speak of Color as if it was able to talk to
me. Color doesn’t know that there is mutation going on, on the surface. Think
about that. Remember what Color is. Color is the exiting of neutrino frequency that
is captured by the magnetic monopole and held together in the illusion. The illusion
is where the mutation is taking place. That is, the mutation, the transformation of
the Solar Plexus system and the coming of the Rave child, and the 6th line mutation
that we talk about so much on the surface in Human Design, the tripartite process
that Color doesn’t know that that’s going on. So, there is a process that is happen-

54
LESSON THREE
ing to Color as a by-product of the surface mutation that is impacting on the way in
which Color is operating, at least in the way the 6th Color is operating.
But what is very important to understand about light is that in many ways light is
always about the environment. And you can see that in this language, this keynot-
ing of direct or indirect. Think about something. If you’re somebody who is a 6th
Color and your predisposition is to differentiate through indirect light you have to be
very, very careful about going out and lying down in the sun, as an example. That’s
something that is very, very unhealthy, incredibly unhealthy. These are basic
things.
It’s interesting for me because I live in what is a beach society. Basically, Ibiza is an
island resort with all kinds of beaches. It’s one of the horrors of the summer season
to see kilometers and kilometers of human beings all greased up turning red in the
sun. There is this enormous amount of information that is trying to convince every-
body that the sun is dangerous, skin cancers and all of these things.
The sun is particularly dangerous to 6th Color beings that have a predisposition to
indirect. These are the human beings that you put them out in the sun and even
though they have a hat on and sunscreen and everything else they’re susceptible
and it is something that is very dangerous for them. These are things that the kind
of keys that we have for the various Colors that are really going to allow us to give
general experimental direction.
Clients Must Accept Knowledge Voluntarily
One of the things that has to be very clear to all of you, and obviously we have years
to go yet, that when we get to the end of this road, whoever is going to be served by
us they will be served voluntarily. In other words, this is something that they will
always be given the opportunity to accept or not, to partake in or not. It is always
something for them to decide based on their nature, based on whatever their author-
ity happens to be. It is very important.
When you point someone into what will be environmental experiments you really
physically are going to change their lives. There are consequences to them discover-
ing that it is true, the consequence of dealing with their environment, dealing with
who is in that environment with them, and all of the many other things that come
into play. It is one of the keys for us in our work that the authority that we can offer
is only an authority that is a by-product of acceptance. Otherwise, this is very dan-
gerous business for anybody who is going to enter into an experiment in which they
are going to change their physical environment.

55
Send MMI.rave Charts
By the way, something that I would like to do is that I’d like all of you to send me an
MMI.rave of your designs because I think that I would like to point out to each of you
over the course of this semester some things to think about in terms of your physical
well-being and to engage any of you that want to experiment with it to engage in
realignments in terms of experimenting with environments. I will do the reading of
your mapping. In other words, I will do a Tonal analysis so that I get exactly what is
your binary so you actually have a chance to experiment with it.
I think that as we go along I think we all have to be guinea pigs, our own guinea pigs
in the verification process, and it’s really essential. The best thing to do is send it to
Sarah at [email protected]. That way I’ll get it all in one file. So just send
your .rave to her and sometime over the next couple of weeks, when I have a
chance I will go through and check out all of them.
By the way, timing is always a movie. Some people have very good times; other
people don’t have very good times. Color is a four-hour window. One of the things
that I won’t do is that I won’t ask any of you in which the Color is within 10% of the
cusp, because it’s too risky. What I mean by that is that if you pull up an MMI and
you click on the aspect, the Node or the Sun, you’ll see the percentage that the acti-
vation is within the zone, percentage within the activation of the Color zone. When
you’re looking at that, if it’s 10% or less or if you’re at the 90% point or more, un-
less you’re really certain about the time it could really be off. There’s nothing more
dangerous than suggesting to somebody that something is theirs and correct for
them, when in fact it may be inaccurate. Don’t be surprised if I leave you out if I see
that it’s too close to call.
The other thing is you might send a note along with the chart indicating how good
the times are, or whether you’re confident in the times or not. Remember, this is
really a criteria. Even at the Design level, we’ve all discovered that, there have been
throughout the years mistakes with the line level. I still get people who want to give
me times in which it’s on the hour. So, it’s something for us to consider that there is
also an inherent limitation in the fractal of those that we can properly serve because
they’re going to need to have relatively good birth data. As always, keep that in
mind. But please because I will not remember that I’ve done this, so don’t forget to
send your charts and an indication of time values. I’m sure all of you would be in-
terested anyway in seeing what is your predisposition. You’ll be the first people on
the planet to ever have such a thing.
Astrocartography
By the way I was talking about those horrendous urban environments, those kinds of
glass cubical office spaces or whatever. You can also see that if you’ve got a 6th Col-
or and you’re predisposed to the artificial, it’s like this one is perfect sitting in the car
and this one is perfect sitting on a rock. But nonetheless, one of the things to really

56
LESSON THREE
see about environment is how much the externalized, as well as the internalized, has
been conditioned through the way in which your Penta right from the beginning, your
family, the part of the world that you’re living in, all of these things. It’s one of the
most extraordinary things to understand.
Years ago, I don’t know who that was, I think it was some Swiss Astrocartography it
was called, it’s still around, it’s some kind of astrological system to be able to indi-
cate where is the best place on the planet for you to be, if not the best place, the
best place for this or that or whatever the case may be. Because I can remember
people asking me about this years ago and I told them it would be great, but just
use your design as if it was your birth data and you’d have a better idea where your
body is supposed to be.
But the fact is, what place is really correct for you is quite a fascinating subject to
begin with. It’s really something to understand that if there were to be a grand rea-
lignment it’s like a Busby Berkeley musical, if everybody could get the right dance
step, be in the right place, all of those things, we would all be shifting around into
quite different environments. It’s just one of those things that is fascinating, and to
begin to see that you have these, in essence, 12 different kinds of environments. It
is these 12 different kinds of environments that represent archetypes for alignment
for the fulfillment of purpose. We go back into all of these familiar numbers.
Chart of Color Breakdown
Let me move forward here. So, what we

have here is a graphing so that for the first
time you can sort of put all of this together
into one kind of view, something that I like
to do and it’s useful. The basic breakdown,
the Colors are going up 1 to 6; you have
the internal—I’m using the Sun, it’s a
Sun/Earth, obviously North Node/South
Node—you have the external here, you’ve
got the Color keynote and name. And then
you can see the two different strains as
they move up—the internal and the binaries
of the internal, the external and the bina-
ries that are there of the external.
To begin to see something about the whole

mapping system; that is, to begin to see
that what we have here is not—we have 24
elements. You’re always going to be pulling
out of those 24 elements you’re going to be
pulling two. That is, the alignment of one
side with the other side, the way in which
that’s going to operate.

57
The other thing, of course, is that what we’re not looking at here is what happens
when we have differentiation in the sense that we’ve got very different Color for the
Sun than we do for the Nodes. Of course, there are going to be inherent conflicts in
that. Most of the problems have to do with how transference takes over. For our
purposes we have to consider transference as a non-issue if we have a client that is
experimenting with their Strategy and Authority because you can’t do anything until
you have that.
It’s laid out and obviously you’re going to be able to have a chance to contemplate
this. Tomorrow it will be posted in the resource area so you’ll be able to pick it up.
But I just want to go through this for a moment and just talk about these different
environments and to see how important it is for us to recognize—design is for the
individual. It’s there to bring the potential to any individual to find its uniqueness
and to be able to find its purpose. And in that sense it is very, very self-orientated
and alone. There is no other way than to begin alone.
Yet, the very moment that you begin to be correct alone you realize there is no such
thing as aloneness and that there is no way that you’re going to be able to maintain
the integrity of your process in the connection with the environment that is around
you. It’s one of the first things that you recognize.
My great fear, not a fear, I don’t know what to call it, I realized that I would have to
deal with not-self, that all my earliest allies I would meet them as not-self. I
wouldn’t know if they were good allies for seven years. I wouldn’t be able to tell; I
couldn’t trust anything or any interaction that I had with any of them. It’s always
been part of the understanding and the recognition of that. There was nothing else
to do. You can’t be a messenger and not give anybody the message. And you go
through that process.
Here is something that opens up a deep, deep, deep understanding that our pathway
in this life, our potential to be lucky ones, to be the awake, aware, healthy ones is
about our fractal lines, it’s about our geometries. It’s about who we interact with.
Oh yes, there’s this stuff about what we take in directly and we will go into deep
analysis of what it means in terms of what we’re taking in and how we’re taking it in
and what all that is about. And obviously, there is no question that the establish-
ment of proper internal functions is obviously essential.
Nodes: Road to the Fulfillment of Purpose
But you see, you can be perfect here, absolutely perfect. But if you’re not over here,
nothing happens. This is the road to the fulfillment of purpose. Oh, there’s nothing
like Nodes, I tell you there’s nothing like Nodes. They are so fascinating to me.
They are only pathways, after all. They’re not objects. They’re geometries them-
selves. The moment you’re looking at the external process, and you begin to under-
stand that the thing that shocked me, I’m here to be shocked, is when I understood
that it’s where my body goes that makes the difference. It’s where it goes. My body

58
LESSON THREE
was way ahead of me. I suddenly discovered that my body was disappearing from
North America. I was dragged along on the ride.
The body—it’s where the body is, it’s where it is. This is so incredibly important.
And it’s not just where, but it is the quality of that where, the quality, the physical
quality of that environment. When you get it you begin to see how—the ancients
had this thing called ley lines, that there are these energy mapping lines that are all
over the planet. Supposedly all of these great things have been built on ley lines,
from Stonehenge to Saint Peter’s Cathedral to the Temple of Mount, and so forth and
so on, there are all these lines.
There’s a Perfect Environment for Everyone
It’s really something to grasp that there is a perfect environment for everyone.
There’s a place that’s just for you. It doesn’t mean that it can’t be around the corner
or across the street or where you happen to be. It’s simply that it’s something to
really grasp that everything about awakeness and awareness and the potential of the
Personality has to do with not just how we are physically endowed and operate, but
how this physical form, what kind of environment this physical form lives in, and that
there is a specific environment. It has a very, very, very specific quality. And when
you see it connected to the Tone it’s amazing because from the Tonal level it tells
you what aspect of your nature is enhanced to its full potential by being in an envi-
ronment that is correct.
It’s like Personality Nodes. It’s about the way in which the passenger sees. It’s just
about the seeing. And you have to be able to see the right things. You can’t see
them unless you’re detached. You can’t see anything until the not-self mind is no
longer in control of the decision making because as long as your mind is in charge of
decision making you are blind. You only see what your mind wants you to see. You
don’t get to really see what’s there.
So, everything about well-being is that we’re going to see that there are two ap-
proaches and that these are the binary approaches that we’re going to need to use
with anyone that we’re going to be able to help. And that is to align them to what is
internally correct for them as a thematic, because these are thematics at this point.
Tone Determines the Color Frequency
We’re going to see that when we get to the relationship between what has been—if
we go back for a moment to this illustration it’s really something to understand that
when the neutrino energy is going through, it’s not energy, it’s physical, when the
neutrino is going through the crystal as it moves through the infrastructure we have
frequency that is created. And the first frequency is the Base frequency. And the
Base frequency moves into what is the Tonal frequency. And the Tonal frequency, as
a by-product of that, as the neutrino is moving out of the crystal this becomes the

59
Color frequency. It is the Tone that determines the Color frequency, the tone fre-
quency that ultimately determines the quality or the nuance of the Color frequency.
When you’re dealing with Tone you’re dealing with the sensory dynamics. In other
words, correct environments, the correct environment for you and me is not so
much correct in the sense that is correct for everything about us physically, what it
does is that it enhances the potential of what our tonal specialization is. In other
words, what sensory capacity is, is what we are here to be focused through.
So, when you’re looking at the way in which these operate, again to understand that
the generalization that is here in these terms, that beneath that you have the specia-
lized aspect that because of its specialization, hooks only to that specific side of
whatever the binary happens to be. The thing that is amazing, at least for me, is
that it can be mapped.
I had this wonderful experience today, it was really a delight. I have a new house.
My landlord has all this land and it makes him very rich because he has all this land.
But he can’t grow enough oranges on it for it to make him any money. Not enough
that it’s worthwhile to pay workers and all of that stuff; those days are over.
He doesn’t want to sell it. His family is one of the original Catalan settling families
on the island who came here about 350 years ago. His family name is on signposts
all over the island, so he doesn’t want to sell it. He’s an interesting guy because his
generation, he’s my generation, he became a doctor, he’s a dentist, so he had one
foot in a very sophisticated world and another foot in a very primitive world. He
loves to ride around in his tractor and play farmer, he’s quite cute. So I’ve had this
interesting experience of him asking me what I do and me introducing him to Human
Design. It’s a wonderful thing to watch the beginnings of the veil dropping, begin-
ning to see through things and see the mechanics of things.
The Future of Healing
I realized that these simple keynotes in so many ways this is the future of healing,
we’re going to be able to have the generalized mapping that we need. What we will
lack and I guess that’s the most important thing to think about, is the variations that
are by-products of any of these directions that we see that somebody has to take.
For example, there are all kinds of nuances, all kinds of therapies that are directly
associated with these general themes, which one, in which situation. Having a gen-
eral mapping is going to allow us to be able to give an overall recommendation for
direction. But ultimately, we’re going to have to incorporate the whole holistic envi-
ronment. In other words, holistic knowledge to be able to see how else we can be
of benefit to them in aligning them to this principle and hopefully as this process ma-
tures we will have more and more professionals who enter in from both the homeo-
pathic, allopathic, people in the healing business to bring their expertise to the syn-
thesis. This is something that is so important.

60
LESSON THREE
In other words, we can give a very clear mapping, and a very clear mapping that in-
dicates generalized themes. But ultimately, for the sophistication of our process
we’re going to need all kinds of different applications that are a by-product of seeing
this surface configuration.
The most important thing for me in all of this, I watch it very carefully and I’m in my
own long-term experiments with this knowledge, it is so obvious to me how benefi-
cial it is. It’s something I keep on saying and I say it without—I hope I don’t get
jinxed, but I’ll knock wood—I haven’t been sick in seven years. I haven’t been sick
in seven years because I’m correct. I’m very, very much aware of my form principle
and very detached in the way in which I watch my form operate. I long ago, for ex-
ample, lost morality when it came to my form. In other words, as a freak in my de-
sign anyway, I operate in an unusual way that I’ve always been terrified of being
homogenized.
But it’s clear to me from my own experiments that there are enormous advantages
when we can go beyond just Strategy and Authority and truly begin the process of
healing the body, and healing the body in terms of healing the inner function and
healing the environmental connection, this predisposition to differentiated environ-
ments, how important this is to nurture the eventual transformation of anyone. It is
not enough to say, “Ok, you get this on the inside because this is correct for you on
the inside, and then not have the right environment.” There is not going to be per-
fection on that road. As a matter of fact, it is deeply limited. And it’s more than—
they are not equal, they are different; that is, internal and external. And it’s not
about measurement.
But really I want to keep in mind if the end goal is simply to be healthy, physically
healthy, then the internal means everything. If the end goal is to be healthy and
transcendent you can’t do it without the external being correct. You can’t. This is
something that is so important. And my mundane concern is how do we physically
meet clients. For example, it’s obvious to me that in order for a PHS practitioner to
deal with somebody correctly they have to see their design before they meet them.
They really have to have an opportunity to see what they’re getting into and to see
what kind of environment is necessary—what is the best environment for working
with them.
Maybe by the end of this three year program some zillionaire will give us money and
we’ll build a multi-dimensional, multi-environmental clinic. But the reality is that this
is going to be a very interesting aspect of how we operate professionally. You can-
not bring all these people into the same room. You realize that, you cannot. It’s a
fascinating concept to deal with. How are we going to deal with that, what is the
way to compensate for that? Well, we’ll get there.

61

62
Lesson Four
Touch: 4th Design Color
Hello and welcome. Happy Valentine’s Day—if I don’t get carried away with 30-29
polarities, which are very tricky, but anyway—we do have, as Spyraggelos points
out, a special menu tonight. In many ways you can consider this an introduction to
the 4th Design Color. It is enormously complex. As you will see, it’s quite some-
thing.
It also gives me an interesting opportunity to just relate some kind of—I like to tell
stories—so, some story telling about my own process because I have a 4th Color De-
sign Sun/Earth and I have a 6th Color Design Nodes. So, I’m very familiar with the
peculiarities of the 4th Color.
The 4th Color Makes it Possible to be Human
But nonetheless, we have quite a journey so I will get to it. I have mentioned and it
has been something that I have been discussing throughout the earlier PHS pro-
grams that I offered as introductions when I was beginning this whole process of
preparing to teach ultimately Primary Health System. One of the things that I
pointed out was the peculiar nature of the 4th Color. The peculiarity of the 4th Color
not only from the Design point of view, but obviously from the Personality point of
view as well.
The dilemma of the 4th Color is also its greatest gift. It is its greatest gift in the
sense that it is the 4th Color that in essence makes it possible for us to be human.
So, this is something very, very deep to grasp. What I mean by that, to put that in-
to proper perspective, in discussing the way the Magnetic Monopole operates, that is
that the special quality of the Magnetic Monopole to be able to pull together these
two very different, let’s call them data systems, to pull them together into a holistic
quantum that we call our lives.

63
The Phoenicians on Ibiza
I’ve always been fascinated by the two calculations in Human Design. I don’t know
how many of you know this story, but for me it’s one of the most beautiful stories
about my process of being transformed on the island of Ibiza. Ibiza is a Mediterra-
nean island and as such was impacted by all the early Mediterranean sailing cultures.
The first one to impact the island was the Phoenicians. The Phoenicians were rather
extraordinary people. We still honor them today because we use their alphabet.
That is, they gave us the alphabet.
It’s interesting for me, it’s always been interesting that where they were honored for
that contribution they were ignored entirely for their spiritual contribution. Their spi-
ritual contribution was really the thing
that I find the most unbelievable in a
way. The Phoenicians had a very strange
idea. The idea that they had was that we
were born with two souls—one for the
spirit and one for the body. The Phoeni-
cians had two burial rites—one for the
spirit and one for the body.
In the ruina that I lived in where I had

my experience, my encounter with the
Voice, just behind the ruina was an old
stepped down Phoenician well. When I
discovered this, because I had no idea
about the Phoenicians and their dual soul
concept, I didn’t know anything about it
until three years ago. It’s quite some-
thing. I had been following a writer in a
local magazine who was doing the early
history of Ibiza. I had picked up a book
of all of these various essays on early
history of the island that she had put to-
gether into a volume.
I get into this place where she’s discussing the ancient Phoenicians and suddenly
there is this incredible, for me it was absolutely incredible, here was a culture that
actually understood that there were two crystals, and it was really amazing. It was
really extraordinary that it was here on this island where their influence was so deep,
where the Goddess of the island was a Phoenician Goddess that I would end up hav-
ing this experience in which I would be told of this binary crystal, binary conscious-
ness program.

64
LESSON FOUR
Touch−4th Design Color
The Magnetic Monopole
But the real miracle, and I think the element that is ultimately the key to under-
standing the nature of everything, and I think ultimately it will be the key to being
able to realize the balance between relativity and quantum, and being able to find a
holistic understanding of the totality, lies in the Magnetic Monopole. There is nothing
more magical, mystical and incredible for me than the Monopole and its activities.
What is so extraordinary, because without it we do not have a life, is that it is the
ability of the Monopole to be able to take the energy frequency leaving each crystal
and being able to grab on to it, and I do not know how, grab on to it and hold these
two things together in what we call our lives.
The thing to realize about the Monopole is that once the Monopole has brought to-
gether these two elements, only then does the surface emerge. In other words, only
then does the illusion in the maya emerge. That is, the line, the gate and so forth
and so on. Where the Monopole has its ability to attach and to pull the two elements
together is from the frequency of Color. And yet, it isn’t from all the frequencies of
Color. It is from the frequency of the 4th Color.
The 4th Color for this reason has no, let’s call it a true base, it has no true home. It
is always in movement. And yet, it does realign. All correctness aligns Color. Yet, it
doesn’t stay there. And not only doesn’t it stay there but it has the unusual capacity
of avoiding the obvious. In other words, one would assume that the 4th Color will
naturally transfer to the 1st Color. As it turns out, yes that happens quite a bit in
that sense. As you will see the secret to being able to understand the way in which
the 4th Color operates can only be seen through the Color/Tone chains.
The 4th Color and its Natural Transference
I’m going to show you another image and I’ll go back once again to the former. In
this image this is the very special way that the 4th Color relates to various Tones.
These numbers you’re seeing in here are tonal numbers. You’ll notice in those tonal
numbers they’re all binaries—there are two 1’s, two 2’s, two 3’s and so forth and so
on.
One of the ways that we’re going to be able to operate in terms of understanding the
way in which the 4th Color works, is that we’re going to be able to see where the
predisposition is in the 4th Color in terms of its natural transference. Not all natural
transference will be to the other side, that is will be to the 1st Color. There will be
people who specifically, for example, will transfer from the 4 to the 2, or the 4 to the
6, or whatever the case may be. Then the journey back, in that sense, to the core of
the process.
It also says something about the way in which the 4th Color can be understood is
that the themes of the 4th Color are generalized themes rather than deeply specific.

65
I’ll get to that when I talk about it. But, it’s something that we have to come to
grips with that this transference that’s there in the 4th Color, that what we’re really
looking for in terms of our ability to be able to heal the other is that we need to be
able to bring them to the general process of the Color itself.
Keynotes: Calm/Nervous and Active/Passive
Let me take you back for a moment and then I’ll give you an example. You can see
here, first of all, the keynotes. Remember that the upper keynote—calm/nervous—
this is the potential binary that is there in terms of the internal, the internalization,
the internal determination. When you’re looking at the active/passive, this is the bi-
nary for the external determination. Remember that we do not move back and forth.
That’s something to really grasp. In other words, what side of the binary is going to
be correct for you is something that is going to be determined by Tone.
General Keynote: Touch
So, we have these two different aspects. The heading, or the general keynote for
the Color, is Touch. This is where the 4th Color becomes particularly complex. Let’s
look at the internalization for a moment. I’m a 4th Color Sun/Earth and a 6th Color
North/South Node on the Design side. So, my life, my being in essence and the
quality of my mental functions, the potential of my body to be able to operate cor-
rectly so that the potential of my neo-
cortex, the potential of my whole brain
system operates at its most efficient is
determined by this binary of either the
calm or the nervous.
Remember, we are talking about what

you take in. We see very clearly that
when you’re looking at the lower three,
because we’re not talking about trigrams,
but when you’re looking at the 1st, 2nd and
3rd Color that you can see that it’s very
specifically oriented towards, in most in-
stances, sustenance, food, what you take
in, the food, the liquids, whatever the
case may be. But it’s really about how
you feed yourself specifically in that
sense.
But the moment that you move to the 4, the 5 and the 6, the upper Colors, because
Color has a direct relationship with line, this is both through resonances and harmo-
nies, that it’s very important to understand that the 4th and 5th and 6th Colors have a
different quality to them that we could bundle together under the general heading of

66
LESSON FOUR
transpersonal, in the same way that we would do that with lines. It is slightly differ-
ent, but nonetheless, it’s helpful to see this.
The Circumstances of Taking Things In
In other words, when you’re looking at Color 1, 2, 3, it is very much about the per-
son alone and their intake. When you’re talking about 4, 5, 6 it’s quite different. It
is as much about the circumstances of taking things in as anything else. In other
words, it’s quite different. It has very much to do with let’s call them geometrical
lines. If you’re not operating correctly those lines don’t work well for you. This de-
scription of circumstance is something very important to grasp.
So, let’s take my example, my 4th Color Sun/Earth, the binary is calm/nervous. It
isn’t so much about the being, being calm or nervous as much as about the circums-
tance being calming or—nervous is a difficult word in this context because nervous is
important, I need to put that in there, and yet at the same time it’s also about being
stimulated or it’s an energy that is there that is not there in the calm circumstance.
Let’s take the example of eating. When I was growing up the family dinner table
was a kind of argumentative war zone. I don’t mean that in a totally negative sense,
I just mean that you were expected to make intellectual contributions that could eas-
ily be hammered. There was always a certain tension and nervousness about sitting
around that table and having an evening meal. I’m somebody whose 4th Color oper-
ates through the calm. That is my predisposition.
The Calm Circumstance
My predisposition is for the calm circumstance. One of the things that I cannot tole-
rate, for example, is a lot of stimulation when I eat. I don’t like a lot of chit chat and
conversation. I like peaceful eating. It is the very calmness of the circumstance that
is correct for whatever I take in, because I’m going to transfer. And I’m going to
transfer a lot. It means that I can end up transferring to the 1, to the 2, to the 3,
because even when you have a primary transference point, it doesn’t really matter,
it’s simply the first one you go to and you can end up crawling around in many of
them, for the not-self it never stops and it becomes very, very confusing. And it’s
not about whether you’re transferred and you’re taking in the hot or the cold, or the
Consecutive or Alternating, whatever the case may be. The fact is that’s not going
to be detrimental to your health if the circumstance is correct.
In other words, if I am in a calming environment, and this is something that’s very

important, if I’m in a calming environment, the fact that my 4th Color is transferring
and I’m suddenly fixed on just taking in things that are hot, as an example, this is
one of my themes. It’s one of the things in transference that I’m well aware of as a
4th Color Sun/Earth. And yet, as long as the circumstance is correct everything is ok.
In other words, it is not doing any damage to my being.

67
This is something that brings the exception to the nature of the 4th Color because the
4th Color cannot truly be fixed. As such, it is built into us that as long as the general
theme of the Color is present in the circumstance, this is the key, and then the
transference is not something that is going to be detrimental. But the moment that
one isn’t operating correctly in terms of the circumstance, then everything that you
take in can be detrimental. Of course, it can be very difficult because you’re all over
the place. This is what happens to so many people who are 4th Color is that they
keep on going through changes in the way they eat and all kinds of things looking for
a solution to whatever their physical dilemma happens to be and they don’t find it
because it’s the circumstance.
The Nervous Circumstance
Assume for a moment that you’re somebody that is 4th Color and you are fixed to the
nervous. Again, I want you to see that nervous most often brings to mind a nega-
tive. I really want you to take the negative out of the nervous for a moment and
just see it as stimulated and being stimulated. It’s one of the things that you see,
for example, in certain carnivores—the cat, there’s nothing worse than having a
house cat—the other night my cat brought in a bunny, for God sake—there’s nothing
worse that that. It’s appalling because they go through this process of creating all of
this tension; they go through this long kill process. Most people think that it is a
cruelness of the animal, but it isn’t. It’s about their digestive system. They need to
build up a certain stimulation in order for them to be able to digest the food.
It’s one of the things that is horrendous about house cats that are pets, is that be-
cause they never really get that opportunity, and most of them don’t, my cat lives in
nature out here so it gets a lot of opportunities. But the typical house cat doesn’t
get that opportunity, so you don’t get that kind of stimulus that is developed. Guess
what you get? You get very, very, very smelly waste from the cats. Cats have noto-
riously horrible smell to their waste. That is simply the typical urban pet cat that
never gets this constant stimulation that is necessary for them to crank up their di-
gestive system so they’re really able to process all of the food and process it well
and get the best out of it.
So, one of the things to understand about the nervousness is that this is a totally dif-
ferent circumstance. This the kind of person that is going to feel terrific with a
crowded place and lots of noise and lots of action and things going on, eating while
they’re arguing and all of this stuff, and all of that is terrific, because for them that is
the way that when they take something into their vehicle they can process it directly.
You know what happens with these people? They’re always being told by others to
calm down, that it isn’t good for them, relax, why are you getting so excited, you’re
getting red in the face, you won’t be able to digest your food, all of these stories.
And of course, they’re just stories. The magic of what it is to know your personal
health design because that’s what it’s all about. And it is this theme of the circums-

68
LESSON FOUR
tance that changes everything. The 4, because it can never fix, it’s the only way
that the 4th Color can be healthy. It’s the only way.
Ra and his Experience in 1983
It’s so interesting for me that when I disappeared, it was in 1983, I arrived on the
island. I went out and lived in nature and I lived totally alone. I went through a
very long period where I just lived off the land. I have never been in such a calm
circumstance in all my life. It was the gate that opened up the potential in my brain,
the functions of my brain to align me over the years that I was involved in that
process, to align me to the right predisposition in terms of brain function.
It wasn’t that I was aware, I was not. I was the typical ignorant nihilistic intellectual,
I certainly was not aware. But my body had been pulled in what was in fact a magi-
cal process that I had no understanding of; my body was pulled into an environment
that was incredibly calm. I had left behind the tension of western society. At the
time that I had disappeared I had gone through three bad marriages in a hurry. I
was in a high profile, high anxiety, high tension business world, and all of a sudden I
was sitting on top of a mountain all by myself day after day after day after day, and
it was an enormous transforming event.
It was more than it just transformed what in a sense is unseeable. That is, the
transformation of brain function. I would only notice that years later when I was
getting very close to the experience. I had some very powerful mystical experiences
that opened up things to me that had never been possible in the way in which I un-
derstood, could see or could grasp things. I can remember sensing that something
bizarre was happening because I suddenly seemed to have a level of intelligence that
I had never possessed before; truly, never possessed before.
But it did more than that. It led to the calming of my vehicle, my whole body. Part
of that process was that I stopped eating. A lot of this stopping of eating, was there
was frankly not much to eat. And I began to go through very long fasts. My first
one was 18 days. I eventually was able to go a very long time—6½ weeks—without
food, still and calm in my vehicle. My Personality was at a loss as to what was going
on, truly at a loss. This was simply for somebody who was going to bring the form
principle; I was in a form thrall in being brought into the right conditions. It stayed
with me throughout this process. It is still something that I avoid like poison, those
situations where while I eat I’m disturbed. It is unhealthy.
Touch
Let’s think about something. Why is the Touch there? Touch means a lot when we
look at it in terms of the externalization, and we’ll talk about that. But the Touch is
something that is absolutely essential for us as healers. One of the things that we
need to be able to do is that we need to be able to either calm these beings down, or

69
stimulate them. If they’re not correct, they need to be calmed or they need to be
stimulated.
Touch is something that is really extraordinary. With your touch you can bring
somebody to a point of total relaxation, to the point of sleep. And with your touch
you can put people on fire. And it’s really something to grasp about the healing as-
pect of this, is it’s not for those that are simply intellectually gifted in the knowledge.
It really isn’t. There’s a special quality that’s necessary. There are those that with
their touch can bring both. That is, there are those who bring calmness, and they’re
one side of the Touch field. On the other side, there are those that can stimulate
you.
One of the things that is so interesting about the Touch is that in dealing with it in
the internalization it points directly to one of the most ancient of all healing systems.
It points to acupuncture. It points to the ability to penetrate into the body because
after all touch is touch, this is just about contact. Being able to penetrate into the
body and being able to either calm or stimulate in that sense. I think that one of the
many, many directions of PHS as we move into the future is that this is an area
where the knowledge of acupuncture can be of great service.
It is also about those that use pressure points with their hands, are able to manipu-
late pressure points, put energy into others through various pressure points. It is
something that can go as far as things like Reiki, and whatever. It’s very important
to understand that it’s about creating the circumstance, and it is the circumstance
that allows for the transference not to disturb the correctness of the being.
In dealing with the 4, we are truly dealing with something that is very unusual, it is
truly unusual. As we penetrate deeper into an understanding of it, something that
will come when we look at the Tone chain, we can begin to see, perhaps, truly begin
to see how the Monopole is able to hook into this frequency, what makes this fre-
quency so unique and attractive. It’s also something else. It is deeply, deeply at-
tractive.
The Not-Self with 4th Color Internalization is Unhealthy
Part of that is its capacity to be able to taste all the forms, literally taste all the
forms. And taste all the forms without being lost in them. Again, I’m talking about
those that are correct. I’m certainly not talking about the way in which the not-self
operates. Of course, what we are going to see is that the vast majority of people
who will carry the 4th Color in their internalization are truly going to be unhealthy
people. They really are going to be unhealthy people.
The moment that you bring correctness into their lives, and the moment you bring
the right circumstance into their life, and part of that obviously is that they need to
be deep within the experiment. But at the same time, they’re going to have to be
helped. We know what it is for adults to enter into this knowledge, what decondi-
tioning is all about; this is not an easy process. And they’re going to have to be

70
LESSON FOUR
helped. And this is an area where the Touch is something that the healer has to
have a deep capacity for. Frankly, I think that 4th Color internalization and in fact
probably the externalization is a totally different practice than anything that we do
with any of the other Colors because it is so different in the way in which it functions.
Externalization: Active/Passive
Let’s take a look for a moment at the externalization. Again, you can see this ac-
tive/passive. But you’ll notice something. The calm would go, in terms of the conti-
nuity of this, not necessarily, it would be depending on the Tone, but you can end up
with the calm circumstance in an active environment. You can end up with a calm
circumstance in a passive environment. It isn’t like everybody is going to have a
4/4, so this is just something as a thought to think about the complexity of that. As
I said, I’m a 4/6 so it’s actually quite different for me. My externalization is a very
different business.
Again, returning to the externalization, if you look at the active and the passive, one
of the things to see is that when I talk about the therapeutic, as an example, take
the example of somebody who needs to be calmed. Now, obviously, for them the
passive environment is something that will be nurturing. It is something that will
enrich the potential of that calmness, in the same way that the one that needs sti-
mulation obviously the active environment is something that is important.
But it says something a lot about what kind of a life the 4th Color externalization will
live. The passive environment is not simply that the environment itself is, how shall
I say this, not very stimulating, but it also means that the beings that inhabit that
environment, this holistic externalization, that they themselves are going to be pas-
sive forces. In operating correctly you’re going to get that environment, that passive
environment. And obviously, in that passive environment the potentials in terms of
what one does in this life physically are very different from those that will have the
fixing to the active side, and what is correct for them in terms of their alignment to
the external environment is that they need an active environment out there.
In the way in which I’m taking you through these Colors, I really want you to be
careful not to imagine that the commonality is that you have the same Color
Sun/Earth as you do for your Nodes. In fact, there are enormous variations. The
theme of touch in the environment, the active environment is a hands-on environ-
ment. The active environment is an environment where bodies are touching, where
there is constant tactile interaction. The beings that go to work in these giant office
buildings and they climb into an elevator with all kinds of people, or they sit on the
commuter train with all kinds of people, they go into crowed supermarkets with all
kinds of people, and there is all of this body contact that is there. It is an active
principle in their lives.
On the other side, when you’re dealing with the passive environment, there is very,
very little contact. So, you’re dealing with environments in which the tactile is
enormously different. When you begin to pull together your internalization with your

71
externalization, you begin to see right away the environmental consequences of your
process. This is one of the things that is so astonishing to me; I guess that’s the on-
ly word I could use.
Environment is the Bedrock
If you had asked me a year ago, I hadn’t even presented these things yet, what was
more important, brain function or environment, I’d say brain function. It’s absolutely
astonishing to me that that is truly not the case. It’s the same thing that I under-
stand about every one of us in our process of experimenting to differentiate. It’s one
thing to take this knowledge in, it’s another thing to actually live it in the world
around you because the world around you is filled with conditioning. It’s filled with
the not-self, it’s filled with all kinds of deep transference pulls, it’s filled with old ha-
bits, it’s filled with old relationships, it’s filled with old memories, it’s filled with all of
those things.
The environment is the bedrock of this process. It isn’t to say, obviously, that brain
function is not significant, it is deeply significant. But my story that I started with,
that story was about place. You cannot separate these things. I teach you to sepa-
rate externalization and internalization so that we can understand it. But to realize
in the life this is all just jumbled up together. It’s one thing, ultimately, in the way
you live; they’re connected to each other. You can’t have one without the other.
You can’t internalize without being in an externalized environment, obviously.
As I mentioned, I have a 6th Color Design Nodes. When you look at the 6th Color the
externalization, and the 6th Color being light, is about natural and artificial. I’m
linked to natural; that is my fixing. Transference, the 6th transference is very
straight forward; it transfers to the 3rd Color. My whole developmental life, even into
my first ten years in Design was constantly being disturbed by the way in which the
3rd Color transference impacted my environment.
I have a 3rd line mind in terms of on the surface; I’m deeply attracted to the 3rd line
process. In not being correct in my life, and obviously coming into the world where
one is choiceless, it’s not like these hip New Age people who think they choose their
parents, it’s a choiceless process, I came into the world in Montreal, Quebec in Can-
ada. It’s so interesting for me that in terms of my environment, transference for me
takes me away from the theme of natural light and it takes me into the wet and the
dry.
I was mentioning in some class I haven’t been ill for seven years. The last time that
I was sick was in Sedona Arizona, one of the driest places on the planet. It was ter-
rible for me. When I left Sedona we ended up in Southern Germany, in Bavaria,
which is endlessly wet whether that is rain or snow. It really wasn’t good for me.
The circumstances of my process demanded those steps. Despite the fact that I en-
tered into them correctly, I could feel the impact on my vehicle. That is, my vehicle
wasn’t as healthy as I had known it to be. It is very easy to rationalize that as age,
that’s one of those things. I arrived in Sedona when I turned 50 and I spent the

72
LESSON FOUR
next four years both in the United States and in Germany, and those years had a de-
trimental impact on my vehicle.
What was interesting for me about those years is that most of the work that I did in
Human Design at the intellectual level was establishing the foundation that I had al-
ready been working on all the years since the beginning. And it’s only since my re-
turn to the island, which was approximately four years ago, where I returned to the
natural light; it’s only since then that I have been inspired to expand my teaching,
the by-product of which is all these IHDS programs.
When I think about my mystical experience, one of the things that I was taught by
the Voice, and something that I practiced for years after my experience, was that I
would open up my eyes to the sun for approximately an hour a day and take the
light directly into my body. It was part of my process; again, a transforming and
healing event in my life.
Internalization and Externalization, the Bedrock of Transformation
When you being to look at these two elements, this internalization and this externali-
zation you begin to see the necessary harmony between them, regardless of what
the Color happens to be, to understand that this is the bedrock of transformation,
this is the bedrock of holistic well-being. This is the movie. It is what it is all about.
I want to caution all of you. I think you all understand—the shock that anyone has
the first time that their Design is revealed to them—and as you know by now that
was only the surface—there’s something you’re going to have to deal with in all of
this. For some of you it may be easy and for some of you it may be a drama, is to
understand something that when it’s revealed to you what your fixing is in terms of
your externalization it can have an enormous impact on your life. I want to make
sure that you really understand that.
The Disruption that is Possible When Changing One’s Environment
The perfection, all of you are adults who have entered into Design. I know many of
you; I know the amount of time that you’ve been in this and your dedication to it; in
most cases the correctness that I’ve met from you in this process. But remember
that what we’re talking about in PHS is we’re talking about the perfection of our pre-
disposition, the true alignment of our vehicle to what is correct for it. Seeing that
you need to work with your internalization is not disruptive to your life. But to see
that the dilemma that you are in the incorrect externalized environment is something
that can bring quite a drama.
I think it’s very important to understand that. And it’s important to understand that
not simply for you because it’s my responsibility to warn you, because I know what
this kind of thing can do. Never again will you take me into the wrong environment.
I understand what the impact is, and the impact is extraordinary. The moment I

73
went into the dry environment, I lived in New Mexico first before I moved to Arizona;
the moment that I moved there, in that environment, my eyes began to deteriorate.
They just began to deteriorate. It’s something to understand that the perfection of
your form requires the right external environment.
So, it’s something to consider. It’s also something that we have to take into consid-
eration in relationship to our clients. That is, it is one thing to recommend to some-
body that they stop depending on the cold intake and really change to the hot and
it’ll change their life. It isn’t really going to mean anything unless there is also the
transformation in the environment. It’s that environment that means everything.
Of course, one of the things that we’re going to have to consider is that, that is very,
very disruptive. The not-self is so easily disturbed. It’s quite a thing to say to
somebody, “Look, you’re not living in the right environment; you need to change
that.” Not everybody can. There are all kinds of dilemmas. People have families,
own homes, have careers that they established in certain places, and this and that
and all the things that go with it. So, this is really something to keep in mind.
When you get to the point where you seek perfection you also have to accept that it
means that you need to shed everything that is incorrect. I know clearly that that is
not for everyone. I think for all of you this will be a real jumping off point in your
own process to see very clearly for yourself whether or not in your own process, in
your own experiment, whether you have aligned yourself to the environment that is
correct for you. I assume that all of you are speculating anyway in looking at your
Color and Color transference in the binaries that are there.
But this is really something that I have been chewing on for weeks now because I
suddenly grasped as something that is just so obvious to me, is something that I’ve
understood in a different way for a long time. That is, the affinity that each of us
has in our geometries for a specific place. That lesson is taught to us by all of the
open G’s. It’s the great teaching of the open G that place means everything. And
it’s not simply that it means everything for them, it’s obviously accentuated in the
open G because there is this inconsistency to the way that it operates.
Authority is Only Correct in the Moment
But I want you to grasp something that when your authority says to you that it is
correct for you to be in an environment, it isn’t necessarily the correct environment.
It’s simply correct for you in that time, in that moment, to be there. In other words,
it’s not going to be seriously detrimental, but it is no perfection. And it’s really
something to grasp.
So, we’re on the threshold of something that in many ways is probably the most dif-
ficult aspect that we’re going to deal with in terms of our work as healers. Again, it
is easy to dispense medicine, whatever the medicine happens to be, whether it’s
words, or this or that or whatever the case may be. But it is another thing to say,

74
LESSON FOUR
“Where you are is not good for you, and you have to be some place else. And this is
the kind of place you have to be.”
I will get all of your feedback when I deliver all of that to you, and you can let me
know what it’s like. It’s something that I’ve gone through a very long process of
coming to grips with and understanding deeply. It was interesting for me because—
my Kiron return, the cross of my Kiron return is the 2/4 variation of Contagion, the
hermit/opportunist. From the moment that my Kiron happened to me the one thing
that I wanted to do was stop traveling. As a messenger, when I began my process I
traveled endlessly for ten years, I barely stopped. It’s one of my standing jokes with
my eldest son that in his first seven years I saw him for about two of them, added up
together over that period. I was constantly out there traveling and being in envi-
ronments that were incredibly unhealthy for me. I worked sick over and over and
over again in those years. It was a constant process for me to be ill when I was
teaching. I was always traveling.
When my Kiron return came and the 2/4 came into my process that’s when my
young son was born and he brings a specific activation that turns me into the Stylite.
If you look at the 12.1, that’s me. My son has the 22nd gate and he has Uranus in
the 22nd gate. It turned me into a recluse. So, here I am deep, deep, deep in the
campo, I don’t travel any more. It really is not something that’s for me. I’ve never
felt so good in my whole life. It’s wonderful. I have all this natural light, I live in a
world of calm, and the ongoing perfection of my own process keeps rolling along.
I want each of you to grasp that you are the first PHS clients. And where you go
with that information is something that’s really going to speak about what the future
is for the way in which we can heal others. That’s something. That’s quite some-
thing to contemplate.
The 4th Color Base is Open
I wonder if you can see the obvious [image next page]. I hope you can see the ob-
vious. It’s something really extraordinary about the 4th Color. It’s the thing that
makes it so different. It’s really something. When we looked at the other Colors, did
you notice when we looked at the Tones related to the Color that all of the geome-
trical configurations had a number, all of them. Particularly important as I men-
tioned to you when we were looking at the beginning of that process, I explained to
you how important the Base was. This was the place where you could really see the
alignment directly to the pure nature. But you’ll notice here when it comes to the 4th
Color that the Base itself is open.
Now, for me, this is where the Monopole connects literally. This is where the Mono-
pole has its ability to hook into the 4th Color. And that it is a technique that is differ-
ent when we examine the relationship of the Color to the Tones in order to find, for
example, the fixing and also at the same time to be able to see where the natural
tendency is in terms of the transference. The transference obviously, is something
that is significant. If we understand where they’re transferring they’re going to

75
think—most 4th Colors do—they’re going to think that if they change what they take,
for example if this is internalization, into their body is the thing that’s going to make
the difference instead of the circumstance.
We need to see both what is natural for them to take in, because remember they will
experiment with all the possibilities, what is natural for them to take in as the trans-
ference because this is the most extraordinary thing about the 4th Color. That is, it
doesn’t matter
whether you are
transferred or not as
long as the circums-
tance is correct. In
other words, as long
as the fixing circums-
tance is correct.
You can also see this

in a way with the ex-
ternalization. In oth-
er words, as long as
the circumstance is
either going to be ac-
tive or passive de-
pending on what the
being is, it isn’t going
to be a big deal that
there are different
environments that it’s
going to connect to.
After all, you’re going
to have the transfe-
rence at the envi-
ronmental level as
well so that the theme of the circumstance is something that is absolutely essential
to grasp when you’re dealing with the 4th Color. It is, in essence, what the 4th Color
is all about.
But the beauty of this is how different it operates. This slot here, we are going to
examine the whole configuration in order to understand there is a difference between
this 2 and this 2; they’re not the same thing. They’re similar, but they’re not the
same thing. And we’re going to be looking at it from the perspective of the Tone.
Again, remember when the neutrino information is entering into the crystal it enters
in through the Base and it comes out through the Color. So the Tone is the great
operator, in a sense. It’s the middle zone between the incoming information and the
outgoing frequency. So, we need to examine all of this in order to come to a point
where we understand how this works. This is the key.

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LESSON FOUR
The World of Physics
It’s my feeling that—I have, let’s call it an ulterior motive. At heart my great love is
physics. It’s something that has fascinated me since I was about 15 years old. I
have a deep knowledge of it. The world of physics right now is in the deepest di-
lemma that it’s ever been in. That is, it’s caught in a binary. It’s cruel to be caught
in a binary because when you’re caught in a binary you know that it’s not this or
that, but you don’t know what else there is.
We have these two domains in the world of physics. One is the domain of relativity,
and relativity is something that within its own context has been verified. And we
have the domain of the quantum. And within its own context it has been verified.
And yet, you can’t put the two of them together because they don’t know how. They
don’t know how the holistic whole is created. They call it the Unified Field Theory,
looking for something that is able to encompass everything and bring it into one
theory, one concept. This is the work of the Monopole.
And for me beyond the health interest that I have in all of this is that this is the clos-
est I’m going to get to maybe discovering in my own process how the Monopole does
it, how the Monopole hooks into this zone. Because you see, this to me is a micro-
cosm of a great macrocosmic principle, the thing that holds the totality together, the
thing that holds everything together.
We have what is called The Big Bang. That’s the way the physicists describe the init-
iation of what they call the universe. Basically, what you have is one mighty explo-
sion, because that’s what it was. That mighty explosion was so powerful, was so in-
credibly powerful that everything that you can imagine has been moved by it and
continues to be moved by it outward. The best way to describe that is having a bal-
loon in your hand and putting dots on the balloon and blowing it up. And suddenly
every dot is moving further away from every other dot.
This is what our universe looks like. The physicists call it the Expansionary Universe.
So everything is moving away from everything else. If that goes all the way as a
construct it would mean that ultimately everything would move so far away from
everything else that everything would die, everything would die in the cold, in es-
sence.
The Process of the Monopole
Now, think about the process of the Monopole, because it’s fascinating. The Mono-
pole is a mono-pole. There is no such thing in terms of what we know, there is no
such thing. There is no such thing as a mono-pole. And yet, it is a mono-pole and it
only attracts. So, the first principle, and the first principle that you’re taught when
you meet the G center and the Monopole, the first principle is that it holds us togeth-
er in the illusion of our separateness. This is what the Monopole does.

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But it doesn’t just hold us together. There are Monopoles in everything. Every sin-
gle Design crystal has a Monopole. And the moment that that Design crystal is in a
form, the Monopole separates from the Design crystal, the form has its process and
when the process is over they reunite. This is the essence of all existence. Every-
thing that is form is endowed with Design crystals and Monopoles.
Now, if you were Newton you would call it gravity. The great joke is, of course, is
that nobody knows what gravity is. It’s just a name to describe a phenomenon. But
nobody knows how it works. It’s amazing, because this is the Monopole. And it’s
not just the Monopole holding us together in the illusion of our separateness, it’s the
Monopole holding the earth together in its illusion of separateness, and the Sun to-
gether in its illusion of its separateness, and the solar system together, and on and
on and on until we have the whole enchilada. You have the whole thing; the whole
biverse held together in the illusion of its separateness. This is the one life, this is
the totality, this is it, and it’s all Monopole.
And the secret? It’s right here. In this place this is where the Monopole attaches. I
think that there is a possibility—I know that it’s easy, at least for me in that sense,
to get to the health of all of this. But as I said, I have my ulterior motive. How does
it work? How does the Monopole hook into this aspect of the 4th Color? And in
knowing how the Monopole hooks into this aspect of the 4th Color we begin to under-
stand how we can bring the formula of relativity and quantum into an illusion that is
greater than the sum of its parts, held together by this. This is an amazing place. I
think about it a lot because it’s like one of these magical doorways and you know
that when you start walking down that pathway you’re really going to be surprised.
There’s really something incredible down here.
So, just this illustration—see how different the 4th Color is, how differently it oper-
ates. And at its very core to realize that at its deepest, deepest essence there is no
chain, there is only the link outward. That’s why it doesn’t matter where you are in
the transference, as long as the circumstances are correct. The circumstances mean
everything. And if the circumstances are correct, then the 4th Color becomes a ga-
teway to great knowledge because so much can be taken in, and taken in, in a
healthy way. Whereas, when you’re dealing with any of the other Colors they have
to stay with their Base, they have to stay with their primary aspect and not be
caught in transferring all over the place and constantly being aligned back because
that is what is healthy for them; and how different it is for the 4th Color.
I could almost descend into Rave Cosmology right now with what is the mystical po-
tential of this. It’s almost as if we are getting close to perhaps the greatest question
of all, how does life work and why is it possible. Nobody knows that. There are ex-
traordinary things that human beings simply do not know. And the mystery of life?
All the living forms on this planet, all bio-forms on this planet are endowed with De-
sign and Personality crystals. They’re all held together in the illusion of their sepa-
rateness, all life is that way. The real magic of being the essence of understanding
what it is to be, not simply what it is and how it works and why it works the way it
works, the deepest mysteries are right here in this illustration. It’s one of my favo-
rites. It’s really quite incredible.

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LESSON FOUR
The Great Sampling
Ok, so we’re dealing with the 4 and you can see how many variations are possible.
So for example, let’s say that we’re just talking about the internal for a moment, and
let’s say what is correct in terms of circumstance is this stimulated nervous circums-
tance. As long as that’s there, it doesn’t matter whether you are here or here or
here, it doesn’t matter what it is that you’re taking in, it doesn’t matter, none of
those things matter. And yet, they do. That is, this is the great sampling. One of
the things about the 4th Color that should be obvious now is that since it is the agent
of bringing all of your Design information into your bodygraph, because that’s what it
is, since it’s the agent then it has to have access to a great many things. And it
does.
This potential of the way in which it transfers, remember even primary transference,
so you’ve got a primary transference, let’s say your 4 goes to the 2, that’s your pri-
mary transference, the fact is you’re still going to dabble with the 1 and the 3 and
the 5 and the 6, though there would be a pattern for that and we can see how the
pattern works. But this is the deep quality of the 4. And you can imagine what that
means in terms of the nature of the brain function. It is not as specialized. It’s dif-
ferentiated in not being as specialized. But it’s something to grasp about the way in
which, for example, the internal Colors operate in relationship to brain function—
highly specialized.
By the way, this doesn’t necessarily mean that it is a limitation on the consciousness
as it is ultimately experienced by the passenger. Don’t think this is better just be-
cause I happen to be delighted with what the 4th Color is, how amazing it is. It’s not
about better; none of these things ever are. It’s simply about what your incarnation
is about. What the differentiated purpose for you is all about. And in most cases
you can see how specific it is. And that the dilemma is always on the other side.
Again, to see how different that is when you’re dealing with 4th Color. It really is
something else.
A Different Approach is Necessary for 4th Color Beings
We have to see that we’re going to have a very different approach that we’re going
to need to take with 4th Color beings. I go back to my fantasy about environments.
Actually I think it was one of my oldest friends in Human Design, Peter Schober in
Austria, it was his inspiration that we build a clinic that has all these different envi-
ronments—six different geodesic domes, or something—you’d need 12 actually. You
have all of these different environments and there you have your particular client
who happens to a 2 external and you want to put them in the right environment, so
you put them in the right environment.

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But then you get the 4. The moment that you have the 4 everything is different.
They can go into any of the environments, any of them. It wouldn’t make a differ-
ence in terms of their well-being. But how they go in, what they are like when they
are in there, their frequency, this is the thing that makes the whole difference. So,
we have a very different kind of counseling process.
The other thing is, the whole business of the therapy involved here in terms of touch
and how special this work is, there are some people that can put their hands on you
and the impact is extraordinary. It’s really something for us to grasp that this is a
very, very special element in this work. And you can see how different that is from
appetite, taste and thirst. The moment you get into the upper you can see how dif-
ferent these things are.
And the Touch? It really is a whole different way of dealing with the being; and that
to see that the goal is not the same. It’s not about relaxing people and calming
them down; that may be one thing. But this ability to crank people up, this ability to
stimulate them and for them to understand what they will find so difficult to under-
stand as not-self is that it has nothing to do for them with what they put in, and it
has nothing to do for them with where they are.

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LESSON FOUR
Being Attuned to the Frequency is Important
Let’s say that one of you out there, many of you, whatever, have a 4th Color exter-
nal. You’re not going to have to go through what may be difficult for somebody else
who doesn’t have a 4th Color as an external and has to deal with the reality that they
are not in a correct environment and have to do something about it. If you’re a 4th
Color and you’re not in “the correct environment” it doesn’t mean anything. What
matters is what the circumstance is. What is your frequency? And here is where
you see the enormous difference between the lower three and the upper three.
When you’re dealing with the lower three you can see that the frequency is very
much concretized. When you’re dealing with the upper frequency it’s very different.
Of course, it’s the establishment of the right frequency, so whether it’s the frequency
that comes through Touch, whether it’s the frequency of sound, whether it’s the fre-
quency of light, it’s being attuned to the frequency that is so important. And for the
4, it’s everything; it’s absolutely everything.
It’s the same thing for the environment. If you’re fixed to the passive and you hap-
pen to be in a Blending, 1st color environment and all kinds of people and stuff and
whatever, as long as you remain passive, it’s all ok. It’s the circumstance. Not only
that, boy are you going to learn a lot about that environment.
Remember that when you take the Design and through the 4th Color, through that
magical section that you pull it into its holistic whole with the Personality, that you
get to a point of understanding that the right environment ultimately opens up the
potential for the consciousness. And when you’re dealing with a 4th Color, if it can
maintain its correct frequency, then it’s going to be able to take in an enormous
amount of environmental information, a cross section of information because ulti-
mately the 4th Color has this responsibility of being able to interpret the entire crys-
tal, being able to interpret what is there in the crystal is the conduit through which
the information of the crystal is brought into the bodygraph.
It doesn’t matter, by the way, whether you have a 4th Color or not. Otherwise, any-
body without a 4th Color would be dead. It is simply the way in which it functions.
And the way in which it functions in your Design crystal. It doesn’t matter whether
you’re this Color or that Color, it is through that aspect in your crystal that the Mo-
nopole hooks in, period, and takes in all the information and brings that information
into the bodygraph.
So, the well-being of the 4th Color, that is, the ability to be able to refine the fre-
quency will do something rather extraordinary, it will have a very, very powerful im-
pact on other human beings. And it will have a powerful impact on other human be-
ings not directly, but through very, very subtle conditioning. Because the correct-
ness of the 4th Color through the subtle conditioning, because we are all being held
together in the illusion of our specie, will begin to open up greater and greater possi-
bilities for the correct development of humanity. It is an amazing place to be.

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The 4th Color is the touchstone. For me it’s the place of the mystical Aliph where all
things can be seen and understood. It’s like the Holy Grail. It’s one of these incredi-
ble places. We’re getting very close to it.

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Lesson Five
Sound: 5th Color Design
Here we go with round five of our journey through Design Color. We actually come
to an extraordinary place in many ways. This place that we arrive at is this 5th Color.
This 5th Color is very odd in the way in which it operates. In some ways it’s quite
similar, and only in a sense, to the way in which the 4th Color operates. That is,
what we know about the 4th Color is that it is always in transference, which means
that quite literally it can have a relationship with any of the other Colors. It is really
something to keep in mind.
Again, we will talk about circumstance and the importance of circumstance in order
to be able to maintain the right influences in terms of the way in which the body
functions. But the 5th Color is very odd and it’s odd for a different reason which has
nothing to do with its relationship to other Colors. It is a standard transference bi-
nary. That is, the 5th will transfer to the 2 and we will take a look at that.
The 5th Color and its Relationship to Tone
But there’s something deeply significant about the 5th Color that we’re not going to
see for awhile because it has to do with Tone. The interesting thing about Tone is
that when you’re looking at Tone just from the surface, basically with Tone you have
the 6 different variations that are binaries themselves. The 1st and 2nd Tones are
Splenic, the 3rd and 4th Tones are Ajna, and the 5th and 6th Tones are Solar Plexus.
That is, that is their underlying relationships and I don’t want to take that any fur-
ther. But, there is within each of those six Colors a very fixed relationship to a par-
ticular frequency and aspect of what we would call awareness systems. That is,
Spleen, Ajna and Solar Plexus.
However, there is something very interesting about Tone. That, when you’re dealing
with it and I guess it’s inherent in its name, is that when you’re dealing with Tone
there is a unifying force. There is a unifying force that is in fact an aspect of every
single Tone. That is, it is an underlying aspect that is beneath the 1, the 2, the 3,
the 4, the 5 and the 6; it is an aspect that impacts all of them. This is the aspect of
Sound.

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So, we have a very unusual relationship between the way in which the 5th Color op-
erates and its relationship when you move the 5th Color into the Tone chain. As you
will see, it gets very, very complex the moment that you’re dealing with these upper
Colors because they have very, very unique properties. We have already seen the
unique property of the 4th Color in reference to other Color. Here, we have a very
unique property of the 5th Color that has a relationship to every single Tone. Of
course, that makes it quite unusual in the way in which it operates in terms of the
body.
It also means that in our overview discussion, because these are basically just over-
views of these Colors, in this overview discussion we can’t even begin to touch on
how complex, in fact, the 5th Color actually is. That is, for example, if we want to
talk about the 5th Color in terms of therapies, in terms of the way in which we’re
going to use the information to align vehicles to their predisposition to differentiate,
we’re going to see that with Color, the Sound of the 5th Color is enormous.
Sounds Can Adjust Programming
In other words, there are, for example, certain sounds that are specifically splenic.
There are certain sounds that are not only specifically splenic, but they’re specifically
either one tone splenic or two tone splenic. When you’re dealing with the 5th Color
you’re dealing with the potential to be able to use sound in a way that is quite ex-
traordinary. In other words, if you’re looking at the resonance between Color and
line and you think about the 5th line just in terms of its general keynote, which is un-
iversalization, the 5th Color represents the underlying potential to universalize. With-
in a certain context, what that really means is that through sound, adjustments can
be made to the programming that is underneath the Color.
I’ll repeat that because it’s really extraordinary. With sound you can work with and
you can align any Tone, what Tone leads to, the underlying infrastructure upon
which our whole physical nature is built. And no other Color, that is, no other Design
Color with its keynote can do that. In other words, think about the way I describe
the way the crystal operates. The way the crystal operates is that you have a neu-
trino feed going through. It goes through the Base and it comes out the Color. The
Tone is the medium field; it is the central structural field.
One of the things that movement suggests, or at least my description of that move-
ment suggests is that it is an entirely one-way street. In other words, that it’s al-
ways moving from the Base to the Tone to the Color. Generally speaking, that’s
true. But it’s not true for the 5th Color, and it’s what makes the 5th Color so interest-
ing.

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LESSON FIVE
Sound−5th Color Design
Sound is a Healing Agent
One of the things that we’re going to see is that sound is something, and again,
when I say sound, we’re talking about frequency. There are sounds that we cannot
hear. They are either too low for us to hear, too high for us to hear, too soft for us
to hear, whatever the case may be. There are all kinds of sounds. One of the things
to grasp about the power of sound is that sound is an enormous healing agent.
When we talk about the alignment to, if you’re a 5th Design Color, what is correct for
you in many ways has much more powerful and immediate health benefits than the
alignment to any other Color. Because in its ability to be able to tap into the tonal
level and impact the tonal level, that alignment to your 5th Color that is correct, there
is an immediate adjustment that takes place at the tonal level.
When you’re working with the other Colors you’re simply trying to align to what is
the specific tonal input, because, as you will see, this is the way that it works. You
get a specific tonal input. The difference in the 5th Color, with Sound is that not only
do you not get a specific tonal input, because you don’t, but the Color actually se-
lects, and that’s a very funny word to use because I don’t want that to be misun-
derstood, that the Color in its correctness will go from one tonal quality to another
depending on what is necessary for the vehicle to operate correctly.
So, in dealing with this 5th Color, it’s really quite spectacular. But, we’re only going
to really begin to see the depth of that when we get past this Color introductory
stage and we begin to look at the chains in the way in which the chains operate.
Transference to the 2nd Color can be Devastating to the Vehicle
Let’s get down to the business of what we’re dealing with. This relationship between
taste and Sound, just as the 5th Color and your alignment to the 5th Color can be so
extraordinarily healthy for you; the transference to the 2nd Color can be devastating
for your vehicle. That sounds very dramatic, and yet, it’s essential that I express it
that way because it is rather dramatic. This is a place where Color transference can
be very, very detrimental to the health.

85
So, for example, whenever you’re looking at a Design 5th Color being, and I’m not
talking about whether we’re talking about the internal or externalization, just as a
general theme, when you look and see that you have the 5th Color, it is very impor-
tant to recognize something. In terms of the not-self out there, beings with the 5th
Color are going to end up being at greater risk of illness, of disease, of vulnerability
to all kinds of things, and it can go from vulnerability to having their bones broken,
as much as vulnerability to not being able to identify viruses that are entering into
their system, and the collapse of their immune system.
Now, again, I’m making this dramatic so that I can really make the point. But the
point is one that is really essential to grasp that when you have this 5th Color if
you’re ignoring your Strategy and Authority you are really ignoring it at a great risk.
You just are. And it’s something to grasp.
So, you have the game of the Gods, the large print giveth, the small print taketh
away; this is the way that it works. On one side you have this extraordinary capaci-
ty to align yourself to what is physically correct for you, and to really find the diffe-
rentiated well-being that belongs to you. But the transference immediately breaks
all of that down, completely breaks that down. Obviously, that is something to pay
attention to.
The 2nd Color
The other thing is that the polarity to the 2nd Color, the 2nd Color does not have an
expanded relationship to Tone. It is fixed; or will be fixed to the Tone that is specifi-
cally related to it. You’re going to be moving away from this playing field in which
there is a direct relationship between being aligned to your differentiation and having
that impact you in all the areas that are necessary, regardless of whatever the Tone
structure happens to be. There is a specific Tone in terms of schematics and chain
work where you see that sound is related. But in fact, it is connected to all of the
Tones. But the moment that you move across all of that gets cut off.
When you think about the 2nd Color, and remember when we were looking at the 2nd
Color we were talking about the root of barriers that emerges in the 2nd line, this
open/closed that you can see, this internal/external, all of this potential that is there,
this closing off, that here is where all this closing off comes from. There you are with
your 2/4, 2/5, 5/2, 6/2 and you learn about your profile and you learn about the 2nd
line, and about the 2nd line and its barriers and all of these themes—the hermit and
shyness, and waiting for the call and all of that stuff—but the fact that the 2nd Color
has this closing off mechanism, which eventually becomes what we call it the line
level, the hermit and all these other things, this is the direct result of its relationship
to its binary of sound. The 5th Color can connect to all the Tones. The moment
there is transference, the barriers arise.

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LESSON FIVE
Of course, when we’re looking at the world, we’re not looking out at a world that’s
correct. If you think about that really carefully, and if all of the 5th Color beings were
correct, which is a lovely fantasy, and they were all aligned as they should be, we
would no longer have a 2nd line that was called the hermit, that was about shyness
and there would no longer be any barriers. It would be something totally different.
Now of course, if I was into Human Design science fiction stories, it would be a great
science fiction story to write in terms of what would these beings be like; what would
the 2nd line be the moment that you take away all of the barriers.
Normal is Dysfunctional
So, it’s really something to understand about how extraordinary the underlying
themes are, all of these underlying themes that are there in the Colors that we’re
examining, how they have an extraordinary impact on the way in which the holistic
being emerges. It’s not a 2nd line for nothing. There is a reason, through infrastruc-
ture, why there are barriers there. And the thing to recognize about this is that
when you’re looking at all the profiles, you’re basically looking at profiles that have
been conditioned to operate according to dysfunction. This is a not-self world. The
whole mutation of humanity is taking place in a not-self environment. That is what
is “normal.”
I love it; my eldest son walked into my room today with a t-shirt on. On the t-shirt
it says “Normal people scare me.” I thought, how delicious, because what’s normal
is really dysfunctional. So, it’s very interesting to speculate. It’s why I’m always so
curious about Design people when they go through their seven year process. That’s
when I really begin to pay attention to them in the sense of paying attention to them
intellectually. I begin to hear things that resonate to an obvious difference. It’s
clear to me that this is a very special perspective, and how rare it is. And to under-
stand that I’ve often described profile as a costume that doesn’t fit when you’re not-
self and how it begins to fit as you operate correctly.
But it’s not just that the costume begins to fit, the costume takes on a different ap-
pearance altogether because the general frame of that costume is held up by the
not-self. If you meet the not-self and they’re a 1/3 and you describe their profile,
it’s them and they know it because it’s so conditioned by what the not-self pheno-
mena happens to be. We all know that each and every one of these lines operates
very differently the moment you’re operating correctly; they’re very different. The
3rd line doesn’t become a tragedy, and it doesn’t, it’s a process, and it changes the
perspective and all of the things that come the moment you get out of the mental
authority and you begin to operate correctly, and you begin to see that these aspects
in your nature—it’s like for years people have talked to me about detriments as if
detriments are bad. Their concern and their worry about detriments. Detriments
are just the “that” to some “this.” It’s just as I’ve said over and over again it’s one
of the very poor selection of words that I came up with to describe things, because it
has left the impression that detriments are bad.

87
Yet, if you read the detriment lines and you look at the way they work in the not-
self, they do appear to be negatives. And it’s only when you get to a point where
you’re operating correctly that you begin to see that, that so-called detriment that
you have is you and is an integral aspect to the way in which you operate, and when
you operate correctly so does it and it is no longer a negative at all. It is not part of
the “this” and “that.” It’s the magic of correctness. The magic of correctness is that
it brings you to singularity. That’s what it does. It takes you out of the “this” and
“that.”
The 5th Color is not Limited to its Fixing Tone Relationship
But anyway, I don’t want to digress anymore than I have. Let’s get back here and
take a look at Sound. Ok, so what is this really about? Let me take you back to the
generalized chart here. Let’s take a look at the internalization first. Of course, in-
ternalization is symbolized by the Sun/Earth on the Design side, and when you’re
looking at the 5 you see that here is the basic binary. Again, remember that when
we’ve been talking about all of the binaries, we have been talking about the fact that
a binary is fixed to one side or another by a Tone.
This remains true for the 5th Color. In other words, the 5th Color is going to have a
Tone that will fix it to “this” or “that.” But it doesn’t mean that the 5th Color is limited
in its relationship to that Tone only. That is the Tone that is responsible for the fix-
ing, that’s the one-way street, that’s the movement if I can describe it as upward,
the movement from Base to Tone to Color. It is the one-way street whether one is
going to need the high or the low; whether the high is correct, or the low is correct.
But, the way in which it operates when one is correct on one side or the other of the
binary that’s fixed, is that this relationship between the Color to the Tone is not li-
mited to that fixing tone. In other words, that the Color is going to be able to oper-
ate in a way by taking advantage of all of the infrastructure that lies below.
Again, that’s not something that I can explain to you theoretically without good dia-
grams and all the other things that will come with our Tone chains. But I do want
you to grasp that. Going upwards it’s fixed. So, if you have an internal 5th Color,
your Sun/Earth, you’re going to have a specific Tone that will mark you as either this
side or that side. But the way in which the Color is going to operate when you’re
correct is not limited to simply that input.
Of course, we’re going to see that that’s very important. Remember, if you think
about Tones for a moment and you think about the fact that what you’re dealing with
is that you’re dealing with different systems whether that’s Splenic, Ajna or Solar
Plexus. Now, without getting too detailed if your particular Color is being fixed by a
splenic Tone that is a very specific relationship and it eliminates the potential of—it
puts all the emphasis on the way in which your vehicle is going to operate correctly
within the realm of the Spleen.

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LESSON FIVE
In the same way that if you’re somebody that is impacted by 3rd or 4th Tone, Ajna
Tones, then the focus point for the way in which the Color is going to operate is
through that Ajna realm. But when you’re dealing with the 5th Color, this is the thing
that’s so fascinating about it, is that there is no limitation in terms of its access to
infrastructure. In other words, it is going to have a relationship to the Spleen, the
Ajna and the Solar Plexus as well.
5th Color Design Can Lead to a Connection to the Rave Children
I’ve been asked a lot—I think you Cathy have asked me that question more often
than most, your interest in Rave children—about our ability, about Homo sapiens
ability to be able to communicate in one way or another with Rave children. I have
consistently said that is something that is going to be exceedingly difficult. One area
where it can be possible is at some level, and again it’s going to be much more than
simply just having the right Color, but having a 5th Color on the Design side is some-
thing that can lead to a connection to Rave children that is quite different. And a
communication that isn’t like communication that we understand. But there is a fre-
quency capacity through the 5th Color that is really extraordinary.
Circumstance and the Upper Colors
Let me get to the basics here. Last week when we were looking at this extraordinary
4th Color I talked to you about and introduced to you the term of circumstance. Cir-
cumstance is something that is very important to keep in mind when you’re dealing
with any of the upper Colors. When you’re looking at the lower Colors, this is a very
much a personal self-related, in terms of the vehicle, process. For example, let’s say
the 3rd Color and we’re talking about the difference between taking hot in or taking
cold in. For example, let’s say that you’re supposed to take hot in, and you’re trans-
ferred and you’re not, the fact that you might be in a hot environment is helpful. But
it isn’t going to keep you healthy. It’s helpful; but it isn’t going to keep you healthy.
But the moment you’re moving upward and you’re moving into the upper Colors,
then you’re moving into a totally different domain. That is, what will lead to what we
call the transpersonal. You can see the transpersonal dynamics in both the 4 and
the 5 now. That is, the transpersonal dynamic in the 4—obviously, this is how the
whole being is brought together. But more than that, the very concept of its conti-
nual transference, its interconnectiveness with all the other Colors.
The Relationship between Line and Color
Think about the difference, because it’s really cute, in line analysis between a 4 and
a 5. When you talk about a 4 you talk about the ability to externalize to those you
know. That’s why 4’s need their networks. When you’re talking about a 5 you’re

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talking about the potential to universalize to those you don’t know. That’s basically
their difference.
Where does that come from? It comes from here; it comes from the Color. Again, I
hope that going so deep into Color and our ongoing process that it provides you with
a really profound inspiration in terms of how to look at the line above and begin to
understand how the line is formed by this process; that is, our grasp and under-
standing of the way in which lines work. If somebody asked you a year ago, “Why
does the 4 externalize?” Not how it externalizes but why it externalizes, you didn’t
have an answer. You now have an answer.
When somebody says to you, “Why does the 5, or how does the 5 universalize?”
again, the how is something that we can explain, but why it does it, why particularly
does the 5 do that, the answer lies underneath. And this is true for the way in which
all lines are built. They’re built on this structure. When we’re dealing with the 5th
Color, we can see that where the 4th Color has a transpersonal relationship to other
Colors, that is it’s constantly transferring to other Colors, and in that sense this is the
familiars, externalizing to those you know—they’re part of the same family, they’re
all Color. And the 5 is a Color that has this same ability, but with all the Tones; and
of course, the Tones are different. The strangers, if we can put it that way.
Here you can begin to start your intuitive process in terms of understanding at a
very, very deep level. Not just taking the face value. I had to teach you from the
top down—and when I say “you,” the last 19 years of my work in Human Design I’ve
been teaching from the top down. And when you teach from the top down, there is
no way of truly explaining why to anyone. There is simply what I told them over and
over again—don’t believe me, experiment with it, watch it, check it out for yourself,
and see that it’s valid.
Now, we’re getting to a place as we enter into this realm where it no longer has to
be given out as try this as an experiment, because it is no longer about how it works
and that the moment that you see it does work that way you’re convinced, this is
about not only how it works but why it works this way. It’s really something impor-
tant to grasp. We’re looking at infrastructure here, we’re looking at the underlying
thematic that we then get to experience on the surface. So, to begin with the 5th
Color has this unusual quality of its interrelatedness and connectedness to all of the
various Tones.
Circumstance is an Essential Ingredient to Well-Being
Ok, circumstance. Because we are dealing with an underlying theme, here as we’ve
just looked at in the 4 and 5, that leads to what we call the transpersonal, and that
the transpersonal is what the holistic being who is suffering who comes to see you, is
dealing with, they’re dealing with the line themes and the gate themes and all those
other things they are on the surface, that it’s very important to understand that for
the 4th, the 5th and the 6th Color, though as you will see next week again, each of
these upper Colors have their own peculiarities, that when you’re dealing with the

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LESSON FIVE
circumstance, that is the connection to the other, the presence of the influence of
the other, is a part of the well-being. It is an essential ingredient to the well-being.
And the quality of the environment, not what the environment is, which is the exter-
nal, but what you take in from that environment, the quality of what you take in
whether it is related to what is your predisposition.
Internal Sound: High/Low
So when we’re dealing with the 5th Color of Sound we have two themes here. We’ve
got the high and we’ve got the low. The first thing about that is to think of it at its
most simple level, and think of it in terms of decibels. And what I mean by that is
very loud sound and very soft sound. Just as a beginning point we can talk high de-
cibel/low decibel. We can talk high frequency/low frequency; any kind of spectrum
of the way in which sound operates.
How does that operate practically? When we’re talking about the Sun/Earth we are
talking about the internal. We’re talking about what we take into our bodies. And
what we take into our bodies, the primary thing that we’re looking at is that we’re
looking at the sustenance that we take in. We saw that in the 1st, 2nd and 3rd Color
that the focus is specifically on the quality, or the frequency of the kinds of things
you take in; whether you’re going to take in food that is hot or food that is cold,
whether you’re going to be open to certain things that you take into your body or
closed off and not eat certain things, whether you’re going to be someone who needs
to—you’re in a restaurant and they put three things on your plate and you can only
eat one after the other—these kinds of things. This is very, very direct about the
food going in and the circumstance for it.
Transference: Focusing on What is Going Into Your Body
But we saw last week that when you enter into the upper Color range that the cir-
cumstance becomes the key and not specifically what you’re taking in. And remem-
ber that the 4, the 5 and the 6, their transference is to the 1, the 2 and the 3. In
other words, the moment that you’re a 4, 5 or 6 and the circumstance is incorrect, is
the moment that you’re focusing on what you’re taking into your body and that is
not the solution. As a matter of fact, it doesn’t matter what it is, it isn’t going to be
good for you.
So when we’re talking about high and low—I live on the island of Ibiza and the local
people are traditional farm people. If you spend a lot of time around farm people,
you’ll notice something about them. They talk very loud. It comes from millennium
and millennium of conditioning of yelling across the field and all of these kinds of
things. I grew up in French Canada in Montreal. My family had a country home
north of the city in a rural farming area. These were some of the loudest people I
had ever heard.

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It’s a delight here in Ibiza. You go into a restaurant, not a tourist restaurant, but
you go into a restaurant that’s frequented by locals. The moment you open that
door and you walk in, there is an unbelievable din; din is the only word that I can
use to describe it. It’s so loud it’s unbelievable. It’s unbelievable how loud it is. If
you’re somebody who is fixed to the high side, this is a great place to have dinner
and it doesn’t matter what the heck you’re eating. It isn’t going to make a difference
what it is you’re eating. The intensity of the sound environment is what’s important.
You notice this with families. There are some families that when they gather around
the table they eat in silence. And there are other families when they gather around
the table they’re very, very noisy. Again, this tends to be conditioned by whatever
the preferences are. Usually it’s transference, usually it’s 2nd Color beings who
transfer to these things and it makes a mess out of everything. They say, “Every-
body has to be quiet, otherwise I can’t eat.” And then they put the wrong food in
themselves.
But it really is something to understand about being a 5th Color being is that there
are some people that can live in big cities on busy streets. I’m always astonished by
that. I’m a 4-6 in terms of my Design Color, so I have a very different perspective
on all of that. I look at apartment buildings that are built beside big highways and I
think to myself, “my God, how can they do that,” it’s incredible.
It’s Not What You Eat; It’s the Circumstance that Makes the Difference
Yet, to recognize that for some beings, obviously those beings that are 5th Color that
are fixed on the high side, that the sound level in their lives is so important to their
well-being. I was mentioning about the house cat, how the house cat needs to go
through its cruel routine in order to build up the proper juices in order to be able to
digest the food correctly. The thing to understand about 4’s, 5’s and 6’s is that
they’re terrible food discriminators, unless they’re transferred. So, if you’ve got a 4,
5 or 6 Color internal and you’re fussy about food, you’re transferred, it’s as simple as
that. These are beings that can eat absolutely anything. It doesn’t mean they have
to eat absolutely anything. It simply means that it’s not what they’re eating that
makes the difference; it is the circumstance that makes the difference.
I did this for years, I would have couples who were split definitions and I would say
to them, “It’s very important for you to go out and eat in a public place where you
can be private, where you can take advantage of the other auras and whatever.”
Imagine that you’re somebody who is on the high side and you’re all alone in this
life, which means that you’re going to end up taking in food and taking in food po-
tentially where there isn’t enough sound. So, this is the kind of being where you
would recommend to them do not eat unless the radio is on, the TV is on, you’ve got
an iPod plugged into your ears, whatever the case may be, it’s very important for
you to have a lot of sound around.

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LESSON FIVE
Sound Allows Your Digestive System to Operate Correctly
It’s not for any other reason than that the very quality of the sound itself, this is the
thing that’s so amazing, is what allows your digestive system to operate accordingly.
And because the 5th color has a connection to all of the Tones it doesn’t matter what
you eat, it will take precisely what it needs to maintain your well-being. Again, this
is something really, really to understand. This is a place where you get people who
have an enormous amount of gas. If you’re somebody that’s on the high side and
you have that quiet little moment where you eat very quietly by yourself and it’s all
silent you’re going to end up with digestive problems. You’re just going to be un-
comfortable, you’re going to be bloated, and you’re going to have gas. And then, of
course, the horror, you go to somebody because you tell them you have this problem
and they give you terrible things that have nothing to do with what it’s all about.
So, what becomes very important—by the way, it does not matter whether the
sound is natural, artificial, it doesn’t make any difference, it’s the volume. It’s so
wonderful, simplicity is so beautiful. It’s the volume—turn up the volume. You turn
up the volume; these are the kinds of people, if you’re alone, go out where there are
lots of people and it’s bustling and there are all kinds of things going on, it’s wonder-
ful for your digestion.
More than that, you can eat what you like. It’s not like being 1, 2, or 3. If you’re 1,
2, or 3 it becomes a very Selective process. As a matter of fact, only the 1 is rela-
tively open to experimenting, but experimenting very carefully in its Consecutive or
Alternating pattern. But the 2 and the 3 are very, very fixed. When you go 4, 5 or 6
they will eat and can eat anything. And when they’re correct that’s when you know
that not only can they eat everything, so they should.
Mutation
Mutation is an extraordinary thing. In talking about the advent of the nine-centered

being—1781, Uranus and all of these things that have been discussed—I have ex-
plained over and over again that this movement from the seven to the nine was
about heat. Heat is a great mutative instrument. Everything that we have expe-
rienced since then, and you can see that macrocosmically in what we call global
warming, is this extraordinary warming process, and of course, the raising of human
body temperature.
Unfortunately, there is no way for me to prove that. I think one of the most ex-
traordinary pieces of evidence for this entire knowledge would be to have consistent
body temperatures prior to 1781 and body temperatures since 1781. And you will
see that there was a real shift in body temperature; and not only in internal body
temperature, but also in terms of the external body temperature. In other words,
the way in which environments became more and more insulated, better and better
heated, all of these kinds of things that go with all of that stuff.

93
But that mutation wasn’t just heat. It was heat and something else; it was heat and
food. There has been nothing more limiting, and you can still see that today, if you
look out into the world, and I don’t want to reflect any prejudices here, and you look
to environments where people only eat what is produced within 75 kilometers, or 50
or 60 miles from their door, you are looking at beings that are unable to mutate.
Mutation will pass them by.
The most extraordinary theme that came with the nine-centered being, coincidental
to the depth of the expansion of the Industrial Revolution, was this expansion in our
capacity to be able to operate world-wide trade systems that could move produce
from different areas of the world. I have often commented on the fact that if you
took Nebuchadnezzar, one of the great ancient rulers, and you could bring him into a
supermarket in any big city, he’d flip out. Even at the height of the greatest of pow-
ers you still could not have the incredible variety that is available to us today. And
when you think about what is in your refrigerator, when you think about all the plac-
es in the world, that all the things that you put into your body come from, this is one
of the cornerstones of mutation.
When you look at the 55th gate, the 55th gate is about eating. The 39/55 is where
we have all of these food disorders—anorexia, bulimia, and all of this stuff. The 55th
gate is a food gate; it’s a passion for food gate, or not. And to really understand
that the driving force of the mutation that is moving us towards 2027, you can find
in every supermarket. It’s that vast array of information, because it’s information,
that’s coming from all over the planet.
So, when you’re dealing with the 4th, the 5th, and the 6th Color internally—remember
I’m only talking about the internalization now—that they’re designed to be able to
eat anything if they are aligned to their predisposition. And not only are they de-
signed to be able to eat anything, but it’s very, very important for them.
Autism and Prostate Cancer Connected to Incorrect Diets
Of course, what we get now is a bucket of paint over a little spot on the wall. In
other words, we’ve got this vast diversity of diet and so many of the wrong people,
in that sense, are eating it. So, for example, all of you know that in terms of 2027
and in terms of the build-up to the mutation, I have talked about problems in the
prostate and I’ve talked about problems of autism. Both autism and prostate cancer
are directly connected to people eating a broad diet and they don’t or shouldn’t be
doing so.
This is one of the great tragedies of the way in which mutation operates. If we were
all operating correctly, if we were aligned, in that sense, you would see that 4th, 5th
and 6th Color designs on the internal side are the forces that are here to bring the
new mutation into the world. That’s why we’ve got the 6th Color at the top, in that
sense. This is a mutative driving force, and it’s rooted in the ability to be able to
take in a broad spectrum in terms of diet and to be able to take advantage of that.

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LESSON FIVE
In other words, it’s a positive thing for them and not something that’s going to be
detrimental to them physically.
So, it’s really something to grasp. Many people over the years, because I’m an old
bad boy from the 60’s, I have terrible habits. I drink my 8 or 9 coffees a day, and I
smoke about three grams of hashish a day, and I’ve been doing this all of my life. I
have very, very bizarre eating habits; all of these kinds of things. I’m as healthy as
healthy can be and remain so. I don’t get sick. It’s really incredible.
All of that is that I’ve come to a place; it started three years ago at the second Ibiza
event when I began to really think clearly that PHS was something that I wanted to
give a lot of my intellectual energy to and I began to look deeply into my own. I
realized that I didn’t have enough calm in my life, and calm is my theme for interna-
lization. I didn’t have enough calm. It was incredible. When I became very, very
rigid within myself this was an essential ingredient for me, it has made an incredible
difference in my process. It’s really something to grasp. Circumstance is so essen-
tial.
The Low Side isn’t about Silence
So, for example, you can begin to see the relationship between somebody who is
fixed on the high side, and somebody obviously is going to be fixed on the low side,
the kind of being that needs quiet, that the quiet is something that is important.
And it’s not so much it has to be silence. It’s not about silence. The difference be-
tween the high and low can be listening to the Rolling Stones doing Jumping Jack
Flash, if you’re high and listening to a Chopin Sonata at a softer volume for the low
side. It isn’t about silence. Yes, silence can be a part of it, just as noise can be a
part of the high side. But very few people are going to be fixed to the extremes be-
cause remember that this special tonal relationship of the 5 moves itself around in its
fixed area.
It really is simply about the quality of the circumstance. This becomes something
that these are beings that have a very, very special gift ultimately. It’s a well-being
gift. They can have an enormously quick recovery. I’m speaking within the context
of we have a client that’s suffering, and so forth and so on. The ability to be able to
align a 5th Color internal is something that is amazing. I think that we’re going to
have incredible success, and those of you that are 5th Color on the internal side,
when I give you the fixings, and by the way I will give you all of your fixings when
we finish all of the six Colors in the following class, the 7th class that we have this
semester. We will be looking at all of our fixings together and I think that will be a
very interesting class.

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The 5th Color Can be Aligned Quickly
Anyway, with the 5th Color you can really move very quickly to aligning your vehicle
because it’s actually quite a simple thing, isn’t it? It’s just quite a simple thing. Ob-
viously, operating correctly according to your Strategy and Authority, for the client
this is a bedrock because otherwise it isn’t going to be of any value. Again, realize
that what we’re talking about is the fine tuning of the vehicle. In the larger sense,
we’re talking about transforming humanity, transforming the nature of holistic well-
being, what it means to be healthy and not just simply how you become healthy, but
why it works, and why it’s important.
Again, some of our remedies are going to seem odd to the not-self. “What do you
mean listening to loud music at dinner is going to be good for me?” But the reality is
that when somebody isn’t well, and remember that 5’s transfer to sickness all the
time, that they’re willing to try. And they will see very, very quickly there is a differ-
ence, and the difference is in the way in which you process your food which means
that ultimately the difference is in the energetic frequency that is available. There is
nothing that brings that energetic frequency back up to its proper level, for a 5th Col-
or, than the right quality, the right circumstance when they are taking things into
their vehicle.
Remember, I’m not talking about all the therapies that we’re going to look at that
can use any of these Color qualities, the various therapies that are possible through
sound, the different kinds of sounds and so forth and so on. I’m just talking about
the simple, holistic practice of having precisely the right circumstance when you take
food into your body.
Transference to the 2 Closes off the 5 to Many Things
The other thing is that the moment that the 5 does that, remember that the not-self
is always transferring to the 2. That means that they’re very closed to so many
things. Not only they’re closed to so many things, but they’re only responding to
one tonal instruction which limits what they can take into their vehicle. The mo-
ment that you move away from the 5 where you’re supposed to take in this variety,
and the moment that you’re transferred to the 2 and you’re closed off to so many
things, you deprive your vehicle. And you deprive ultimately what you need energet-
ically and in terms of your chemistry in order for your brain function to operate so
that it’s going to align you to what is your predisposition; it’s going to align you to
what your differentiation is meant to be.
It’s very simple; but it has an enormous impact. And the other thing is that that
client that comes to you that’s been trying to live on seaweed and hogs ears, or
whatever it is, there are so many bizarre things that 5’s transfer to, can get into,
that all of a sudden just by changing the acoustic circumstance, they suddenly can
begin enjoy eating again.

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LESSON FIVE
Remember that the variability to be transpersonal, we’re very glib when we’re look-
ing at the surface of the lines and we say, “There’s this person who happens to be
whatever,” they can be like me, they can be a 5/1 and you say they’re transperson-
al. But, if they’re operating out of that limited transferred diet, if that’s their Color,
I’m not just referring to the line, if you’re closed off, the potential at the line level,
what’s going to be carried from the Color level to the line level isn’t going to carry
this potential to really fulfill your transpersonal potential, it’s going to limit it. Of
course, in limiting that, it limits all of the possibilities that come with the potential to
fulfill your purpose.
So, this circumstance of the quality of the sound while you take in food, and the rec-
ommendation—for example, if I’m working with somebody who is a 5th color internal,
not only am I explaining to them which end of this binary is theirs, but I’m also en-
couraging them to revitalize their system by opening up their system to different
foods. Because what you’re doing is you’re slowly depriving your system of what’s
necessary in that transference.
Of course, you can see that for a 5th Color, because of its broad range and relation-
ship to all the tonal areas it needs to get information from a broad spectrum of sus-
tenance that is going into its vehicle. For these beings, if they have the right cir-
cumstance they’re going to discover that not only can they digest what they thought
they couldn’t digest; they’re going to enjoy it. And they’re going to derive from that
the energetic level that will be so important for them.
External: Narrow/Wide
So, we shift away from the internal and in shifting away from the internal we move
to the Nodes and we move to the necessary environment. Remember this is a pre-
disposition to align oneself to an environment that brings out your differentiation.
We see that circumstance is the key in terms of the internal. In other words, the vo-
lume, one way or another, is going to create the correct circumstance so that one
can have the very diet that permits the transpersonal potential to emerge, and at the
same time obviously aligns that being to what is correct for it in terms of its brain
function.
But as I mentioned a number of times now, the physical environment that you’re in
is so important. It really is the touchstone. Here when we’re dealing with the physi-
cal environment we’re talking about the narrow and the wide. It is literally that. It
is something interesting. For example, the narrow is that these are beings that
would be enormous—let’s take the example of somebody that would be a 5-5, and
again, that would be something that would be enormously rare, but I just wanted to
throw out an example for you, the high volume would be something that would be
essential for them, for example, so that they could digest properly.
But there would be a big difference between whether that took place in a narrow or a
wide environment. The small room, for example, in which the acoustics are going to

97
be very powerful, can be an enormous advantage for the high end. Whereas, the
wide open space, it’s much more difficult to be able to create the volume intensity.
The Transfer Trap: 2nd Color Internal/External
But, let’s move away from the relationship to the internal side and just talk about it
in terms of the external and in terms of what that means that your Nodes are going
to have a 5th Color. There is a trap in this. The trap, of course, is always the same;
that is, it’s the transfer trap. It is the trap to the transfer to the 2nd Color and the
transfer to the internal/external environment because there is a similarity here.
What is so important for the Sound being is that the environment has a natural,
though it will fluctuate, has a natural tonal quality that is either focused (narrow) or
diffused (wide). This is the key in terms of the 5th Color being in terms of the envi-
ronment of the 5th Color being. The first thing is that in operating, the typical story,
Strategy and Authority, obviously you’re going to begin to align your vehicle to a
geometry that is correct for it. But the real key is environments in which you either
have to deal with focused sound all the time, or whether or not the environment is
diffused.
So for example, let’s say that you have the tonal fixing that brings you to the wide.
By the way, we’re talking about the Color and in talking about the Color I want you
to grasp that not only does the 5th Color have this extraordinary relationship to all of
the Tones, to what sound is, that of course this is also true here. So, one of the
things to see about 5th Color beings is that their acoustic environment is the envi-
ronment that leads to transformation in the world. This is the thing that fascinates
me about the whole five color business. It’s not my design. And yet, at the same
time, I’m a 5th line being, so there are so many things about this that I understand in
that relationship. What I am as a 5 is only possible because of this.
Focused or Diffused Environment
So, the physical environment is about whether it’s going to be focused sound or dif-
fused sound. I mentioned, as an example, living on a busy street where there is a
lot of noise. Living on that busy street in an apartment on that busy street can be
either narrow or wide. For example, let’s say that you’re living on that busy street
and you always have the windows open and you’re constantly getting the focused
sound pouring into your environment.
On the other side, if it’s diffused you can actually still be there, but the kind of per-
son that lives in a building in which you don’t open the windows and they’re double
glazed and sound proof and you do not hear at all the intensity of the environment
around you, that the environment is diffused.

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LESSON FIVE
One of the things that’s so interesting about the wide people is that—remember that
the 5th Color is really tricky because it has all these tonal relationships. If you put ear
plugs in your ears as a wide being, then you can be in any environment, as long as
the sound is diffused. In other words, again we’re dealing with this very complex
theme of circumstance. It’s not like being a 2nd line being that you either have to be
inside and closed off or you have to be outside and open to everything. It’s not like
that. It really doesn’t matter in terms of whether it’s this kind of structure or that
kind of environment, what kind of people are in that environment.
For example, if what is correct for you is the wide side, then if you have to walk
through a crowded, loud focused environment every day just muffle your ears. Put
on headphones, whatever the case may be. The moment that you diffuse the sound
environment, the environment is correct. It’s quite something to grasp.
So, when it comes to your personal life, when it comes to where you’re going to live
and sleep, or where you’re going to work, then it becomes very, very important
whether or not you’re going to be in this focused, acoustic environment, or you’re
going to be in a diffused environment. But the environment itself is not the story.
Any more than the environment itself is not the story for the 4, and will not be for
the 6. All of this is about the circumstance, whether one is aligned to the environ-
ment correctly.
So, when you’re dealing with having a 5th Color Node, right away you have to see
what the huge dilemma is—again, I want to reiterate this, any 5th Color in transfe-
rence leads to physical problems and can lead to very deep physical problems. The
2 doesn’t know anything about circumstance, it’s not about the circumstance. It’s
about the thing itself. So, for the 2, if they’re fixed to the internal, these are hermits
and the outside is a risky thing for them. Don’t take a walk to go to the supermar-
ket, go from your house to your car. This is healthy for you, much healthier for you.
But it’s very, very fixed.
Of course you can see that because there is this similarity and it’s very deceptive be-
cause they’re not similar at all, because the difference is that when you’re dealing
with the upper Colors because of circumstance, being fixed into a specific environ-
ment, being pulled to the 2nd side, so you’re pulled into the internal, that doesn’t
mean anything for you. You can be indoors, outdoors, on the wide open plains or
not, it doesn’t make any difference where you are as long as the acoustic environ-
ment is correct. That’s all that matters; nothing else matters.
We’re going to be able to have an enormous impact; this is why you have so many
problems physically. You have so many 5th Colored beings. Again, when you look at
the fact that we’ve got more than 6 billion on the planet, about 6.4 or 5 or 6, God
knows how many people there are, and you begin to equate that to a simple break-
down in numbers you can see that there is a fantastic number of beings who are
going to carry the 5th Color either for their Sun/Earth or their Nodes.
Then you look at all of that and you realize here is the great—if we could sound wise
acoustically align all 5th Color internal/external to what is correct for them, the hos-
pital business would collapse over night. The thing that keeps all of those medical

99
institutions and all of these people working and all the pharmaceutical companies
and all of these things, they would choke if they knew how simple it was to eliminate
the need for them. And you have this enormous transference.
Again, remember that when the upper Colors are not following their circumstance,
we do not get the necessary mutative qualities that we need; we don’t get the holis-
tic well-being. Think about if you’re a 4th Color and you don’t operate correctly.
What that actually means is that the holistic you is not being held together well. It’s
quite spooky when you think about it that way. And when you’re dealing with a 5
and you’re dealing with this 5th Color, if they’re not in the right circumstance, then
there is no opportunity to universalize anything, literally. The creative, mutative en-
gine that drives the heretical process, all of those things, the thing that keeps the
world open to somebody like me, all of that would disappear.
This is one of those things to really grasp. And of course, given that there are all of
these hundreds and millions of beings like that, you have hit or miss situations when
you come to the acoustic. You’ve got children that are internally designed for the
high volume, high decibel, high frequency, and they end up in a family that is high
volume, high decibel, high frequency and everybody else in the family spends their
lives being sick, and this one child is healthy as hell and happy and loves it because
it’s perfect. And you’re going to get that—the serendipity, and this is the serendipity
when it comes to the acoustic, for most not-self beings, this is the luck of the Gods,
if they’re going to be all right and most of them aren’t.
Most of them have problems because again, you have to see that the moment that
you transfer from the 5th Color to the 2nd Color, barriers come up. And the barriers
are not legitimate barriers; you’re not a 2. They are artificial barriers that interrupt
what is the natural flow of information back and forth between the 5th Color and the
full tonal spectrum.
Any Environment is Ok
So, when we’re dealing with the external, what we’re talking about is a circums-
tance, we’re talking about a quality within the environment that allows any environ-
ment to be ok. That’s the magic. You can see this dilemma, the 1, 2 or 3 need a
very, very specific environment, it’s very direct. The 4, 5, 6 need to be able to expe-
rience all environments, but to experience them within the proper circumstance. It’s
quite fantastic.
Then you see the dilemma of what transference is doing. Not simply the transfe-
rence from the upper six down, but the transference from the lower three up. These
beings aren’t meant for that. So, you’ve got the 2nd Color being who wants to have
soft music at dinner. And that’s not what it’s about. They are here to be very fo-
cused on what they are opened and closed to specifically in terms of what they’re
taking into their body. A real attention; taste, after all, is the story for them.

100
LESSON FIVE
Mozart isn’t going to make their digestive system work better. A little salt might. As
we’ll see, the various Tones will show us these various qualities of what aspect of
taste is important to align them, and so forth and so on. What will close them off,
what will open them up. But think about them being transferred to the 5. They end
up being caught up in the sound environment. And they end up in the illusion in the
sound environment that they can go out for dinner and have the thing that they like
at home, and they can go out for dinner in a crowded restaurant and eat the same
thing and it’s going to be good for them, and it makes them sick as hell because they
end up in an acoustic environment that dominates them because they’re transferred
to it, their vehicle is transferred to it. And they don’t have a natural connection to
the tonal quality underneath when they are transferred like that.
The 5 and the 2: Health Dilemmas
It’s really an empty—the 5 and the 2, this drawing, this lock system in here, the 5
and the 2, this is where almost all of humanity’s health dilemmas lie. It’s here. This
is the big story. This is where you really have not only dysfunction, but worse than
that. You have the genetic replication of the conditioned dysfunction. I don’t want
to get too deep into all of this, but if your vehicle isn’t operating correctly and you
mate with somebody, obviously there are aspects of you that are part of what is
going to be this new life. It is here in this box that you get the transference geneti-
cally of the kinds of things that we would, quite frankly, like to eliminate—the genetic
engineers looking for ways to stop the chain of long-term genetic diseases running
through families. But the source that we’re going to see for all of that is right in
here. This is where the difficulty lies. This is where you have in transference the
most dangerous impact on your physical well-being.
Just to close off because I have to give you my other fish, you’ll notice that we’ve
got—I love that with touch and Sound that we’ve got these two funny fish going in
different directions—the magic here is that as I mentioned to you the 2nd Tone is
very significant. In simple terms, just so you don’t think that’s a great mystery, it
has to do with survival, this basic survival theme, immune system, it’s part of the
splenic tonal construct, but the thing is that here when you’re looking at the sound
quality, there is no preference, let’s put it that way. As I said, when the information
is coming through, there will be a tone that will fix the Sound. But the Sound will be
able to then take advantage of and integrate with all of the Tones, all of them.
Sound: The Synthetic Field for the Whole Tonal System
So, this particular quality—again, when we get down to the tonal level it will be a lot
easier structurally, because I’ll be at a place where I can move upwards instead of
downwards, where structurally you’ll see what that means, why Sound is what it is.
Because, again, in any study of Tone and I know here in this class there are quite a
few of you that have taken my early Tone classes, to really grasp that Sound is the

101
synthetic field for the whole tonal system. When the Color Sound doesn’t operate
correctly, the whole tonal system is impacted.
That’s why you get this extraordinary potential in transference at this level to really
being ill, to really creating a lot of very, very serious problems. And the joke, at
least for me, it’s a black joke, but it’s a joke, is how simple it is to fix it. That’s the
thing that’s really incredible because it truly is simple to fix it. It’s quite something.
It is a matter of understanding one’s acoustic domain. It’s about understanding the
necessary acoustic circumstance and the quality of the acoustic environment that all
that is necessary is to honor that and everything is ok.
Again, what it does is something rather miraculous. That is, it allows that 5th Color
being to eat anything they want and it’s good for their brain, whatever it is. It allows
them to be in any environment. How else could they universalize? This is the un-
derlying theme of universalization, or the root of universalization. There is no limit.
Not only that, but the combination of the expanded diet and the expanded environ-
ment leads to an expanded global awareness, a larger view, a more holistic view of
the planet as a whole.
It’s all sound. In the beginning was a noise. It’s all sound; it’s all frequency. It’s
the thing that’s so extraordinary. And it’s one of the things that you can really see
here in this movement upwards, what it means to understand that the secret for the
4, 5, and 6 is all about frequency. Touch is a very down-to-earth frequency. It’s the
basic frequency; it’s the basic transpersonal frequency, and it’s slow. Your tactile
appreciation is slower than your hearing appreciation. After all, sound travels quite
fast. It’s 700 miles an hour or something; but anyway, it’s fast.
So you move from touch, which is sort of very slow and very basic, and this is the
capacity to influence the other Colors, this is the hook in. And of course, the touch
makes it so incredible because if—here’s a funny thought for you—if the Magnetic
Monopole used the 5 as a way to pull us together we’d be kind of like Star Trek crea-
tures, that wouldn’t have any bodies, and would be kind of ethereal and floating
around and whatever the case may be. Which is a nice joke, I’m sure some of you
appreciate that one. But because we’re pulled together through the 4 we’re concre-
tized in a form.

102
LESSON FIVE
Sound: The Universalizing Level
The next level is sound, sound is the universalizing level. Touch you can influence
the person next to you; or maybe you can shake hands and kiss a lot of babies in an
afternoon. But sound? My sound right now is traveling over thousands and thou-
sands of kilometers of this planet, the universalizing potential, in that sense. And
then we get to the numero uno, the big one, we get to light; we get to the absolute
of speed in the universe. We get to something that is so incredible in terms of a fre-
quency that it’s hard to imagine, it’s hard to understand what that frequency really
is. It’s all frequency.
And all you’re looking for within the construct, the 4, 5, 6, wherever you have it, in-
ternal/external, is that you’re looking for alignment to your correct nature within that
frequency. This is what we call circumstance, so that you are aligned or attuned to
the correct frequency. And whether that’s your alignment or attunement to the
touch, to the Sound, to the light is not the point. The point is the alignment itself.
The Lower and Upper Parts Have Different Themes
So, we have very, very different themes that divide the lower part and the upper
part. Then you begin to see why we end up with a lower and upper hexagram, the
lower trigram and the upper trigram. It didn’t come out of nowhere. Again, you can
describe how I’ve done it for 19 years,
how the lower and upper trigram work
and how they have a harmonic relation-
ship to each other and blah, blah, blah,
but it’s only here that you can begin to
see why that appears on the surface. It
appears on the surface because there is
an enormous difference between the
lower Colors and the upper Colors.
Again, this is not about good or bad, this

or that, or whatever the case may be. It
is about the fact that these are dynami-
cally different from each other, and yet,
deeply connected to each other. That is,
connected to each other in what we call
harmonies where in fact it’s really har-
monies at the line level and here it’s just
a matter of just calling it transference,
the various transference modes that are
built in.
So the upper Colors, circumstance and

the lower Colors, this is the thing, the

103
direct thing. And this is the huge difference between them. And obviously it means
that the way in which we’re going to work with lower Color beings and upper Color
beings, and of course you’re going to have combinations of both and all of those
things, it is obvious to me that my transpersonal nature, on the surface as a 5/1, has
been deeply, deeply enhanced by the fact that I have upper Color both Sun/Earth
and Nodes. I’m a 4-6 in terms of my Color configuration. That opens me up to, if the
circumstances are right, the potential to develop deep mutative potential and a deep
mutative potential that fulfills what on the surface holistically is my transpersonal
purpose.
I do love Design Color.

104
Lesson Six
Light: 6th Color Design
Ok, before I begin I have to tell you about my extraordinary experience over the last
three or fours days because it has been quite something. I have gone through the
experience of tasting what it’s like to be a PHS practitioner. I was developing the
materials for what will be next week’s lecture. Basically I went through all of your
designs and investigated your designs both from the surface, but also from the con-
text of what we have been working at so that I can give you the fixings of your de-
sign Colors in terms of your Sun/Earth and your Nodes.
Obviously, in having that opportunity where I had so many designs that I was able to
work with, I was able to see fascinating things. At the same time, having a very
deep insight into every one of you, which was interesting in itself. That is, I’m so
used to looking, as we all are, at the nature of somebody’s design from the Personal-
ity side. It is the language that we use because the Personality is so deeply con-
nected to mental processes and it’s a language that’s very easy to settle into.
But Design language is different. And Design understanding is different. It was real-
ly a treat for me to go through your designs and to see them in this way. Many of
you I have done readings for over the years and it was particularly interesting with
those of you that I know that way, to see you this way. And to see the necessaries
of the internalization and the externalization and where the actual fixing is and then
looking to see what the patterns were. It was an extraordinary experience.
I think that the other side of that is how precise it is. That is, in going through each
of the designs basically I was watching my mind lay out what would be my profes-
sional approach, if I can put it that way. In other words, how would I present this
information to a client and what would be the keys in being able to do that. It was
fascinating to go through this process and see that the whole language of that is no
longer mechanical explanation, but mechanical direction. I think that was the most
fascinating thing for me in the way in which my mind was operating.
You do somebody’s analysis and basically you’re laying out how things work. But
when you get to PHS and you get to Color fixing you’re telling people what they
should be doing. It’s very interesting. It’s very different, because you can’t say to
somebody what is physically correct for you is “X” environment because it’s more

105
than that. If you want to be well, that’s the right environment. And rather than de-
scribing why it’s the right environment, the emphasis is actually on getting to that
environment, which is a very interesting difference in itself.
So, I don’t mean to tease you with all of this because I’m sure you’re fascinated and
you want to know; but nonetheless, we have to finish our journey and then we’re
better equipped to look at the whole story. By the way, if you look at the scheduling
originally the scheduling was that I am going to be doing next week what was actual-
ly scheduled for four weeks from now because we have to do the transferences be-
tween the Colors, which is three lectures. But I’ve given you so much of this as a
setup it would be unfair to hold it back from you at this point because there is no
point in doing do.
So, I’ve switched that around so that I’m going to do the determination and Tone
lecture, that will be the one that I will actually do next week so that you all have a
chance, not only to see your fixings and for me to give you general keynotes, be-
cause the whole exercise next week is that I will go through every single one of your
charts, and I will give you basic keynotes about the way in which the fixings operate
in you and general direction. It’s something that’s really interesting.
I mentioned the last time I was looking for all kinds of patterns. There are no dis-
cernable patterns yet. It’s interesting to see how many different combinations of
Color/Tone Sun/Earth; Color/Tone Nodes actually exist. It was just very, very inter-
esting to go through all of your designs that way. And for the very first time, be-
cause it had never been done before, other than doing that for my children and my
family, I had never done that for anybody and never looked at anybody in that way.
It’s incredible to simply look at somebody in the way in which they are fixed to oper-
ate. It’s quite something. Let’s finish our sixth Color and next week we’re going to
have a real treat.
The Difference between the Lower and Upper Design Colors
There is something that I would like you to think about before we actually get into
looking at the 6 for a moment. I want to talk about the difference between the lower
three Design Colors and the upper three Design Colors. There’s a real divide here.
And the divide is very simple, it’s very basic. What you’re looking at when you’re
looking at the lower Colors is that you’re looking at specific conditions.
Let’s talk about the internal first. Everything about the internal is about what you
are taking into your body. The vast majority of that has to do with the food and
drink that you take into your form. But this is about what you’re taking into your
body.
When you’re looking at the lower three Colors, these are set conditions. What you
take in has to be hot, or what you take in has to be cold. It is directly connected,
like the 2, what you take in you are open to this or you are not. The open and
closed, the barriers that are set up, the limitations that are set up on what you will

106
LESSON SIX
Light−6th Color Design
take in. It’s the same thing with the Consecutive and Alternating. It is about the
conditions upon which you take anything into your body. Obviously, we can go
beyond just food and drink as what we take into our body, but I just want to keep
this simple for a moment.
If we look at these lower three we’re talking about direct conditions. And the mo-
ment that we move to the upper three we are looking at circumstances. In other
words, we’re looking at the circumstance; we are not looking at the direct condition.
And that’s very, very different. Because when you’re looking at the lower Color, spe-
cifically here in the internal, it means that diet, what one specifically takes into one’s
body becomes important.
When you look at the up-

per Colors what one
takes into one’s body is
not important; when I
say, not important, using
common sense. In other
words, a general inves-
tigative, perhaps even
odd diet isn’t going to
make much of a differ-
ence with the upper Col-
ors as long as the cir-
cumstances are correct.
But the moment that

you’re dealing with the
lower Colors you’re deal-
ing with very, very spe-
cifics of what you are
taking in. It doesn’t mat-
ter what the circums-
tances are around you.
If you’re a 3rd Color it
doesn’t matter whether
there is noise or not, it
doesn’t matter whether
there are a lot of people
or not, all these kinds of
things that can be part of
the circumstance doesn’t
make any difference.
What makes the differ-
ence is whether it’s going to be hot or cold. And that you’re going to see, because
you’re all going to see your fixings, how much pressure there has been on you
throughout your life to transfer away. And to transfer away not simply from the fix-
ing that is correct for you, but to transfer to its binary first before you transfer out;
in other words, moving from hot to cold before you move away entirely.

107
There is a dilemma that we have whenever we think of transference. As I said, after

next week, rather than the way it’s scheduled we will go through the themes of
transference because this is where we’re going to see all of the main physical prob-
lems. What you’re really looking at is when the lower Colors are transferring they
end up paying attention to the circumstance and ignore the dietary specifics, or the
intake specifics.
Of course, here where you have the upper Colors where the circumstance is so im-
portant for them they ignore the circumstance because they’re looking for the specif-
ic. They’re looking for that thing—“Oh, yes, I’m supposed to have hot meals and this
and that, that is what really makes me feel good. And I like spicy food,” and so forth
and so on.
The moment that you’re looking at transference, you’re looking at automatically dis-
turbing the way in which the body operates. That’s the deepest key. You’re auto-
matically disturbing the way in which the body operates because you’re going to
move away from the basics. And it’s a big jump. The difference between the lower
three and the upper three, this is a big jump.
So, it’s something to keep in mind. We have the specifics, or what I like to call the
conditions here in the lower Colors and we have circumstance here in the upper Col-
ors.
The 6th Color: Light
So, let’s move along and take a

look at our theme for today which
is in many ways deeply complex,
and this is the theme of the Color
of Light. I think you’ve noticed
something that when you’re look-
ing, and I’ll take you back for a
moment, when you’re looking here
at the upper Colors and you go
from touch to sound to Light what
you’re really dealing with is a
cranking up of the frequency. In
other words, touch is a very con-
cretized frequency, then you move
into the speed of sound and then
the speed of sound is dwarfed by
the speed of light.
So, there is really this very, very different quality. Whereas, the 4 is more hands-on,
the 5 is more the whisper in your ear, but 6 is where the great illusion is. This is the
place of the Light. You’ll notice that there is no dark Color, if I can put it that way.

108
LESSON SIX
So, we come to the Color of Light. We have a dilemma. The dilemma is that Color is
very conservative. What I mean by that is that Color can remain stable in its
evolved nature, the way in which the energy moves through the infrastructure of the
crystal, and it can stay very conservative within the limitations of that structure and
not evolve while at the same time what it leads to, that is, the quantum that exists
when you pull Design and Personality together, that the monopole does, and you
suddenly have the emergence of line and gate.
The moment that you emerge into the illusion mutation is possible, because it’s the
illusion that’s undergoing the mutation after all. It’s really something to grasp; it’s
actually very funny. But anyway, it’s the illusion that’s mutating and the illusion is
us. And we know there is a mutation that’s taking place. That is, ever since 1781
and the advent of the nine-centered being we have been going through a very deep
and mutative process that is leading towards an evolutionary shift in the genetic line.
That mutation is deeply connected to the 6th line. That is, in terms of the way in
which it operates in the program, the 6th line is the mutative experimental line. So,
my conversations and teachings of what it means to be somebody who has a 6th line
in your profile, the burden of mutation that you carry in this life, you are the first
true Uranians. After all, the rest of us who are not 6th line beings, someone like my-
self, we only go along for the ride because we’re being conditioned by all the 6th line
beings on the planet. We’re still not naturally 6th line beings, because after all the
only true 6th line beings will ultimately be beings that are born with a mutated Solar
Plexus, that’s quite different.
So, there is a mutation that’s taking place at the 6th level. And we know that the 6th
line now represents this tripartite 84-year Uranian cycle. Yet, underneath you still
have a basic binary that’s at work. You can see the fact is that Color hasn’t come to
grips with yet, if I can put it that way, that there is something going on on the sur-
face, which I find to be really fascinating. In other words, that this whole mutative
thing that’s taking place, this is all in the illusion field. And it’s not there in the Col-
or, at least as far as I know and as far as I can tell.
When we’re looking at the 6th Color, like any of the other Colors, there is a relation-
ship between Color and line, and an obvious one. It is a resonant/harmony relation-
ship so that the 6th Color resonates to the 6th line. In some ways, it can only reso-
nate to that 6th line for so long. And I think this is one of the things that is really ex-
traordinary is that at the surface level where everything appears to be happening,
there is an enormous shift taking place. Some of that has to do with the fact of how
successful the illusion has been so far, that the potential of mutation at the line level
is something that can actually be sustained, or at least it seems that way.
Internal: Direct/Indirect
When we’re dealing with the Color itself, to get down to the basics, let’s look at the
internal first. When we’re looking at the internal, we see that we have this basic bi-

109
nary of direct and indirect. It is through Tone that we are able to fix any individual’s
determination, whether they’re determined to the direct or to the indirect.
Remember that we’re talking about circumstance here. We’re talking about Light.
When we’re talking about Light we also have to see that this represents not simply
the light frequency, but all of those higher frequencies that are even beyond our abil-
ity to see. In other words, frequencies like microwave frequencies and the like.
For example, there’s been a great deal of discussion about the effect of the portable
telephones, cell phones, that because of the energy that they give off, the high fre-
quency energy they give off that there are people that claim that it does brain dam-
age and whatever.
If you’re somebody who has the 6th Color and this is your internal and you happen to
be fixed indirect it’s probably something that can be very damaging, in fact. In other
words, there is a sensitivity to the circumstance of the highest frequencies beginning
with light.
Direct Light
Remember that when we’re talking about the internal we’re talking about the cir-
cumstances surrounding the timing of taking something into your body. Of course,
the circumstance is about Light. There’s something very fascinating about the 6th
Color that I think is very, very interesting. If you, for example, have the 6th Color
and you’re fixed to the direct side, the
worst thing that you can do is eat at
night. That is, after the sun goes down;
it’s just not a healthy thing.
Other than the fact that you’re going to

have some people who are going to be 6-
6’s and it may be possible that they have
a fixing to the artificial and they can have
artificial environmental light that is direct
on them and may in fact may be healthy
for them. But that’s going to be a rarity.
You’re not going to find a lot of those ex-
amples.
The fact is that, if you have a 6th Color

internal that direct light is something that is very important for you. In other words,
to eat in the light; and whether that’s putting your seat beside a window so that you
can have the light on your body while you eat. The fact is that the direct light is
something that is very, very healthy for you. And it isn’t going to matter what you
eat. This is the dilemma.

110
LESSON SIX
Think about for a moment the transference here. That if you’re going to transfer
from the 6 to the 3, the moment you transfer from the 6 to the 3 you get into this
business, you get into “I should be having this kind of food or that kind of food, or
this kind of drink or that kind of drink,” that that becomes where the attention goes
in terms of the body. This is not what it’s about for this person.
Remember, the lower Colors don’t care about circumstance. At least they shouldn’t.
In other words, if you’re a natural 1, 2 or 3 what is healthy for you is not a matter of
whether there is calm or tension or nervousness or stimulation in your environment,
it’s not about whether there is loud or soft background noise, music, people talking.
It’s not about the quality of the light.
Food is a Difficult Aspect of the Experiment
You can see how this is going to deeply impact the way in which somebody operates.
If you’re not operating correctly—the most difficult aspect of the experiment to live
as yourself is with food. A number of years ago, and it didn’t work out and it was
really too bad, but that’s life, no choice, I really wanted to have at one of the Ibiza
events an environment where types would be conditioned to eat correctly.
Look in your refrigerator and if you’re a Generator is that what you’ve responded to?
Were you asked? Do you really know what you like? Do you really know what is
good for you? Have you checked it out? Have you gone through a whole question
and answer over your diet?
The restaurant was a wonderful idea because you would have a waiter who would
know everybody’s type and would go over to the Generators and would let them
know all kinds of things that were available so that they could make a response.
“We have this, this and this, would you like that?” “Unun.” “Ok.”
And of course, for the Projectors, all the Projectors would be given an appetizer when
they arrive. It’s always good to give a Projector a little gift, it makes them feel good.
Then you let the Projectors enjoy their invited little thing and you let them enjoy it
long enough so they can see everybody who is Generators begin to get their meals.
Because a Projector really doesn’t know what to eat until they see everybody else’s
food. And they look around and they look at this plate and they look at that plate,
and then they know which one is for them.
Of course, this is not the way Generators and Projectors operate when they go into a
restaurant. And it certainly isn’t the way they operate when they go into the super-
market or anything else. Food is really a trip. And no place does the not-self mind
gain more power than its ability to tell you what it thinks you should eat. It’s one of
the ways in which the not-self mind controls us. That’s the way it tries to wrap itself
around you. If it can get you to eat what is incorrect for you—I remember the old
hippie adage, you are what you eat. If your not-self mind can get you to put into
your body what is not correct to put into your body it has gained an enormous victo-
ry.

111
It’s very, very easy within the transference for this to take place. And the vast ma-
jority of humanity, you can see where illness is, at least I hope you can begin to see
how devastating it is to transfer from circumstance to conditions, or from conditions
to circumstance. It immediately is doing the opposite of what is necessary for your
body. It’s extreme in the way in which it operates. The moment that somebody who
is in upper Color leaves the attention of the circumstance, is no longer aligned to the
circumstance, whatever they put into their body may be bad for them. It doesn’t
matter what it is.
In the same way when they’re operating correctly they can put anything into their
body—again, if it’s correct—and it won’t make any difference as long as the circums-
tance is correct. You can see what’s going to happen to the lower Colors. What’s
going to happen to them is that when they are not correct they’re only going to be
paying attention to the circumstance and they’re going to fill themselves up with an-
ything they think they like, which is going to be devastating for them because it’s
very specific what is good for them and what is not.
Transference at this level—it’s one thing for your Personality motivation to transfer.
The only thing that it does is continue the malaise of the mind and the true lack of
awareness of the mind. But when you’re talking about transference in the way in
which it operates on the Design side, you’re talking about a complete turn around in
the way in which your vehicle is supposed to work.
Remember, that what we’re looking at, for example, in internalization is that we’re
looking at the necessary chemistry to bring us to the right kind of differentiated brain
function, to open up the potential of being able to have awareness in this life. The
moment that you’re doing that, it’s not just that you are taking away from the quali-
ty of brain function, but you are limiting the viability of your whole vehicle. And
sooner or later it’s really going to create problems for you. Sooner or later at the
physical plane it’s going to do so.
Strategy and Authority Aligns the Vehicle
Again, it always brings me back to the same mantra that I hammer you with all the
time, which is Strategy and Authority. It is Strategy and Authority that aligns the
vehicle. It aligns the vehicle to decision making that’s good for the body. Obviously,
this is a big step forward. Going through the process of analyzing all of your charts
and analyzing all of them through the internal and external and the fixings, it was
clear to me that what we have is the ability to really speed up the alignment of the
vehicle to what is correct for it. In other words, not wait for the vehicle over its long
deconditioning process of seven years to ultimately align you to all of those decisions
that are correct for you.
And I’m not suggesting, by the way, that this in any way shortens that process. It
doesn’t. It’s just about making the body healthy; that we can speed up the well-
being part of the body. Not even so much speed up the well-being as we can arrest

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the malfunction. We can begin to build a healthy vehicle by being able to guide the
client correctly in terms of the internal and the external.
The more that I look at it, because every time I was looking at any of your designs I
was also looking at the not-self of that, what is the transference of that. How im-
pactful is that on the vehicle—it’s enormous—the moment that you move away from
the conditions and the moment that you transfer to circumstance, or vice versa, it’s
just enormous. You automatically do what is not good for you. You automatically
put into your body what is not good for your body. So, that’s all the more reason to
make sure that everyone that you deal with, with this knowledge that you hammer
them as well.
It was curious because as I mentioned I will start doing the first Design Color read-
ings and just looking at the language of presenting that, if you’re not actively expe-
rimenting with your design this is not knowledge that actually can be really helpful.
As a matter of fact, it may in fact be detrimental. It’s essential that the vehicle is
already being aligned to its true inner authority and the consciousness that is run-
ning it, that is, the Design consciousness that is running it.
So, back to the 6; on one side we have a fixing in which the direct light is something
that is very important. On the other side we have the indirect light. Again, this is a
matter of it seems—this is what I liked actually in going through all the charts, was
seeing how the diagnostic language is simple. This, for me, is what makes the Voice
holy in my life, is that these simple truths are extraordinary because they are so eas-
ily transferable. This is the wonder of it, otherwise there is no universalizing. The
fact is that despite the complexities of how all of this works, the reality is that the
answers are simple. Just as saying to somebody who is a Generator, respond, that
is the most simple and profound thing that they will ever hear in their life; and it’s
true.
The same thing is inherent in this. In other words, if you’re here to take into your
body in direct light, then be in direct light. It will really be good for you. There are
so many different ways in which each of us are designed to metabolize, to take the
food in, to transform it into the necessary nutrients, ingredients, all of the things that
are essential for our survival. And more than that, to be able to do so with utter ef-
ficiency so that there is exactly what is necessary for the differentiation of one’s po-
tential. And it’s a very simple thing. They’re all different. But each one in itself is
simple. This direct light is something that is very important.
Indirect Light
And the indirect light is the same thing. This is the kind of person that they like to
sit and look out the window with a view, and they think that’s so wonderful for them,
and they think it’s so terrific. And here they are with a fixing that’s indirect. And
everything they put into their mouth they do not process correctly. It’s very simple.
It’s a matter of sitting on the other side of the table, just getting away from the di-
rect light.

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And of course, it also says a lot about the very nature of the vehicle’s ability to han-
dle light. Obviously, somebody who can take direct light is very different from
somebody who is only here to take indirect light. The various ways in which they
operate in their lives and the various things that they do are very much conditioned
by those things.
When you are taking into your body, the circumstances need to be correct. Again,
as I said, this is not about laying out the how of an understanding, but the PHS prac-
titioner is offering a strategy. We’re offering a well-being strategy, a strategy that is
there to align one to one’s differentiation. So, the strategy that one is offering to
somebody who is a 6, who’s fixed on the direct side is, “Just try this as a part of your
ongoing experiment. Make sure that when you eat, when you drink that you’re in
the light. That’s all; be in the direct light.” It’s that simple. It will make an enorm-
ous difference.
Remember that as they come to you as not-self they’ve been down here in the
hot/cold world. This is where they’ve been with remedies and all kinds of things. All
down here; they’ve had nothing to do with this. Not only that, but they’re taking in
much, too much liquid. So many people who have 6th Color internal they’re going to
end up being fat 3rd Color because they’re simply going to take on a lot of liquids
that they can’t necessarily get rid of. So, they end up building up a lot of body
mass. It’s going on all the time.
You have all this transference going back and forth, and the moment that you do
that it’s going to have its immediate impact. And not simply an immediate impact on
the vehicle, but the net result is an impact on the way in which the consciousness is
going to operate.
The External: Natural/Artificial
If we move over to the nodal side, we have the external. Remember, we’re talking
about alignment; we’re talking about the importance of being aligned to the correct
environment. That correct environment is not simply architecture. It is landscape or
hardscape; it is the human beings or the life forms that populate that environment.
In other words, it is a holistic external that we are looking at. Not just simply walls,
floors and ceilings. That’s very important to grasp.
In looking at the external here we have the binary of the natural and the artificial. It
really speaks for itself, doesn’t it? An environment of natural light is very different
from an environment of artificial light. You can see how wonderful it would be if
you’re somebody that has 6th Color fixing to the artificial and you’re working in one
of those horrendous cubby-holed office buildings with nothing but artificial light and
you spend your life going up and down in elevators to flats and shops and whatever
the case may be, and live in a world of artificial light. That’s terrific; perfect. It
would be perfect for you.

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But instead of that, you’re going to be down here transferred over to the wet and the
dry; transferred over into different kinds of environments. The humidifier freaks, or
the dehumidifier freaks. They’re invariably 6th Color Node people. I know that so
well. I mentioned that to you last time that I have a 6th Color Node on my Design
side and my fixing is to the natural. The worse thing in the world for me is artificial
light. As a matter of fact, in my whole deconstruction phase that took place in the
80’s when I disappeared and came to Ibiza, because I had no resources whatsoever
I couldn’t even afford candles. I just lived the natural cycle. I just lived with the
light. I woke up with the light and I went to sleep when the light was gone and I
was never so healthy in my whole life, never so incredibly physically tuned as I was
in that process. It was absolutely fantastic.
Yet, I know how the wet and dry how that is something that the moment I get into
that is the moment that I get into real problems. I talked about how going to the
American Southwest that was so incredibly dry how unhealthy that was for me and
how unhealthy that period was for me. It was the last time I had any major illness.
The moment that I’m pulled over and away from what is correct for me, and the
moment I went into those dry, hot areas, I ended up inside under artificial light with
air-conditioning on. It was devastating to me physically. Well, devastating; I’m be-
ing dramatic. It was not good for me. I was not as healthy as it was obvious to me
that I could be.
When I returned to the island and returned back into what is a life that is mostly in
the light, again there was this transformation in which I’ve had all these years of real
well-being. And also the fact is that three years ago when I started all this early de-
velopment of this PHS program I began to pay much more attention to my own Col-
ors and to my own fixings and really looking at my own process and then doing what
I’ve always done over the years is look at my family, go through all of this to give
myself some kind of experience with it before I would begin such an in depth process
of teaching it.
So you can see that it will make an enormous difference in your life, and it really
does. That person that has the fixing to the natural side, it is obvious for them it is
very, very important for them to be in well-lit areas. It’s very important to have en-
vironments where they don’t have to turn on artificial light. Daytime environment,
for example my new studio has a big window that faces to the south, so I have natu-
ral light that streams in all day and it’s not necessary for me to put on artificial light.
And I always notice the difference. I prefer a house that’s dark than to actually turn
on artificial light. It’s something that I’m keenly aware of.
Obviously, we have the practicalities of our lives. These keys are keys that are so
important for us to aligning us. Without well-being, what have you got? Health is
really everything because it’s not just about feeling good. It’s about understanding
that when your vehicle is operating correctly, so are so many things, a lot of other
things. And ultimately those things are deeply, deeply important for the way in which
we’re going to function over all.
So there is this movement here between the natural and the artificial. It’s interest-
ing because when you think about the artificial environment and you think about the

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natural environment you’re also talking about a world that looks different as well for
these beings. The fact is that in order to have a lot of natural light you tend to be
further away from the zones where you have this huge build up of shadow. And you
have this whole build up of the modern city, the modern urban zoo, these places of
streams and streams of aura boxes with people just stacked on top of each other.
You can imagine how devastating that would be for somebody who has the 6th Color
that is fixed to the natural and this is an environment they’re in. There are some
cities in the world that you rarely get to see the sun because of the nature of the pol-
lution that is there. And of course, these beings are operating as not-self so their
concerns are very different. They’re running around looking for the wet or the dry.
They’re running around trying to have the right thing for them. It’s the kind of
people that think that, “I know what’s wrong with me, all I need to do is go sit in a
bath for an hour and everything is going to be ok,” all of these various things that
come out of drifting across to the transference, and drifting across to the other side.
The moment that you do that that’s the moment that you stop all of the potential
that is there in you.
We’re dealing with something that is deeply revolutionary. In order for us to be able
to work with all of this I already see from my own experience over the last three or
four days, already see that it is going to be very easy to be able to give the surface
language and the surface direction that’s necessary in order to begin that process of
alignment.
The Difference in Working with Lower and Upper Color
What we’re also going to see is that there are many nuances. And more than that,
there is something really to grasp about the difference in the way in which we will
have to work with lower Color and upper Color. Obviously, when we’re looking at
lower Color and the internal we’re dealing with a lot of things. In other words, we’re
dealing with processes that are going to take time.
2nd Color: Opened/Closed
For example, let’s take the 2nd Color because it’s a classic example. You can see
here that we have a binary between the opened and the closed. Remember that the
2 is something that is very special. It carries within it natural gifts. Those natural
gifts are gifts that emerge when there is correct alignment. Here, in this sense, cor-
rect internal alignment.
There are two things. Let’s say on side we have a client that’s fixed to the open
side, and on the other side we have a client that is fixed to the closed side. What
the open means, is that the open means that they are open to most, but not every-
thing. In other words, this is not open to anything that they can take into their ve-
hicle. In other words, there is a discernment process in the open.

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What is important about the open is that the open is here to try something once. It’s
very important. In other words, the proper internal process for the open fixing is
that you try things once, and once is enough to know whether you ever want to do
that again or not. And in this way, the 2 builds its painter’s pallet of different things
that it enjoys, that it enjoys the taste of. But that’s a Selective process.
I think in many ways it can be done almost—it’s like tasting things, tasting tests and
things like that. But it is a process that you cannot know immediately. You cannot
say to them, “Well, you should only eat this, this and that,” because that’s not the
way they work. If they were operating correctly, from the moment that they came
into the world there would have been a diversity that would have been offered to
them and their choice and refusals would have been respected.
If you have a baby, you know what that’s like. You want it to eat its whatever,
squash, prunes or whatever, and there is the baby sticking its tongue out and
doesn’t want it and is spitting. If this is an open 2, this is great because all it’s say-
ing is, “Ok, you don’t like it. All right, you won’t get any more of that. Let’s try
something else.” So there is an exploring process that has to take place with the
open 2.
The Closed 2
Let’s say you have the closed 2. The closed 2 is something else. That is, the closed
2 needs to be aligned to one thing, or one theme, and it’s a very different process.
In other words, you cannot ask them to experiment. What you can do is find out
what they do allow in. In other words, what they have allowed in as not-self. Then
begin a process of trying to see through whatever their authority is to clarify whether
that is of value to them.
As you’ll see, we’ll be able to go deeper than that and we will be able to see through
the Tone chain, we should be able to see, an insight into where in the spectrum their
intake is focused, because it is focused. Now, obviously all of that takes work. It’s
not just as simple as saying, “You have this open fixing here and this is the way it
works,” this is a process that they have to go through, and a process that they have
to go through consciously and with their authority.
The Upper Color
But the moment you move into the upper Color you can just say, “Look, change the
circumstance,” that’s very different. It’s an instantaneous, change the circumstance,
experiment with this different kind of circumstance and you will see that whatever
you take into your vehicle you’re going to be able to successfully digest it and
process it. It’s totally different from the approach that we’re going to need to take
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The other thing is the therapeutics that is aligned to all of this. Again, this is not the
time to go into any deep discussion about this, but it needs to be repeated. Ob-
viously, there are all kinds of therapies that are connected, particularly with the in-
ternal, to each and every one of these; and whether they are different kinds of food,
diet, therapies, and all the different things that are available through all of these dif-
ferent fields that I’ve discussed before in other PHS courses. Also, those are going
to be things that are going to be useful, and they’re going to be particularly useful
when we’re looking at the lower Colors.
What we’re going to see with the upper Color is that in changing their circumstance
you more radically change their lives. This is the big difference. When you’re work-
ing with the conditions of the lower you’re just dealing with finding and working
through to get the right ingredients, the right sustenance, and the right materials
into the body. It doesn’t necessarily in any way change the way in which they oper-
ate in terms of their normal habits for their dinner time, whether it’s this kind of en-
vironment or that kind of environment, whatever the case may be.
But the moment you’re dealing with the 4, the 5 and the 6 you’re dealing with spe-
cific circumstance changes. So if you’re somebody like me who is a 4 and fixed to
the calm that can really change your life. If you’ve got a tension-filled relationship
or you’re in a circumstance with people who like to talk a lot and argue a lot at the
dinner table you’re going to be deeply uncomfortable and it’s going to be very un-
healthy for you. All you can do then is demand that calm, which may create its own
problems, after all.
Circumstance requires another dimension. So in one way there is a lot of work for
the PHS practitioner in dealing with the 1, 2, 3 and much more work for the client in
the 4, 5, and 6. In other words, it’s just interesting the way in which the dynamic of
that actually operates; again, always operating in this curious binary.
Being in the Right Circumstance
So, in dealing with Light, again to come back to the understanding of the circums-
tance that it is about the right circumstance, it is about being in the right circums-
tance when you take anything into your vehicle. As long as you’re aligned to that it
doesn’t matter what it is, you will be able to digest it, it will be good for you, and it
will be effective in aligning you to your differentiation. This is one of the little mi-
racles, being able to see so clearly how we can work in relationship to the two of
them.
And as I said, what I will do next week is that I will give you a taste of the ap-
proach, because I will give you each a little capsule that goes along with it. It’s real-
ly great stuff, by the way. It is so fascinating to just begin to see how we’re really
fixed. And to share it with all of you, because in essence this is the first real experi-
ment giving you this information and watching what happens to you when you take

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this information in, and the way in which that is going to operate over the time we
go through our program together.
Using an Objective Scientific Approach
It is something very important to keep in mind that we need to approach it with a

certain objective scientific approach. That it is a good thing for you to really dig into
and document what has been your transference and how the transference has been
lived out, and what it is to align yourself to the correct internal and external, if it’s
possible, and to see what the transformation is, to see the impact on the way in
which you feel your energy level, your general well-being, the strength of your im-
mune system, all of these things. I am convinced that when you align yourself to
your fixings that you align yourself to well-being. This is the beginning of an enorm-
ously exciting experiment.
Mutation
Let’s talk about mutation for a moment because there are some things to really think
about. When you look at the evolution of our specie, when you look at the way in
which not simply our specie, our whole genetic evolutionary history, you see that we
have moved from what was millennium upon millennium upon millennium of splenic
reliance, relying on the splenic system and its basic responses, its immune system
survival responses and strategies. That out of the splenic system all of the ways in
which we understand intelligence, this is where they came from, whether it is the
judgmental, logical, the individual and its intuitive or the tribal and its instinctive, all
of this is splenic.
There was an enormous leap that took place. It’s not simply a matter of saying, yes,
here comes the neo-cortex. But this enormous leap was this leap from the nose
and the smell to the eyes and seeing. I’ve talked before about this profound rela-
tionship between seeing and the construct of the maya as we know it. That is, our
understanding of the world since we have been mind-vision oriented is totally differ-
ent than those human beings that were still oriented to their Spleen. It’s like your
mind trying to figure out why the Spleen will say yes or no at any moment, there is
absolutely no way because there is no way for the mind to understand the Spleen.
They just simply operate differently on different planes.
There have been some interesting books—the one I think of is The Bicameral Mind
which is an interesting speculation on this transition from the splenic where every-
thing basically was in the hands of the Gods to the Ajna and the eyes and all of a
sudden we began to create our own world. After all, that’s what our eyes do. Where
you see is what you see. It’s like people used to say to me, “Well, what about
twins,” I was talking about birth time. I would always say to them the same thing,
the moment they look in a different direction they’re different. Aside from anything
else, I didn’t want to get into long discussions of Color, Tone and Base, but the fact

119
that you look this way and I look that way, we’re already different. It’s just the way
that it works.
Solar Plexus Mutation
Anyway, we have an intellectual dilemma. The intellectual dilemma is trying to ap-

proach what is taking place in Solar Plexus mutation from the perspective of mind.
It isn’t going to work. We have receptors built into the various stages of our devel-
opment; the splenic receptors that are constantly attuned to the olfactory environ-
ment and the humming of the acoustic frequency. And then we have the mind with
its light receptors and the way in which the light receptors are organized into a fan-
tasy of what world and life is all about.
But we have a mutation taking place in the Solar Plexus Center. That means that
there are receptors in the Solar Plexus Center that we don’t know anything about.
One of the most extraordinary things about the serendipity of my work in scientific
research, what they are discovering in science about the Solar Plexus today is in-
credible—more neural activity than the brain, and so forth and so on. But those re-
ceptors, what are they all about? It’s not going to be smell and it’s not going to be
seeing. There will be an acoustic remnant because it is the one thing that holds it
altogether, it is the Base frequency.
But the receptors are for something different. It is a much higher frequency. This is
something that is so interesting because when I began today talking about the 6 I
talked about this extraordinary difference between the way in which the crystal op-
erates and what happens when the crystal is quantumized with the other crystal and
you get the emergence of the illusionary being, and that there is this deep mutation
that is taking place at the 6th level.
Mutation at the 6th Level
Whatever that mutation is, there is a trinary that has to emerge. We know that
whenever we talk about or look at any 6th line being’s life. We know that the binary
stage, which is the Saturn cycle followed by the roof cycle, that this was the tradi-
tional binary through the history of humanity. What is new is the coming off the
roof, the post-Kironian experience. This is what’s new. Not only the newness of the
post-Kironian experience but the fact that there is expanded time for activity in that.
Of course, that is also determined by the quality of the well-being of humans. If

you’re going to be healthy into your 80’s you have the best of the post-Kironian
phase. In other words, you get the full process, and you get to go through that
process. Anyone who achieves the Uranian 84 and in many cases today that’s really
young, there are more 100 year olds than ever before by loads, there is this enorm-
ous potential that is waiting there.

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But what is it? What is after the observer and the observed? What comes after
that? You spend your first 28 years observed, in that sense. Crashing into things,
making mistakes, screwing up your relationships, whatever the case may be—wrong
careers, wrong this, wrong that—all the stuff that comes with the 3rd line phenome-
na. And then you go up on that roof and you become the observer, you become
more aloof, more distant, you pull away, you find your grounding, you get to hold on
to that roof, and all is well. You begin to look out into the world in a very different
way and see the world in a different way. But you’re more detached from that
world. And you move from the inherent pessimism of the Saturnian 3 to the poten-
tial optimism of the roof phase.
Rave Children
Then what? Think about the Light in the 6th Color. You have the direct and indirect.
But what about the light you can’t see? And what about the light that’s at a higher
frequency? Who is to say that Rave children won’t be able to communicate through
microwaves, as an example? Who’s to say that’s not possible?
We’re about to enter into a transition that is very profound because it is a transition
away from what we can grasp, if at all, and that is the illusion of the mind and the
eye. The moment that you’re looking at the coming mutation of the Solar Plexus, or
the ongoing mutation of the Solar Plexus and the way in which that’s going to oper-
ate in Rave children, there is going to be something else that is going to be present,
and something else that we don’t know.
The moment that we had our mind vision, the moment that we looked at splenic
creatures we immediately saw they were inferior. Isn’t that something to think
about? It’s true, after all. The moment that we left behind the splenic world and we
entered into our maya world, only we can share that world. And we can only share it
with each other. We’re the ones that are giving everything their names. Dogs don’t
give us names. We just have smells. We give them names. We call them this and
that. They’re already beneath us.
The Mutation is not about Seeing or the Light
This is the way all of these old hierarchical structured mystical beings with their
chains of life and all of this stuff. At the top was this mental eye. It’s like looking at
the eye on the pyramid on American money. It’s this great mental eye looking out on
the world and being superior to everything else. Oh, boy, do we have a comeup-
pance coming. We really do. This mutation isn’t about seeing; it’s not about the
light. It’s not about the light at all. As a matter of fact, I imagine they’ll have very
poor vision.
It’s interesting because everything that I can see about them physically, because I
have been paying a lot of attention thinking about what they’re physically going to

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be like. One of my goals in Rave Cosmology is to really lay out a kind of check list of
symptoms and things to look for so that we’re going to be able to more easily identi-
fy these children; for example, having flat musculature in the face. This is some-
thing that will be easily recognizable. That is, you’re not going to have this high ton-
ing of the facial muscles, and for obvious reasons.
When the eyes stop being the key to awareness, the world of the eye stops being
interesting. It’s like the understanding of an environment of somebody that was
born blind. They understand the world in a totally different way. Of course, their
realm is acoustic mostly. But it’s really something to grasp that Rave children won’t
even live in our world any more than we live in the world of the dog or the cow or
sheep. It’s quite something to grasp.
What that’s going to be, what that can be—and it’s clear to me that when I look at
the Color and I see that the Color is a lock, there is no mutation taking place in the
6th Color. It’s a lock, it’s a binary. So there is some kind of a quantum that has to
emerge. I try to articulate that in analytical language when I’m doing somebody’s
Kiron return, this quantum that I can reduce to being a role model means that you
operate as a singularity. That is, you’re not this or that, because you are rigidly cor-
rect. Being rigidly correct is a singularity.
Of course, everything about the 6 is that it has this huge binary process that it’s in-
tended to break. You notice that in mysticism this yearning for the three—the three
in one and all of this stuff, you find this whole three business, the trinities, you find
them all over the place. Here we’re looking at this grand trinity that has to emerge.
It is more than an internal that is direct/indirect.
And in that sense, when I think about them and the way they take in sustenance, for
example it’s clear to me that they will not be able to digest meat of any kind. That
is, the flesh of creatures of any kind, whether that be fish, fowl, mammal, it doesn’t
make any difference. They will not be able to digest any of that. These are going to
be vegetarians if they’re going to eat anything it is going to be vegetation.
The Refinement of Energy
However, there is something about this new Solar Plexus system that will also refine
the way in which energy is used. Think about how much energy it takes to fuel a
human emotional system. Think about it. It takes very little energy to fuel the
Spleen or the Ajna, as a matter of fact. They’re not even motors. And both the
Spleen and the Ajna have to go looking for motors, it’s not easy. It takes very, very
little energy in that sense.
But the Solar Plexus with this huge motor there? There are enormous demands to
fuel that, this human experiential way and all this stuff that goes with the emotional
system. It is the place where we’re constantly looking for food. The food, the plea-
sure, all of the things that come with this humanness, all emotional, has to be fed.
What happens when you turn off that motor? You just turn it off. It’s totally differ-

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ent. And if you turn off the motor what is the drive to eat and how much sustenance
is actually necessary and how efficient will the metabolizing process be?
Raves will not be Fixed
I have a suspicion that Rave children will metabolize out of the Solar Plexus rather
than the Throat. That’s just a suspicion. There’s something enormously different
about what is emerging. It is a matter of your inspiration, my inspiration to look
here at the limitation, and to look at the limitation of what is here in the basic binary
and to understand that this is us, this is human. In that context it’s correct. It is
the underlying binary. You are fixed as a human to this or that.
But I don’t think that these fixings are going to hold when you’re dealing with the
Rave. I think there’s something else. I think this third way of awareness is going to
have its unique instrument of that awareness. It is not the holes, it’s not the open
mouth and the tongue and the ears and the nose and the eyes. It’s something else.
It is the whole outer skin, the epidermis, the covering, the aura. It is so much about
the way in which the aura will feed and be interactive in terms of the way informa-
tion works.
Another sensory organ, another sense that is not a sense that we have—it’s like eve-
rybody always talks about the 6th sense, that extrasensory perception, ESP, all of
these kinds of things. I live ESP all the time. I have a 43/23 and my son has the 43
and no 23. When I’m sitting in the car with him, I can think something and two
seconds later he says it. But that’s just the way conditioning operates. That’s not
what I’m talking about. I’m talking about something that is beyond what our senses
are. And this is what is emerging in the Solar Plexus Center.
Transcendent Feeling
It was interesting lining up the illustrations for today. I really caught myself for a
moment looking at these binaries and wondering about the transcendent of that. For
example, the external, the natural and artificial light. What if there is no light for
them, not in the sense that we understand it, because light is something we interpret
through our eyes. But, what if they see in a different way? That is, it’s not seeing, it
is transcendent feeling, and transcendent feeling, and that’s just a term, I don’t
know in essence what it actually means, whatever a sense can be that can interpret
input that we are not capable of interpreting. It goes on all the time. There is so
much input that is moving through us that we are not capable of interpreting be-
cause we simply don’t have the sensory dynamics to be able to do so.
So, there is more than just simply thinking about the fact that we have these new
kinds of beings that are going to be emerging. But, to speculate on a number of
things—that we will not share the world with them because we won’t live in the same
world, any more than we share the world with the lower forms of life, because we do

123
not live in the same world—it’s really quite something incredible to think about. And
it speaks volumes about how difficult it may be to interact and be of value to these
beings other than simply being able to bring them together because that is the only
way in which they’re ever going to have a chance to have any success in their
process.

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LESSON SIX

125

126
Lesson Seven
Tone/Color Fixing
I’ve been looking forward to this. I love these kinds of moments. I’m an Arian, so
for me, to introduce something that is new, practical and valuable is very exciting,
and I do love my revolutions. So, let’s get on with it.
I have to give you a preamble first before I get into looking at all of your charts. I
will do the very best I can to make sure I get through at least the surface of all of
your charts.
Basic Division of Tones
I’m going to show you the simplest level of Tone/Color fixing because it’s quite com-
plex. But in order to see the fixing, the fixing is a generalization. The subtleties of
the fixing, and we’ll talk about that next term when we actually begin to look at
Tones themselves, there is a great deal of subtlety in the way in which the fixing is
going to operate. However, the general theme of the fixing is something that is what
I’m going to introduce you to and what I’m going to be discussing in terms of your
own charts.
The first thing we’re going to do is we’re going to take a look at the basic construct
here of Tone. Remember that the thing that’s interesting about Tone is that Tone is
something that operates in binaries. That is, 1st and 2nd Tones are splenic binaries,
3rd and 4th Tones are Ajna binaries, and 5th and 6th Tones are Solar Plexus binaries.
As I said, next semester we will explore that in detail because if I get into that now
I’m never going to get into what we’re here for today.
It really has a great deal to do with the way in which our senses operate, and where
the focus is going to be in our sensory system. So, having a tonal quality that is
splenic is actually quite different in the way eventually it gets to the surface and the
way in which the Tone has its impact on the way we operate as a whole.
But for our discussions today we’re more interested in something else. We’re more
interested in a basic division that exists in the Tones, a basic division that we see
operates through all the sixes. It’s one of the jokes of Design is that you’ve got the
beast—6 lines, 6 Colors, 6 Tones. Those sixes all have a basic division that is inhe-
rent in them that actually begins at the tonal level. It begins at the tonal level in
terms of this is the first six. We all know that Bases operate as a 5, and those of you

127
that took my last Base course in Ibiza last year, Bases actually operate in three dif-
ferent fields despite the fact that there are 5.
But, the first six is the tonal level; and that six is moved from the Tone, to the Color
and then ultimately to the line. This is why we end up with what we call from the
surface a hexagram, and this structure of the six, in the six that is divided into a ba-
sic trigram. Remember that the fact that there is this hexagram on the surface is
only because there is something that created it underneath. The theme of the sixes
is very important because it is a way in which there are relationships between these
levels. That is, there is a tonal relationship to Color, and there is a Color relationship
to line that operates through what we call harmonies and resonances.
Left and Right Tones
When we’re dealing with lines we’re dealing with an infrastructure that we refer to as
trigrams. I’ve already indicated to you that when we’re dealing with Color we cannot
do that. We can only talk about lower Colors and upper Colors. When we come to
Tones we’re not going to talk about upper and lower Tones, we’re going to talk about
left Tones and right Tones.
What am I going to do with names?

This is how it was revealed to me,
so I stay with it. I don’t want to
confuse people on the surface with
left angles and right angles, be-
cause quite frankly it doesn’t have
anything directly to do with left an-
gles and right angles. Nonetheless,
when we’re going to talk about
Tones and we’re going to talk about
the basic tonal binary, that the ba-
sic tonal binary is left and right, and
it is holistically brought together
tonally. That’s something that we
will look at in detail when we talk
about Tones themselves.
The first thing, and the only thing

that’s really important in our dis-
cussion about Tone today is to
simply understand that there is this
basic division between left Tones
and right Tones. Left Tones are the
1, 2 and the 3. Right Tones are the
4, the 5 and the 6. You can see
that the 3, 4 is a split binary. This ultimately is very significant. It’s one of the rea-
sons why the 4th Color acts so strangely and why ultimately it is the 4th Color that is

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LESSON SEVEN
Tone/Color Fixing
the gateway to bringing us together holistically, Personality and Design, into the ve-
hicle. That is, the Monopole being able to access the two crystals through that 4th
Color.
Part of the reason that the 4th Color operates that way is because it is part of this
split binary. It also is ultimately the division that is there between what we will call
personal and introspective, and transpersonal and extroverted. In other words, the
splitting of the 3.4 Ajna binary has an enormous amount to do with the way in which
we look at ultimately upper and lower trigram. But again, we’ll get to that in its
proper time.
So, what I want you to keep in mind and only keep in mind is that we are dealing
with very simple terminology here: Left Tones—1, 2, 3; right Tones—4, 5 and 6.
The next step in this is to see the interrelationship, that is, the tonal fixing that ex-
ists between left tones and right tones and the way in which they impact Color. And
the way in which they impact both internal Color (the Sun/Earth) and external Color
in terms of the North Node and South Node. It is an easy formula on the surface to
work with. In other words, with left Tone, with the construct here, you’re dealing
with left fixing. Right Tone you’re dealing with right fixing.
So, it doesn’t matter, for example, if you’re somebody who has the 6th Color and you
have the 1, 2 or the 3 you’re going to have left fixing. If you have the 6th Color and
you have the 4th, 5th or 6th Tone you’re going to have right fixing. It’s a simple for-
mula. So, it is left Tone, left fixing; right Tone, right fixing.
Again, there is a real subtlety, and you’ll see this when we get to the tonal level be-
cause this is going to lead to us being able to diagnose, at a very accurate level the
subplot of each these fixing dimensions, because there is a subplot depending on
whether it is 1st, 2nd or 3rd Tone. Or a subplot whether it’s 4th, 5th or 6th Tone. And
remember if you go back to the Design Color illustrations where you have all of the
Tones laid out in the geometry, the geometry of each Color so that you see the six
Tones laid out, this is where in investigating Tones we’re going to be able to see how
the subtlety in the Tone has quite an impact on the way in which the general fixing is
going to operate.
The Basic Formula: Left Tone-Left Fixing/Right Tone-Right Fixing
But the first place to start—it’s like my work with Rave Psychology and Color transfe-
rence—this is the equivalent, sort of, of Color transference. In other words, it’s the
first step of being able to have an analytical structure that one can begin to both di-
agnose and make recommendations. So, here is the basic formula. The basic for-
mula: Left Tone, left fixing/ right Tone, right fixing.
Now, as I said what I’m going to do is to take you through all of your charts, all of
you that are here. In taking you through your charts I am very briefly going to
touch on the themes that are there. And just to give you a little bit of inspiration, or

129
a little bit of my general insight. Obviously, I’m not going to be able to give a lot of
detail, there are a lot of you and that’s a lot of charts to go through in our time.
The other thing is that when you come back tomorrow for your resources, not only
are you going to get this group fixing package with all the charts and these illustra-
tions here. But I’m also going to include transcriptions of the six Colors that we have
just gone through over the last six weeks with all of the information about the fixings
on this side and that side, so you don’t have to laboriously go through your record-
ings to try to get information not so much about your own, but looking at charts of
people around it.
It’s very, very important

that you apply this infor-
mation for your own study
by looking at the charts of
people that you know. And
getting used to being able
to see the correlations and
begin to have a superficial
view of what it means and
what can be done about it.
So, I’ll make sure you have
the written material on the
six Colors so that you have
the different sides, the dif-
ferent Color binaries and
that you can access the
information.
So without further ado, be-

cause I don’t want to tease
you and it’s going to be a
journey, let’s start. By the
way, it is alphabetical ac-
cording to your first name.
So, you can figure out
where you’re going to be.
The list is right there on
the screen on the left. It’ll
basically be the same run
through. I am susceptible
to error in putting together
20 odd charts and running these through my MMI and putting in the information my-
self, so do double check and make sure that I have the right information for you. I
went through it twice, so I assume that it’s correct. But nonetheless, it’s always
good just to make sure.

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LESSON SEVEN
Tone/Color Fixing
Alessandro
Internal: 1.2 - Consecutive
The other thing is that you’ll see that there is a simple way that I’ve constructed this.
That is, this is Alessandro, Alex, and you can see that he has a 1st line unconscious
Sun/Earth, this 1 over here is a 1st Color and he’s got a 2nd Tone. Again, the same
thing over here, don’t confuse the line with the Color. Here you can see that he’s
got a North Node/South Node is a 6th line. If you look over here this is not line, this
is Color, so he has a 6th Color and underneath that 6th Color is the first Tone.
Remember, the way our formula works. So, here you have somebody who has a 1st
Color and you can see that when you’re looking at the Tone you can see that this is a
left Tone. So, left Tone is to left fixing. If you look at the 1 over here you can see
that when we’re dealing with the internal here’s the 1 and you can see that there are
these two possibilities, there
is the Consecutive and Al-
ternating. And you can see
that he has the 2nd Tone,
which is left Tone, the left
Tone is going to be a left
fixing, so it’s going to be the
Consecutive. I assume that
that’s pretty straightfor-
ward. Like all things in De-
sign, once they’re revealed
they’re actually very simple.
Let’s take a little meander

here and see what we’re
looking at. First of all we’re
dealing with a 1st Color. In
dealing with the 1st Color
we’re dealing with what
goes in. The thematic of it is Appetite. We can see that because we’re dealing with
a 2nd Tone and we’re dealing with a left fixing, we have the Consecutive.
One of the things that is very important about this is that in your eating, Alex, the
worst thing that you can do is alternate between the mashed potatoes and the meat,
if I can put it so bluntly. It’s very important for you to eat Consecutively. In other
words, if you have three things on your plate, eat one after the other. And in eating
one after the other, rather than going back and forth and Alternating between this
one and that one, you will see that to begin with this is going to have an excellent
effect on your digestive system. It’s very important for you to see that you’re not
here to mix your food. You’re here to eat one thing at a time, finish it and go on to
the next thing.

131
So, that’s the first thing about the internal. Remember something about any of the
things that I’m going to discuss tonight, aside from the revolutionary aspect of this,
don’t be misled by the simplicity of the diagnoses or the recommendation, because
like following your strategy and how simple that is, the very simple of this has a pro-
found biological impact.
All of you are witnesses in all of this. You’re witnesses, you’re patients, you’re stu-
dents, and you’re all of it wrapped up into one. It’s very important for those of you,
it’s your geometry to experiment with whatever it is that is laid out for you today, or
what you discover yourselves, it’s very important to check it out. It’s very important
to see the difference. And seeing the difference is many, many things.
We’re talking about digestion after all, we’re talking about the way things move
through your body, so the health of that, the timing of that, all of the things that
have to do with the way in which we process, the energy that you feel after a meal,
how you feel after a meal, all of these things are important to look at. So, here it’s
very straightforward and it seems like a very simple thing. However, the conse-
quences of it, and the consequences of ignoring it are really profound.
External 6.1 Natural
Let’s move over to the external. Again, the external is about our predisposition to
align to proper environments. Proper environment is an environment that encourag-
es your differentiation, your uniqueness. Here we’re dealing with the 6th Color, we
have a 6th line, and we have a 6th Color. When we are looking at the 6th Color we’re
looking at the theme of light. In looking at the theme of light we have a 1st Color, so
we have left Tone. We’re going to see that there are interesting consequences of
having both, for example, left Tone Sun/Earth, right Tone Nodes, there are many,
many configurations we’re going to be looking at. It’s going to be quite something to
see the way in which these chains ultimately operate. So much of this will simply
come from experience.
We’re dealing with a 6th Color and we’re dealing with a 1st Tone, so we know that we
have left Tone so we’re going to have left fixing. When we have left fixing, again
just to take you back to the illustration here is the 6th Color of light, here is the ex-
ternal field, here is the natural and artificial and the theme is the natural.
Natural light is something that’s very important. It’s not just about being out in the
sunshine, and be clear about that. What it means is not to be in environments that
cut you off from light, that you need natural light. In other words, the kind of house
you live in. If you live in a house that has small windows, has bad positioning, you
have to turn on the artificial light all the time; this is something that is fundamentally
unhealthy. In other words, it’s very important to take advantage of natural light.
For example, if there are important things for you to do it is much more important
for you to do them in the daylight than anything else. Remember that we’re dealing
with these themes of circumstance when we’re dealing with the upper Color. And the

132
LESSON SEVEN
Tone/Color Fixing
circumstance of natural light is something that is very, very important for you and
very healthy.
So, when you’re in enclosed environments, when you don’t have the opportunity for
enough natural light, then you’re not going to be in environments that are going to
be conducive for you. That is, environments that will align you not simply to your
differentiation, but in being in the natural environment and being in that natural
light, the people you’re dealing with are going to be correct for you. In other words,
there is more likelihood, let me put it that way, that you’re going to be dealing with
forces that can allow you to align yourself to what is correct for you.
So, here we have the two themes. The theme on taking food in and how important
it is for that to be Consecutive, and the environment, that natural light is a key. So,
if you’re laboring at night and you’re working at your desk and you’ve got all this ar-
tificial light on, you’re going to see that the results are not going to be as successful
as simply being able to operate in daylight. And daylight becomes a very important
theme.
I have the same thing. That is, I have a 6th Color with a left Tone fixing when it
comes to environment. It’s so obvious to me that as the sun goes down—it’s inter-
esting in these classes that I’m doing with you, this is not my ideal time. I do this
because so many of you are from the western side of the United States. It’s unrea-
sonable to ask you to get up at 6:00 in the morning. For me to work in the late of
the day is not something that feels good for me. Now that the days are getting
longer I have much more energy and I don’t have the artificial light on in my studio
and it makes it much easier for me to do my work. And it’s something I’m very,
very aware of how important natural light is for me.
Andrea
I assume you jumped at it, but anyway, 1st Color Appetite. Again, this is a left fix-
ing, it is the same thing, it is the Consecutiveness. This is something that’s very,
very important. I don’t remember exactly, there are certain Eastern philosophies
that talk about how dangerous it is to mix certain foods, and in some cases to mix
any food. So, one of the keys for you in terms of your physical well-being is the im-
portance of this one thing at a time. Eat one thing at a time.
It’s interesting the way in which we are raised. You can see how many people, for
example, who are going to have 1st Color Consecutive, you can see how many of
them have been raised in environments where their plates are covered with things
and everything gets mixed together. You always know that there are certain child-
ren that hate it when you put things on their plate and you mix the things together.
For the Consecutive being how essential it is one thing at a time.

133
External 2.6 External
When we come to the external we’re dealing with the 2nd Color, we’re dealing with
taste. We’re dealing with the 6th Tone, which means it is a right Tone so we’re going
to have a right fixing and
this is going to be the exter-
nal. That’s something that’s
very important. The exter-
nal environment is not about
always being outside, be-
cause it sounds like that.
What it really means is how
important it is for you to go
into different environments.
In other words, not get
locked into one particular
environment. This is the in-
ternal.
The external is very much

getting out and getting
around. It doesn’t matter
whether you’re going into
places or not. But the thing is that it’s always going to be important for you to be
mobile. For example, your success in the work that you do, part of that is about be-
ing available to do things in different places. And that your ability to go to external-
ize, is something that is very healthy for you.
Just remember that when you are externalizing don’t get caught up in mixing your
food. It’s like these two things are bedrocks of your well-being. For example, the
unhealthiest thing for you, let’s say you have some kind of—I think that has even
happened to you, you break a leg or one of these things, you’re a 3/6—this is the
kind of thing where to be locked in the house bedridden, those kinds of things, are
absolutely terrible for you in terms of recovery. In other words, even if it’s difficult
and uncomfortable it is better for you to move around when you’re not well than it is
for you to close yourself in and expect that your immune system is going to work to
your benefit in that situation. Your immune system is going to work better for you if
you pretty much keep to your similar patterns as best that you can.
Becky
Internal: 3.3 - Hot
We have a shift here and you can see that we’re dealing with an interesting one. We
have a 3.3 above and a 5.5 below. If we’re looking at the 3rd, we’re looking at thirst,
so we’re looking at that whole liquid realm and we’re looking at a left Tone so we’re

134
LESSON SEVEN
Tone/Color Fixing
going to look at a left fixing, and the fixing is hot. It’s very important that what you
put in your body is warm. One of the things that you should really stay away from,
and I know for some Americans it’s a horror to even hear that, but anything that has
ice cubes, ice cubes are really a threat to your physical system. They’re really not
good for the way in which you process information, the way in which your brain
works; warm food, particularly warm liquids. Warm liquids are something that are
very, very important for you to have every day and stay away from the cold. Stay
away from particularly cold liquids. It doesn’t mean you can’t have a sandwich once
in awhile, or a salad or whatever that isn’t hot, that’s not really the point. But it’s
very important that your meals are warm meals, particularly in the morning. If
you’re somebody that’s into having a breakfast in the morning, then it should be a
warm breakfast. Again, it’s the importance of hot liquids for you.
And obviously, I’m only dealing with it here in the very, very specific context of tak-
ing things into your body. But of course, you also have to see, and we’ll talk about
that in detail, liquid in your
environment, warm baths,
and the kinds of things where
the warm liquid is more than
just what you’re putting into
your body.
External 5.5 Wide
The next thing is we go to

the 5th Color so we go to
sound. Of course, we’re
dealing with a right Tone so
we’re going to have a right
fixing and this is wide. Wide
means that the worst thing
for you is to have two stereo
speakers pointed at your head, like the stereo speakers of your computer. Point
them away from you. In other words, you need to have dispersed sound.
For example, you’re not somebody who should use headphones. Headphones are
not good for you. This is a very narrow field. Remember when we’re talking about
upper Color we’re always talking about circumstance. It doesn’t matter what the en-
vironment is. But you don’t want to be in an environment where you are the focus
of the sound, and where the sound is going directly at you.
It’s very, very important for you that there is this diffusion, that the sound is dif-
fused. You don’t want to be in environments where you get locked into very, very
loud sounds that become a focus. The kind of sound that you can’t get rid of that’s
nagging at you. You’re the perfect person for one of these Chinese water tortures,
this kind of thing where you have a sound that is much, much too narrow and you’re
here for the wide or the diffused sound environment.

135
So, two things: the hot, the liquids, very important for you; and the sound quality.
Don’t wear headphones, don’t point speakers at you. And if somebody is yelling at
you walk away. That’s what I can tell you.
Birgit
Internal: 4.4 - Nervous
We have 4th Color and we have right Tone, 4th Tone, so we have a right fixing of the
4th Color. This is nervous. Remember, we’re dealing with circumstance. One of the
things for you about digestion is that you need stimulation in order to digest. You’re
like my friendly jokes about cats that they need to work themselves up to be able to
digest their food properly. One of the things for you, let’s say that you’re eating
alone and everything is very quiet. That’s not particularly good for you. You need
stimulation. For example, one of the easiest ways is read something while you’re
eating, or watch television or something if you’re alone. But make sure that there is
stimulation when you’re taking food in.
The other thing you can do in restaurants, those kinds of places where there is activ-
ity around that it’s very important for you. If you’re in a family environment turn
meal time into a time of stimulation, encourage conversation. It may not be neces-
sarily good for somebody
else, but it’s wonderful for
you. You need the stimula-
tion while you eat. This is
something that will really
make a difference in your
digestive system. If you’re
fantasizing about having
those calm, quiet peaceful
meals, you’re really trans-
ferred.
External 3.3 Wet
Let’s take a look at the ex-

ternal and we have a 3rd Col-
or. In dealing with the 3rd
Color we have a left Tone fixing, so we have the wet. Again, this is very specific
about environment. So, Stephen last week made his joke about getting ready to
pack his bags not knowing what was going to happen. When you’re dealing with
lower Colors and you’re dealing with lower Color fixing it’s very specific. It’s not like
the circumstance of upper Color. It’s very specific.

136
LESSON SEVEN
Tone/Color Fixing
So, for you it’s very important that you are in a humid, wet environment. For exam-
ple, if you’re in a relatively cold country, you’re from Austria, and I know what places
are like in the winter time in terms of the way things are heated. And you end up in
an environment that is very, very dry it’s very important for you to have a humidified
environment, have a damp environment. It is good for you to be around water.
For example, in your house or your flat it would be a wonderful thing for you to have
one of these household water fountains where the water is running and there is the
sound of running water, or to have an aquarium with fish. It’s very important that
you have the humidity that you need. The worst thing for you is to go into dry plac-
es, go into dry climates. You really need places that are damp. You need the hu-
midity.
What’s so interesting about it is that the humidity of the environment guarantees

that the right beings are going to be part of that environment. It’s almost science
fiction when you think about the way these things work, because it’s really incredi-
ble.
So you have two things you have to deal with. One is that you need stimulation
when you’re eating. It’s very, very important for you to have stimulation when you
eat. The other thing is that you need to be in an environment that is humid, an en-
vironment that’s damp, a place that’s rainy, snowy. But make sure about the heat-
ing. Make sure that you have a humidifier in your room when you sleep. That’s
something that will be very, very healthy for you.
Cathy
Internal: 3.5 - Cold
We have the 3rd Color and we’ve

got right Tone fixing so we are
dealing with the cold. This is very
different. It’s interesting because
what I noticed in doing all of your
charts is that there are very few
similarities; there’s a whole spec-
trum of things. How interesting it
is the difference between—I think it
was Becky who needs the hot and
here you are and it’s the cold that’s
so important for you. So, those ice
cubes are wonderful things.
The other thing is stay away from

warm meals. It’s really something

137
to experiment with. But stay away from warm meals. It’s not good for you. It
doesn’t have to be cold, if you know what I mean. It’s just having heated food, hav-
ing heated drinks is not something that is healthy for you; it’s not something that’s
healthy for you to take into your body. So, the cold is something that can be a real
key for you.
External 2.5 External
When we look at the environment, when we look at the 2nd Color and we have right
fixing and that brings us over to the external. You heard my description that I gave
to Andrea, that is, how important it is for you to move around. And I know you well
enough now to know that’s something that you really do. It’s something that’s
healthy for you.
But remember, my caution to Andrea about when you’re not well, or there is some-
thing the matter that under normal circumstances you would be told to stay wherev-
er you are and not move around too much and whatever the case may be. Again,
remember the importance of the external environment for you. It’s really healthy for
you to get out and get around. Even if it’s minimalized, even if you have to take cer-
tain precautions, or whatever the case may be given the circumstances, don’t forget
the importance of going out into the world because that’s where you really meet
your opportunities, that’s where things are really going to happen for you in this life
in terms of the right people.
Deborah
Another cold—the 3 and you have

the 4. Remember, if we just go
back for a second, you can see
here we’re dealing with the 3.5.
Remember, what I told you at the
beginning, I’m only giving you the
surface of the way in which Tone
fixes. That is, we have a general
fixing so that we can see which
side of the Color binary we’re
dealing with, and then within that
fixing we have nuances. So, ob-
viously, there is going to be a dif-
ference between Cathy’s 3.5 and
Deborah’s 3.4. They’re both right
Tone fixing, but they’re going to

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LESSON SEVEN
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be nuance differences and we’ll get to that when we get to our Tones.
Again, here we’re dealing with the cold and obviously that is something that I think
particularly when you’re dealing with the lower Colors, the moment that you’re deal-
ing with lower Colors it is very, very specific. So, it’s very important for you to expe-
riment with not putting warm, heated food, or hot drinks into your body and experi-
ment with the cold. You’ll see that it will make a tremendous physical difference in
your life.
The other side of this is that we’re looking at again the 3rd Color so we have a double
3rd Color. We’re going to look at all these nuances as we move along. Obviously,
there is a resonance here in the way in which these Colors are going to operate.
There is a harmony here in the way the Tones operate. So, here we’re looking at 3rd
Color and we’re looking at a left Tone so we’re looking at left fixing and we get the
Selective.
Now, when you’re talking about external environment the binary is Selec-
tive/Blending. There are some people that the best way for them is to simply mix in,
blend in, disappear in the crowd, and wait and see what happens. Be part of a
grouping. But Selective is totally different. In other words, it’s the kind of thing
where it’s much better for you to go out and meet a person than it is to go out and
meet many people. In other words, if you’re going to go out to meet one person it’s
ultimately going to be a greater value to you than when you go out to have an even-
ing with three people, as an example.
So, it’s something to keep in mind about the Selective environment, and also about
environments where you can pick and choose. It really is about selectivity, it really
is about…pardon me; oh, you’re absolutely right. See what I mean. I’m sorry Debo-
rah, scratch all that, tear it out of your memory, I do make mistakes. I don’t know
how I even got that. I got confused.
External 3.1 Wet
Ok, 3rd Color and it is left and it’s wet. Pardon me. You even mentioned that to me
the other day. That’s really funny—with your cisterns. So, anyway, you know about
the wet. The wet is very important. It’s important to have the humidity, and you
certainly have that in Ibiza. It’s important to have the water around you and this is
not a place where you need humidifiers, but nonetheless, it’s very important that you
stay with the damp. Remember folks, it is wet; it’s not Selective.
Ok, so the cold and the wet. The cold is very, very important. Whenever I look at
the internal and I’m looking at the lower Colors it’s clear to me that these have very,
very direct and very immediate effect if you follow the basic strategy of it.

139
Eileen
We have 1st Color and we’ve got left fixing, this is Consecutive. Eileen, you’ve
heard the Consecutive message now, it’s very straightforward—one thing at a time.
Don’t alternate your food. Don’t go from one thing to the other and back. However,
the Consecutive is something that is really going to aid your whole digestive process.
It’s something to experiment with.
External 1.6 Blending
Here it’s interesting because I was talking about that before in the wrong context.
But here we have the 1st Color and we have a right Tone fixing on the 6, so we have
the Blending. This is one of the keys for you in terms of fitting into environments.
It’s not about drawing atten-
tion to yourself. It’ll come
anyway. It really is about
Blending in. Those casual en-
vironments where it’s easy for
you just to fit in and not nec-
essarily feel under pressure or
feel like you’re the focus of
things, it is very healthy for
you.
The other thing is that this is

the kind of fixing that is very,
very effective in crowded
places. They don’t have to be
packed, but the kind of places
where there are a lot of
people. To be around a lot of
people, to blend into the shoppers in the mall or whatever the case may be, this is
something that always will bring you advantages. It’s in the blended environment
that you’re going to meet those forces that are really going to be important for you,
and those forces with whom you are going to be important. So, Blending in is some-
thing that is really a key.
So, you have the Consecutive, taking food in one thing after the other and this
Blending in the environment. You’re not the kind of person where it’s healthy to
stand up on a stage and everybody is going to stare at you. It’s much easier for you
and much more effective to be in the audience and to be in the blended environ-
ment, and out of that you can actually have more impact with the person beside you,

140
LESSON SEVEN
Tone/Color Fixing
with the person behind you, whatever the case may be. But it’s in that blended en-
vironment that things are really going to happen.
Elfriede
Internal: 4.6 - Nervous
Now, Elfriede I’m really not so sure about all this time with you, so let’s take this as
an experiment of an experiment and see what happens. But nonetheless, I’ve taken
your advice and done it for the morning 5:30. We have the 4th Color when we’re
looking at the internal and
you’re dealing with a right
fixing, right Tone and so
we’re going to have nervous.
Again, this is about stimula-
tion. It is one of the keys for
you in terms of your eating
environment, that you need
stimulation. It’s not good for
you not to have something
to think about, look at, listen
to, something to process
while you are also eating.
Of course, the same sugges-

tions that I made before, the
kinds of things, reading,
watching things, listening,
whatever the case may be.
Or going out into an environment where there is stimulation or having the kind of
meal time with others where you have stimulation. People aren’t just sitting there
and eating in silence.
External 4.2 Active
We also have a double 4 here. The 4th Color for the external and we are dealing with
the left Tone, so we are dealing with left fixing, so we’re dealing with active. Now,
this is very important. When you go out you have to go out for a reason, if I can put
it that way. That is, this binary is active/passive. If it’s passive you’re outside for no
particular reason, it doesn’t matter, just enjoying outside, whatever the case may
be. And you don’t need a reason to go out into the world.
But the moment that you have the active you need a reason. In other words, it’s not
healthy for you to simply go out and not know what to do—go out and decide that

141
you’re just going to wander around. In other words, it’s very important for you that
when you do go out that there is a purpose in that going out, and that it involves you
actively doing something. In other words, it has to be an active pursuit or an active
process in terms of the environment. And if there is nothing for you to do out there,
don’t go. That’s a key. If there’s nothing to do, if there is no reason to go, and not
a made up reason—“Well, I should get some fresh air,”—you have to see that going
out there has to be a purpose in the going out for you. It’s very important in terms
of who you will meet out there.
Ila
We have a 1st Color, we have left Tone and we have Consecutive. It’s interesting, by
the way, the one theme that showed up a lot was Consecutive eating. It’s very in-
teresting for me because I think that binary Consecutive/Alternating really has an
enormous impact on well-being. It’s so obvious to me that when you see it in bina-
ries this way and you understand it that they are fixed, you can imagine how many
people who should be eating Consecutively or Alternating and vice versa, and I
would think that most people are conditioned to alternate. If you look at the way in
which we are raised, the way
our culture works, most
people are conditioned to al-
ternate. I think it is the Con-
secutive people that probably
physically have suffered more
because of that conditioning.
It is a very important factor in

your life; eat one thing at a
time. So whatever is there on
your plate, enjoy each one,
one at a time. This is some-
thing that is going to be deep-
ly beneficial. Remember,
when we’re talking about the
Sun/Earth we’re talking about
the predisposition to proper
brain function, to individuate differentiated brain function. To eat Consecutively is an
experiment that’s really worth taking. Because ultimately, there is an enormous po-
tential for benefit in that, particularly in the way in which ultimately the self-reflected
consciousness works.

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LESSON SEVEN
Tone/Color Fixing
External 2.4: External
If we go to the external, we have the 2nd Color and it has right fixing and this is the
external. Remember my discussion just before about the external. How important it
is to get out in the world, just get out in the world. Move around; don’t always be
locked into the same space. This is very important. It is this going out and being in
the world that gives you the opportunities that can be there for you. You also have a
4th line unconscious, so it’s very connected to opportunities coming to you physically
in your life, the right people physically in your life. And this is something that you
get through traveling through, moving around, going out the door, moving in your
life.
Inga
Internal: 4.1 - Calm
It is 4th Color and it is left

and it should be calm [alter-
nating is incorrect in the illu-
stration]. The calm, that’s
something that I know so
well. It’s changed my life,
and I mean that in the deep-
est sense. As a matter of
fact, if there is tension at any
moment while I’m eating, I
get up and walk away. I go
somewhere and sit down and
I let everything—I’m a Mani-
festor, I have Manifestor an-
ger—I let things just move
through my system. I don’t
put food into my body unless
I am really calm. That
means a calm environment, an environment without tension. Two out of the three
meals I eat a day I eat alone for that reason so that it is very peaceful, and it is very
calm and relaxing. So the calming circumstance is something that is very important
for you.
External 1.1 Selective
When we look at the external environment we have the 1st Color, 1st Tone so we’re
left Tone, left fixing, so this is Selective. When we look at the Selective it’s very in-

143
teresting for me, this difference between Selective and Blending. I think that it will
speak a lot about therapies that we can do at this level. For example, Blending you
can’t do therapy with somebody by themselves; they need to be part of the group in
order for that to be successful.
Whereas, somebody who has Selective it’s very important that it’s very direct, basi-
cally a partnership configuration in terms of two auras. So the Selective—being clear
that for example that when you’re going out there into the world that you’re very
careful about the environments. To be Selective is to go out and meet one person
again is one of those things that can be very healthy. To go out there and sort of
hang around and blend in is not something that is going to work for you.
It means also that you end up being very Selective about the people, as well, in the
environment. It’s not about just accepting that you can be part of the group. It re-
ally is about aligning, ultimately. So the Selective environment is a very important
environment. It’s also more predetermined, if I can use that language, than the
Blending. The Blending is something that can happen quite naturally; whereas, with
the Selective there is always a determination in that, to go towards a specific envi-
ronment.
Josette
Internal: 1.4 - Alternating
Alternating, so we have
another Alternating; Alternat-
ing is something that is very
specific. In other words, to
give the illustration of the
mashed potatoes and the
peas and a piece of meat, it’s
really about going from one to
the other. It’s really kind of
like a ritual. It’s not about
finishing one of them first and
Alternating between the other
two and this kind of thing.
It’s really about one different
thing after the other. This is
something that is very, very
important for you, very
healthy for you in terms of
the way you eat.
But be very careful about—we can get into a lot of subtleties here, but for example,
be very careful about one-dish dinners, if you know what I mean, that they scramble

144
LESSON SEVEN
Tone/Color Fixing
everything up—meatloaf, shepherd’s pie, or any of these kinds of things where you
throw everything together and you put it all into one thing. That isn’t a healthy thing
for you.
It’s much healthier for you to have little things that you alternate between than it
would be to have all of that sort of mixed up together and thrown together. So, it’s
very important that you have this kind of potpourri, you have all of these different
things and you go from one to the other and to the other and in that way it’s really
going to be beneficial for your digestive system.
External 2.1 Internal
The other side of that is that in terms of the external we’re dealing with the 2nd Color
and we’re dealing with left fixing so we have the internal. This is very, very differ-
ent. When you’re dealing with the external as we’ve seen there is this need to go
out into the world, and how important it is to go out the door. But that’s not the
case for you. It’s one of the things for you to be very clear about, is that when
you’re going out into the world you’re actually going from one internal to get to
another, rather than anything that’s going to happen on the way. In other words,
you’re not one of these people where the journey is the story. What you left behind
and what you arrive at is the story.
Remember that what we’re really talking about is the suitability of the beings that
you’re going to meet when you operate correctly. In other words, it’s in the internal
environments that you’re going to have what are the deepest connections for you in
your process. In other words, if you’re going to fall in love with somebody you’re
going to fall in love with them indoors, not outdoors. Or, you’d certainly fall in love
with them indoors rather than outdoors on the way you happen to go from one place
to another.
So, the internal becomes a very, very important field for you. Again, the dilemmas,
the temptation of—right now you’re on the roof and it’s perfect to go from one inter-
nal to the other because on the roof you maintain your aloofness. That way you can
keep the health of that system. It’s going to be different when you get to your Ki-
ron. There’s going to be a lot of pressure on you. But it’s very important to keep in
mind that it’s the inner worlds where you meet the beings that are correct for you
and help you align to what is your differentiation.
Kaliopi
Internal: 5.5 - Low
This Kaliopi and by the way for those of you that don’t recognize the name, Spyrag-
gelos is translating this into Greek for Kaliopi. So, we have 5th Color and we have

145
right Tone so we are looking at low. We’re looking at low frequency and we’re talk-
ing about sound.
The whole thing about low frequency is that the best eating is eating in silence. This
is the best eating of all. It is perfect. However, if there is going to be a sound envi-
ronment, your circumstance
and that you have no control
over, somebody else in your
life or whatever, it’s very,
very important to make sure
that everybody turns the vo-
lume down. That’s really the
thing.
The other thing is, and it’s

something that I think is
universal with—I think we’ll
see that with low frequency
fixing—is that anybody who
ever yells at you, never have
anything to do with them.
People who raise their voice
at you is something that can
be very, very disturbing par-
ticularly during mealtime or whatever. So silence is very important for you while you
eat. What I mean by that is I’m not really just talking about the environment being
silent, I mean you being silent.
In other words, don’t engage in conversations while you’re eating. Just silently go
about your business, pay attention to the glory of the taste of the food, or whatever
it is. But it’s very important for you not to get engaged. And certainly not to get
verbally engaged. If you speak while you eat you really upset your digestive system.
So, it’s something that’s a key.
In terms of the external we have the 1st Color and we have right fixing and the right
fixing is the Blending. Again, Blending in is more important for you in terms of the
right people to meet. This is one of the keys for you. And for all of us to understand
about what the Nodes bring to us. They bring the right people into our lives. Actual-
ly, it’s not so much they bring the right people into our lives, is that when we’re op-
erating correctly we meet them. We find them, or they find us. But nonetheless, it’s
all choiceless.
Blending is very important; for example, just learning. You’re going to learn more in
a group than you will one-on-one. You just will. You’re going to learn more when
there are other people around. You’re going to learn more when the pressure just

146
LESSON SEVEN
Tone/Color Fixing
isn’t on you. And so much of this has to do with pressure. Of course, ultimately
we’ll be able to see that we’ll see all kinds of genetic continuity in all of the things
that we look at. Blending is a way to get away from direct pressure. And here’s
somebody with an open Root, so you can see the way in which one thing can lead to
another.
But nonetheless, it’s very important to understand that Blending into the environ-
ment, not standing out, not being the one that gains the focus of attention; this is
where you’re going to meet the people that are really going to be of value to you in
your process. When I say be of value to you, simply being in the right environment
with the correct people, if you’re operating correctly this allows you that possibility of
being able to fulfill the purpose of the incarnation itself.
Kumud
Internal: 1.5 - Alternating
Ok Kumud, let’s see. First Color, right Tone, right fixing and we have Alternating.
Again, as you’ve heard the Alternating is very important. Don’t mix your foods. For
example, if you’re going to have eggs, don’t make an omelet, have eggs and have
whatever on the side, tomato or whatever and alternate, rather than having things
mixed up together. That’s
very important; and obvious-
ly, not to get involved in the
Consecutive. The Alternating
is a very, very important
theme for your whole well-
being, for the digestive sys-
tem and the way in which it
operates.
External 1.3 Selective
In terms of the external,

again you have 1st Color and
we’ll see these harmonies,
resonances, they all have val-
ues. Here we’re dealing with the left Tone and we’re dealing with the left fixing and
we have the Selective. Again, being in a crowd is not your thing, so don’t be in
crowd, and when I say that, by the way, I don’t necessarily mean that you might not
enjoy it, because that’s not really the point. The point is that you’re not going to
meet the forces that are good for you in this life in a crowd, in a group; it’s going to
be Selective. So, the Selective environment, being Selective of the beings in the en-
vironment, this is something that is really a key.

147
What I find so fascinating in all of this, because I have been watching my movie for a
long time, is that I find physically that the impact was almost immediate for me, the
difference. Again, all of you, it’s really important to experiment with this. It’s im-
portant for you to be clear in terms of your own authority of the experiment in this.
But it’s something that is really of value at a very, very deep level. Remember, I’m
only describing the surface. Like strategy, this kind of surface has enormous impact.
Marina
Marina, we’re dealing with the cold so we have 3rd Color and we have right fixing.
Again, stay away from the warm meals, stay away from the hot drinks. Stay away
from environments that are
too hot for you. Don’t over-
heat your space. But it’s bas-
ically very direct in terms of
you need to have the cold liq-
uid, you need to have the
avoidance of the hot, it will
make that difference.
The other thing is that you

have the Blending fixing. Of
course, you’re the exact op-
posite of just before. Your
environment where you can
meet the forces that are truly
for you is those group environments, the blended-in environment. That environment
is always going to bring you the potential of having the right people there, and hav-
ing that, have the right positive effect on your vehicle, have the right positive effect
on your form.
Martin
Internal: 4.2 - Calm
We have 4th Color and it’s left, so it’s calm [closed is incorrect in illustration]. My
description from my own personal process about the necessity for calm at mealtime,

148
LESSON SEVEN
Tone/Color Fixing
it’s a real key for you, being able to not being upset when you eat. I think for those
of us who have the calm, it’s usually our serendipity to have had families that we
came into in which mealtimes could be a horror. They could be full of tension; they
could be very, very uncomfortable environments. Of course, that sets up a whole
long-term damage to the way in which the body processes food.
So, the calm circumstance is something that is absolutely essential for you in terms
of meals. What I find is that it’s much easier to achieve that by eating alone. But
I’m a family man, so I have one meal a day with my family. But I find that eating
alone is something that is deeply satisfying for me and wonderful.
We’re dealing with the 1st Color and right fixing and we have the Blending. Again,
this is one of those things where you can see that in the continuity with people. We
have somebody here with five open centers. There is so much that can be gathered
in the blended situation, which means that for example in many ways you’ll have
greater success healing
groups of people than you
will have healing one person
at a time. I think that’s
something that’s been clear
to me about you for a very
long time. That is, you’re
very powerful with groups.
They learn a lot from you;
you’re a good teacher.
I think that the blended envi-

ronment is something that is
really pointing you at a dif-
ferent way of working with
people. What I mean by that
is not simply the obvious of
teaching in a blended envi-
ronment. In teaching you’re
a focus. But being in an environment where you can do therapeutic work with a
group. That’s something that can have a lot of impact. But anyway, the blended
environment is really where you’re going to have those forces in your life that are
really going to mean a lot to you in terms of your own development, your own direc-
tion.

149
Nicole
Internal: 5.1 - High
Fifth Color and left Tone, we’re dealing with high. It’s sort of like the way my son
likes to eat. He turns on the stereo; it’s so loud that the brain cells die—and I’m not
suggesting that, I’m just having fun. But, noise is important for your digestion; fun-
ny how things work, but
noise. And of course, it can
be pleasant noise; it doesn’t
have to be unpleasant noise.
But it’s something to really
get about sound when you
eat. Either you eat in envi-
ronments that are noisy, like
crowded restaurants, or if
you’re alone and you’re eating
then make sure there is good
volume around, put on some
music that you like or what-
ever the case may be so you
have the volume that you
need.
You can even do an experi-

ment, interesting what we can
come up with. If you set the decibel level of music at mealtime gradually raising the
decibel level and doing that one day after the other you will soon discover what is
the right decibel level for you—what really is comfortable while you eat, and more
than that, the by-product of that, the digestive system, how your body feels.
For most of us it’s your well-being; you really feel your well-being when you’re cor-
rect in the external and the internal. You feel it right away. You can feel the differ-
ence in your energy level because after all when you’re digesting correctly then
you’re going to get the maximum potential of energy from what you’ve taken in. So,
the sound level is very important for you.
External 5.6 Wide
It’s interesting because you’re also a 5 at the external with right fixing. Of course,
this is sound in the wide. Remember, I talked about this before, so don’t have the
speakers pointed at you. Don’t be a headphone person. You need diffused sound.
Those diffused sound environments are very important environments for you to meet
the other, and meeting the other correctly. In your own environment, the volume
when you’re eating has to be up, but the volume has to be diffused. In other words,

150
LESSON SEVEN
Tone/Color Fixing
you can have it coming from another room and it’s relatively loud, but there are
nuances in all of this.
But it’s very important for you, for example, you’re the kind of person that while
you’re eating you can listen to music very loud, but you don’t want to go into a con-
cert hall or a discothèque where the same music is blared right at you. When I say
that, it’s not so much that’s unhealthy for you, it’s the external, is that you’re not
going to meet those beings that will continue your process of aligning to who you
are. And whatever possibilities are there for you, you miss those possibilities be-
cause you’re not in the right environment. Of course, because we’re dealing with
upper Colors we’re dealing with the circumstance of the environment.
Paddy
Internal: 5.4 - Low
We have 5th Color and we have right Tone so we have the low frequency, so we have
the exact opposite. Again, either silence—the most important thing and this is really
for your genetic continuity with your Throat—don’t talk and eat. It’s one of the
worse things that you can do. Silence for you while you eat is very important.
It doesn’t mean that people

can’t be talking around you.
This is about internalizing.
People can be talking around
you, as long as they’re not
shouting and yelling. But the
thing is that it’s very impor-
tant for you to be silent. Any
talking while you eat is going
to be unhealthy for you.
External 2.1 Internal
When we look at the Nodes

and we’re looking at the ex-
ternal we’re dealing with 2nd
Color. Again, you can see
things like this; here is a harmonic relationship between Sun/Earth and the Nodes;
the 1 to the 4, the 2 to the 5. Again, one of those interesting nuances that we can
look at. Here we’re dealing with the 2nd Color and we have a left Tone so we have
left fixing so we have the internal.
Again, the internal, it’s very important, it’s not about the need to go out into the
world to meet forces; it’s about going from one internal place to another. In other

151
words, it’s inside environments that are going to be the most conducive for you in
terms of meeting those beings that are correct for you. So, the inside rather than
the externalizing process.
With the external, remember the difference. You’re externalizing, you’re also going
from one place to another, there’s no question about that. But you need to be able
to go through this movement; it is part of what is your overall way in which you can
function correctly. But if you’re an internal person you don’t go out unless there is
specifically another place that you’re going to. It’s in those places that you’re going
to meet those forces that are correct.
Parinama
Internal: 6.6 - Indirect
We have a 6.6; I think that’s our first 6.6. Sixth Color and right fixing and we’re
dealing with indirect. Now, indirect is exactly what it says, indirect light. That
means that there are a number of things, for example, don’t sit in a window space
where the light pours down directly on your body. In other words, you really need to
have your body in those
places where it’s protected or
it’s shaded from direct light.
It doesn’t matter whether
that light is natural light or
artificial light. In other
words, the typical kitchen
table with a lamp hanging
directly over the table
pointed on your head, this is
something that is really un-
healthy. When you’re taking
food in, only indirect light;
this will make a huge differ-
ence in the way in which your
digestion works.
One of the things to think

about in all of these things
that we’re looking at here in terms, for example, of the internal is to recognize that if
we look at the science and the biology we’re going to find those kinds of things that
are related to that. For example, it must have something to do with the melatonin in
the skin. There are all kinds of reasons why the indirect light is going to be healthy
and why it’s going to be a greater advantage in terms of your digestion than the di-
rect light.

152
LESSON SEVEN
Tone/Color Fixing
Of course, we have the Blending that we’ve seen a fair bit now. The 1st Color and we
have right Tone so we have right fixing and we have the Blending. Again, it’s in the
blended environments that you meet those forces that are really important for you.
Group environments are places where you’re really dealing with the potential of be-
ing with the right beings.
So, it’s always going to be more important for you than being Selective. When
you’re being Selective about who you think should be in the environment is the mo-
ment that things don’t work for you. But the moment that you’re blended into the
environment you’ll discover that on your fractal there are these forces that are
around you in that environment that are going to be beneficial for you. Remember
how important it is to have the right forces physically in your aura. It carries
enormous importance in this life.
Ra
Internal: 4.2 – Calm -- External: 6.2 - Natural
As you can see I’m calm, and

I’ve described that and the
natural, natural light. I told
that story last time. That
was the most incredible thing
for me about my transforma-
tion when I went through my
deconstruction process in my
mystical years was that I
lived by the light because I
couldn’t afford candles or ke-
rosene and I had no electrici-
ty. So, I woke with the light
and I went to sleep with the
light, even if that was 5:00 in
the afternoon. It had an un-
believable impact on my life.
It’s so extraordinary. I love
the light, I love the natural
light. It’s something that I’ve learned to see as really for me.
Artificial light always makes me feel uncomfortable. I find artificial light to really be
oppressive. I’m the kind of person that when it gets dark and all the lights turn on in
the house, I tend to wander around turning them off. I’d rather walk in a dark house
at night than have this burden of this artificial light beating down on me.

153
Spyraggelos
Internal: 2.6 - Closed
All right Spyraggelos is closed. This is the 2nd Color, right Tone, right fixing. Closed
is very interesting. This is about taste. There are things that when you taste them,
if you don’t like them you take them out of your diet forever. This is the secret of
closed. You need to find those things, for example, they’re basic things, people who
like sweet, and there are people who like sour, people who like salty, whatever the
case may be. But one of the things about closed beings is that ultimately they are
really closed off to everything except that which is really their taste.
I mentioned last time that this was one of those areas where we’re going to have to
find ways to help 2nd Color internals that are fixed on the right side, ways to help
them go through a tasting program. Whether that begins with a questionnaire about
the kinds of foods that they
like; but, getting to a point
that they are closed off to
everything except for that
thing that is truly correct for
them. And it’s very, very
specific.
Now, it doesn’t mean that

you can’t have a little bit of
the other things that are in
there. But the reality is, for
example, let’s say that
you’re somebody where the
theme is salt. When we get
to the tonal level we’re
going to see where the dif-
ferences arise. Let’s say
that this is somebody who
the main theme for them that is going to be of real benefit in terms of their brain
function is going to be a salty diet. It’s essential that that is the main taste for them,
even though they might on occasion have a little of this or that or whatever. But it is
the saltiness that will be of value to them.
By the way, there are many people who transfer to this and it is incredibly unhealthy
for them. In other words, they put too much salt into their system and it’s a real
problem. Of course, there are many people who have this configuration who can’t
take salt into their system and suffer problems because of it. So, here we’re going
to see that this is a very interesting area to deal with. We’re going to see that there
are many, many different therapeutic things, many different ways in which we’re
going to have to work to find where the real area is.

154
LESSON SEVEN
Tone/Color Fixing
In your own process, Spyraggelos, you have to look at your diet, what you’ve been
eating, particularly in the last years, and look very carefully for the taste that you
enjoy the most, and the taste particularly that you don’t like. Those taste qualities
that you don’t like, you need to eliminate them from your diet.
External 5.2 Narrow
When we go to the externalization we have a 5th Color and we’re looking at left Tone
so we’re looking at left fixing, so we have the narrow rather than the wide. Now, the
narrow is something that is about sound environment where the sound is focused at
you. It’s very important. For example, if you’re somebody who is narrow and you’re
in a diffused sound environment you can feel very confused. It’s like you don’t really
know what’s going on. And if you go into a narrow sound environment where the
sound is focused at you, then you really get it.
For example, a learning process, you’re the kind of person that if you have the fo-
cused sound, your external world is about dealing directly with beings that are going
to deal with you, very direct audio contact. It’s also something that’s interesting be-
cause all 5th colors, or all upper Colors deal with circumstance, and one of the cir-
cumstances that’s interesting is your learning process. In your learning process
you’re going to learn more wearing headphones than you would by listening to the
speakers. In other words, the narrower the sound beam, the more narrow the sound
focus, the more that you take it in.
The other thing is that the narrowness of sound means that the way in which you
meet beings on the outside is that the only way is one at a time. In other words,
you need to have acoustic connection to people. This is one of the themes for you
that is very important, not to be in a group where there are people around you and
everybody is silent. You’re the kind of person that going to a movie you need to
have somebody that you talk to, and talks to you, not that just the movie is shining
on you. In other words, it’s very important that you live in a world of a lot of direct
acoustic connection with the other.
Stephen
All right Stephen, do you have your bags packed? To begin with, 1st Color and we’re
dealing with left Tone fixing so we have the Consecutive. Again, pay real attention
to this because this will really make a difference. After all, we’re dealing with real
basics here; we’re dealing with the 1st Color, we’re dealing with the 2nd Tone. Re-
member, as I mentioned in earlier classes the 2nd Tone is very unusual. It has very
unusual properties that are fundamental to the way the Tone system works.

155
The Consecutive is a key for you—one thing at a time; don’t blend your food, don’t
mix your food. Stay away from stews and goulash. Have one thing at a time, one
taste at a time.
External 6.1 Natural
When you’re looking at your environment, Mr. New York City, and it’s the theme of
light, it’s the 6th Color, it is left fixing and this is natural light. It doesn’t mean to say
that you can’t have a lot of natural light in New York City, you can anywhere. But
the theme of this is for you to
see that it is daylight that is
the key to who is right for
you in your life, and that nat-
ural light is something that is
very, very healthy for you.
This is the environment
where you’re going to meet
the people that align you to
what is correct for you in your
life.
So, when you end up in situa-

tions where you’re indoors a
lot under artificial light, this is
something that it’s not that
it’s going to be detrimental to
your physical health as much
as it’s detrimental to your po-
tential to live out your purpose and to be healthy in living out your purpose, because
you’re not going to be aligned to the right people.
So being very aware of the natural light is something that’s important—to get things
in that are important for you to do, particularly in your meetings with others or deal-
ing with other people that that is something that you do in the daylight environment.
In terms of your own personal environment you can do what I do which is that I
don’t turn on any lights until it’s absolutely necessary. Even when I do, I use dif-
fused light that it’s not really sharp. Artificial light is something that is just not for
you.

156
Lesson Eight
A Tone Overview
Sharing this Knowledge
I want to make a few comments before I get into today’s material. Those of you
that are aware of the actual scheduled material you will see that this is not sche-
duled. I’ve had to deal with the consequences of an action that I’m used to now.
That is, every once in a while in my process of opening up this knowledge, I give out
keys. Obviously, all of you are very aware of the keys that were given out last week.
There is a risk in that. I understand the excitement because it really is remarkable

stuff. As I suggested to you, it’s very important that you do experiment with it and
share it with people in your lives to get the feedback, to develop the beginnings of
the language skills and the approach. But I want to make clear that it’s not yet time
to do that at a professional level.
I’m slightly redesigning what I’m going to be doing for the rest of this semester and
as a lead-in to next semester so that at the end of this first year I can provide you
with a certification for the overview level of Primary Health Analysis so that you can
offer these things professionally.
But I do have a concern, and my concern is that I’ve always believed that you have
to know much more than what you share; otherwise, you get to a place where you
have no footing. It is one thing to explain to somebody that they have a fixing; it is
another thing to actually understand why. And to understand why much more than
in the context of what is the graphing, this graphing that we worked with last week.
Obviously, this is simply a general indicator of fixing. But it doesn’t say why there is
that fixing and it doesn’t say what’s underneath that fixing and what the impact is of
what is underneath that fixing.
I really would like to caution all of you that the sharing of the knowledge as you re-
ceive it is something that I expect. But the professional presentation is something
that has to wait for the right moment. It’s clear to me that this is very important
and it’s something that is going to get out anyway. So I would rather that it is done
properly.
Today I want to give you a sense of really what I’m talking about. Today was a real-
ly nice day for the Primary Health System. Today PrimaryHealthSystem.com and
.net was purchased. Today the first DVD of my general introduction to Color that

157
was based on my lectures in Vienna has been released. They’re now available at Jo-
vian. That’s a really nice layout of a very beautiful, very well put together overview.
It was very exciting for me. It was my overview at the end of teaching you for the
first 11 weeks. It was interesting to watch my synthesis put that all together in
three hours.
The other thing that happened today is that I had the first of my Primary Health Sys-
tem readings. In doing that, what I worked with was the level beneath the Color and
then moving through to the Color. So, I want to be able to give you a sense of what
is underneath these Tone fixings.
A Look at the Illustration
This illustration, part of the illustration package that I gave you last week, was a way
for you to be able to understand the basic construct. That is, the difference between

158
LESSON EIGHT
A Tone Overview
left Tone and right Tone. The very surface of the keynoting of left Tone and right
Tones. But that was specifically there in order to be able to work with this graphing,
to understand the left as the 1, 2, 3, to be able to see it schematically and the same
with the right as the 4, 5, 6.
So, that brings us to this. But let me take you to another level of what this graph is
to begin with. Please understand that today I’m going to give you a general over-
view that can lay the foundation for dealing with this at a much deeper level. But it’s
very important for you at this point after understanding the nature of fixing, and I’ve
already had a lot of feedback how exciting it is in terms of the information that it’s
very important that you see and begin to get a sense of what are the deeper levels
that are here.
If I move on to the next illustration

you can see that there are a number
of things that have been added. Let’s
take a little journey here through this
particular graph. The real key here is
the sensors. It’s something to under-
stand about what Tone really is. If
you go back to the original description
of what is in essence our purpose, that
is, to discover and align to what is our
potential to differentiate, that when
you’re dealing with the Tones, the
Tones establish the key sense through
which everything else is going to be
possible.
It’s really something to grasp about

Tone, is that Tone lays the foundation
for that area in you, as we will see as
we get to the surface, that is primary
in terms of the way in which you are
to discern, the way in which you are to
operate in a way that is going to bring
you to what is your correct predisposi-
tion.
Left Side: Smell, Taste and Outer Vision
Right Side: Inner Vision, Feeling and Touch
If we’re looking at these themes as themes of the sensor, we are looking at senses.
You can see that the senses have a left/right process here. With the 1st Tone we

159
have the sense of smell. I’m not going to talk about the basic keynote right now. I
want to focus you on the sense for the time being. If you go to the 2nd Tone you can
see it is taste. The 3rd and the 4th Tones are very interesting. They are truly dis-
torted mirrors of each other. At some point I’ll really be able to explain to you what
I mean by distorted. But for the purposes here you can see that they have this mir-
ror of outer vision and inner vision. So smell, taste and outer vision are left. If we
go over to the right we have inner vision, feeling and touch.
What we’re dealing with here going around is that we’re dealing with not so much
what is specifically labeled as the senses. This is the language of the sensors. As
you can see there are seven of them, and the 7th, if you missed it, is here in the cen-
ter. This is sound. That’s why when you’re dealing with the 5th Color that is above
you’ll remember that I told you that the 5th Color has an unusual job in that it is the
main key in linking tonal to Color level.
Of course, the 5th Color is all about sound. Sound is an attribute that is, in fact, an
attribute of all of the various aspects that are here at the tonal level. So, we’re ac-
tually dealing with seven different things
when we’re talking about the way in
which the tonal sensors operate, that
there are seven of these sensors.
The 1st Tone: Smell
We have again our basic division. For

example, when somebody is going to be
fixed by the 1st Tone, that 1st Tone is
actually bringing what is going to be the
primary sense or the primary sensor.
The primary sensor is going to be smell.
If you have the 1st Tone under the 1st
Color and you’re dealing with Appetite
then you’re going to know that one of
the most important things for this being
is how the food smells more than any-
thing else. It is an underlying theme in
the fixing.
So, recognize that a Primary Health

Analysis is not simply about the way in which the surface of the Color fixing works,
which is already quite something; but, recognizing that we go deeper in that. What
we’re going to see is that somebody that is in deep transference at the Color level,
that there is distortion in their ability to be able to smell.
Their inability to be able to smell the way they were designed to be able to smell lim-
its their capacity to discern what food is correct for them and what food is not correct
for them. In other words, there is a much deeper level that underlines the fixing

160
LESSON EIGHT
A Tone Overview
that gives us another point of reference. In order for us to really be able to provide
legitimate recommendations we need to understand the underlying thematics. Not
simply the fixing, but the thematics underneath that guide us to the key of how to
operate correctly through the fixing.
You can also see here in the bluish color, I guess it is teal, you can see that there are
three different frequencies to the triplicity that is Tone. Remember, Tone operates in
splenic, Ajna and Solar Plexus binaries. You can see that the splenic binary is Con-
centrated, the Ajna binary is Periodic, and the Solar Plexus binary is Cyclical. Now,
this is going to have to do so much with the way in which not only is information,
and when I say information it can be anything from food to intelligence, is processed,
but also the way in which remedies are going to be affected, the way in which these
beings are going to need certain types of frequencies in therapies or care. All of that
is rooted down here in the tonal level.
Tone is something extraordinary. It will take me nearly a year to really take you to
the deepest level of Tone, because for us that deep level means that we need to un-
derstand the relationship at the very base. So I have to take you through the gen-
eral, which at this level is no longer general, obviously, of Tones in this in order to
get to the point where I can show you how the Tones are impacted by the Base and
then we can put it all together.
Human Design is a Science
It’s quite something. Human Design is truly a science. It really is. Again, we’re at
danger that we are moving from the top down. I truly want you to be careful with
each layer that we peel off and with each set of keys that are given to you, recognize
that until we get to the very bottom of the process, until we get to the Base which is
the way everything operates because everything operates through the Base first.
And by dealing with the Base, we’re going to be dealing with the primary source of
what the ultimate influence is going to be. And we’re going to be able then to put
together a synthetic and holistic imprint of what that being’s differentiation pattern
really is. It’s very, very beautiful.
I deeply enjoyed my process today. I have quite a few people who have booked this
and I’m going to be doing a lot of it over the next lifetimes, I guess, years. It’s fas-
cinating. It just is something that feels really good. So, I really want you to see
what is here in all of this information. Just to be able to go through a deep under-
standing of what is in this graph alone is quite a journey.
Cognition
But I want to take you through and I want to give you a real insight. Cognition—this
word, cognition—is really the key to the mystery or the magic of what Tone is.
Again, think about Tone as a by-product of the infrastructure of the crystal. That’s

161
all it is. It is this middle zone of the crystal. As a matter of fact, if you can think of
the crystal as a physical thing and you can think about being inside this crystal, that
everything that’s inside the crystal is basically the Tone. It is the entry that’s the
Base; it’s the exit that’s the Color.
So, Tone really represents the purpose of the crystal. It’s why Tone for me is so
mystical at the same time. That is, this is about cognition. You can see at the very
root of the material principle is the goal of cognition, the goal of ultimately what we
call not simply self-reflected consciousness, but awareness, to know. The ones who
know are the ones who have the cognition.
So, this knowing is a deep, deep, deep, deep element in what Tone is all about, and
what the goal, if we can talk in those terms, of what the goal of Tone is actually
going to be. I think if you understand that description of the inside of the crystal as
being the tonal domain, that this is a frequency field. It’s why sound is universal. If
you could put one of these quantum micro kinds of observers at that level and you
could actually put a stethoscope to the crystal you would hear its sound. You would
hear its music. You would hear its frequency.
When you imagine that the speed of a neutrino is slightly less than the speed of light
which accounts for its mass, you’re talking about something that is traveling at ex-
traordinary speeds. Going through the crystal the frequency is quite something. We
don’t have the perception or the capacity to be able to hear such a thing, but this is
the sound, or what is described in our language, as the sound domain of this crystal
field.
Seven Ways to Cognition: The Seven Sensors
Tone is magical. In order for us to get to cognition there are seven ways. There are
the seven sensors. Again, to really grasp that smell, taste, outer vision, inner vision,
feeling, touch and sound, these are the seven sensors. And what that means is that
each and every one of us has a singular, unique way in which we operate as a sen-
sory being, and it is in the exaltation of that sensory capacity that we fulfill the po-
tential of our differentiation.
It’s really something. You see, the Tone provides you with the access point that
brings the cognition. Here we’re dealing with smell; we’re dealing with the 1st Tone.
And you can see in the blue that all of this, and again I will go into detail on each of
the Tones, is about the immune system and the immune system’s defense.
Immune System Defense: The Nose
The defense of the immune system demands intelligence. It is the first cognition;
the defense of the being, the defense of the life. And it is smell. On the surface in

162
LESSON EIGHT
A Tone Overview
the illusion of what we call a body, its archetype and only its archetype—there are
other things in all of this—its archetype is the nose.
So, think about that person. Let’s take a little journey. Let’s say that we’re dealing
with somebody who is on the hot side of the fixing of the 3rd Color. And we know
that what’s very important for them is warm food, particularly warm liquids. Cold
showers are unhealthy for them, these kinds of things. But something else, if we
know that underneath, what is fixing it, is the 1st Tone then we know that the dis-
cernment process has something else that’s very important that’s connected to it.
That is, how it smells.
For example, this is a child that if they have a cold and you have this nice aromatic,
warm stuff that you can rub into them it’s going to be a wonder for them. But they
have to like the smell. That what they take into their vehicle they have to like the
smell, the smell is what’s going to be so important.
What you’re going to see is that because they’re in transference, everybody is in

transference, at the quantum level in terms of the whole being not operating correct-
ly, where you’re going to see the first damage is the nose. It’s the nose. And
whether it’s going to be problems with the nose, with breathing through the nose,
with stuffiness, with allergies, with all kinds of things that can be associated with it,
whether it is the diminishment of the ability to be able to smell properly, all of that is
going to lead to a lack of discernment.
For this being it’s not just about what is hot. It is about the aromatic field that is
connected to it, that smell becomes one of the most important things for them. This
is what is underneath. Understanding here what is underneath that really makes the
difference because it points you specifically to where the signpost is for them. If
these beings in their fixing are transferred and do no operate correctly, the net result
is that where they’re ultimately going to have the most severe damage is in their
immune system, which means that that can lead to very, very serious problems in
terms of their well-being in this life, obviously.
So, understanding the underlying sensory theme is very important, not simply as a
way of being able to bring the nuance to the fixing and the Color that’s necessary,
but it’s more than that. It becomes our diagnostic tool. It becomes the place of first
sensitivity. In other words, it is where the problems are going to emerge first on the
surface.
Of course, you can see that because the goal of Tone is cognition, that the moment
that the tonal frequency is not being translated correctly, there is immediate limita-
tion on the potential for cognition. Or for the potential in the physical sense for the
ability to align to what is one’s predetermination, what is one’s differentiation.

163
The 2nd Tone: Taste
We come to the 2nd Tone and the 2nd Tone is taste. We already know the thematic of
taste. If you look over here and see the 2nd Color, you see that the 2nd Color is the
Color of taste. We’ve talked about its reference points, and I mentioned to you the
real complexity of being able to develop the taste systems of clients in order to give
them the correct recommendation. In other words, for the open to be open, but
have closed; and for the closed to be generally closed, but have things that it’s open
to. Because underneath there is a dilemma. That is, it would be very easy if there
was always a 2nd Tone under the 2nd Col-
or, but there isn’t always, obviously, a
2nd Tone under the 2nd Color. Then you
would have the sense that is capable of
discerning the taste. Of course, you
don’t have that.
It’s one of the dilemmas that the 2nd

Color has to deal with in terms of taste.
As you’ll see it is going to have to work
its way through via a different percep-
tion, via a different sensory tool, rather
than being able to establish the taste for
them through taste as we understand it.
The taste may be, in fact, what they see
rather than what the taste is on their
mouth. In other words, understanding
taste as something that is deeply related
to judgmentation. So that even if you
get to the highest level and you get to
the illusion and you get to the body-
graph and you get to channels and
streams, you have the stream of taste
that runs from the 58 and all the way up
to the 16. This is all about judgmentation.
Pattern Determination
So, here in dealing with the 2nd Tone you’re dealing with something else. As you can
see in the blue first of all you’re dealing with Pattern Determination. Remember
when we looked at the 1 we looked at the immune system defense. Here we have
pattern discrimination. Defense is one thing. Remembering what you’ve defended
so that you don’t have to be concerned with it any more is something else.
In other words, we’re dealing with a binary that is part of the splenic binary and the
splenic binary, the Spleen and the immune system and the related lymphatic system.
Something to understand about looking at the structure here is to really grasp some-

164
LESSON EIGHT
A Tone Overview
thing that each of these represents different kinds of systems. For example, out of
the Spleen is the lymphatic system, the lymphatic system is going to impact abso-
lutely everything within the body. In other words, there is a system within the
Spleen that reaches out to the whole.
If you go over to the other side, to the base of this triangle and you go over to the
Solar Plexus binary you’re dealing with the nervous system. Here, when you’re deal-
ing with the Ajna you’re dealing with the endocrine glands. You’re dealing with sys-
tems that impact the whole vehicle. So, it’s very important to see that these bina-
ries aren’t just casual binaries; they’re deeply related to similar functions in different
ways. They are in themselves kind of like mirrors to each other in the sense of being
binaries.
So, where the 1st is security, the 2nd accepts the security because it can remember
and it looks outward. This is the basis of taste, is this remembrance. And this un-
certainty allows for an openness for what ultimately from Tone to Color to line be-
comes what we call waiting for the call. This uncertainty of waiting for the call is to
alarm the immune system so that it can be defended. Ah, it’s wonderful to see how
the mechanism works.
Salt
Salt is one of those keys, it’s a measurement. I think that given the way in which it
can be looked at, I would assume that there are five different salt patterns for hu-
man beings. What I mean by that is that there is a basic norm and there are three
levels above the norm and there’s one below. We’re going to see that the natural
salt levels, what is truly natural for us, is different from what is understood today or
prescribed, because it does not relate to specifically the differentiation, but relates to
homogenization.
If you were to do an analysis of the amniotic fluid that the fetus floats in, there are
no amniotic fluids that are exactly alike, there aren’t. It is one of the things to really
grasp about the holiness of salt. Salt is something that is truly holy. There is no
way of judging the importance of salt within the construct that we have had tradi-
tionally; in other words, the dangers of too much, or the dangers of too little, or the
dangers of the wrong kind, or whatever.
Five Primary Salt Measurements
What we’re going to see is that there are these five primary salt measurements. And
that within that we’re going to see that exactly the right amount of salt for the ve-
hicle aids the cognition. And aids the cognition of something that is truly remarka-
ble; that is, the pattern discrimination. Think about what happens when pattern dis-
crimination filters upwards from the Color to the construct, to the vehicle. What it
means is the ability to be able to discern differences. Now, this is the very founda-

165
tion of maya. It is the very foundation of ultimately what can be self-reflected con-
sciousness.
In other words, in order for us to have true cognition, we need to be able to discri-
minate between patterns. And that the input key is salt, that salt is the foundation
of that. Obviously, that leads to all kinds of, as we will get to, it leads to all kinds of
fascinating discussions about the relationship between this 2nd Tone. As I mentioned
to you, the 2nd Tone is very, very special.
The 2nd Tone is Always the Base
When we get back to looking at the pattern breakdowns—remember my diagrams of

the hexagon divided up into the tonal regions—I showed you how, because I don’t
have it in this illustration pack, the 2nd Tone is always the base. That is, it’s always
that base of that graphic construct. It is the base because cognition is determined.
That is, there are many different kinds of ways of being able to display intelligence.
But this particular tonal quality is something that is very, very special for us as hu-
man beings.
So, this pattern discrimination is something that is a major topic. We’re going to
have to look at a whole number of ways in which the 2nd Color can operate through
various qualities of 2nd Tone. In other words, we’re going to need to find 2nd Color,
2nd Tone beings in order to begin to really deeply understand the way in which we
cannot simply see the differences in the mechanism, but to be able to help people
align correctly. It’s going to get much more complex when we go to different Tones,
because again the sensor is different and we’re going to lose the basic resonance
that we’re going to need to be able to differentiate.
I assume that that all sounds in some ways confusing. Let me see if I can really
simplify that. We’re going to discover that in the most general sense there are only
five kinds of bodies. And five kinds of bodies in terms of the way in which differen-
tiation takes place. In other words, that there are five differentiated paths.
We are Fixed to a Specific Base for Eternity
It’s only natural to grasp that. Think about what the Base really is. The Base seems
to break everything because it really is the foundation of the whole process. But
everything about the nature of the Base is that the Base is a five. And the fact that
the Base is a five and the fact that ultimately if you look at a Personality crystal
which is inherently immortal, so the Personality crystal that is endowed in your Head
Center has been in existence since the Big Bang, that Personality crystal is fixed for
eternity. That is, you’re fixed to a specific Base.

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Five Archetypes
The Base of your Personality is the Base your Personality is going to have the next
time if there is a next time for you. It’s essential to see that in order to perfect five
different perspectives—that is how it all begins with the crystal breaking up into its
one of five frequencies—when it comes through the Base at the bottom, it comes in
through one Base. It doesn’t come in through five; it comes in through one Base.
So it’s very important to see that there are ultimately for the benefit of both body
and consciousness, there are five archetypes.
The way in which we are ultimately going to be able to understand these archetypes
and measure these archetypes is here, right here in this mystery of the 2nd Tone. It
is the 2nd Tone that will guide us. It is here to discriminate among the patterns at
the most basic level. There are four patterns that do not suit it. So, if we go to a 2nd
Color being who is fixed on the closed, then we know that the archetype of their fix-
ing is that they are going to be open to what is natural for them, and they’re going
to discriminate against the four others.
It’s something experimental. I’m so deeply inspired by this work that I spend a
great deal of time keeping ahead of you, I guess that’s what it’s about. Anyway,
let’s move on.
A Deep Chasm between the 3 and the 4
Now we come to something very different. The 3’s and the 4’s always carry the
brunt of—even if you look at this triangle, you see that the triangle really divides 3
and 4 at a shared point. It really divides them. And even from the tonal level, and
even to the upper and lower Colors, to the lower and upper hexagrams you can see
that there is this very, very deep chasm between the 3 and the 4. It’s absolutely
essential. As it is essential that there
are inconsistencies and fluctuations in
the way the 3-4 operates at the line lev-
el, the same thing can be evidenced all
the way down beginning here, beginning
in the Ajna binary.
The 3rd Tone: Outer Vision
Again, we’ve changed fields, in that

sense. We’re still left. But you can see
that the left and the right of the Ajna
binary really operate very differently be-
cause they, in fact, fix very differently.
It’s like they’ve been split in half in a
way. And when we’re looking at the 3rd

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Tone we’re looking at a keynote, or the sensor is Outer Vision.
Again, go back to that 2nd Color being who has taste. You’re not going to be suc-
cessful with them trying to get them to really smell the thing because their cognition
sensor is outer vision. They have to see it. It’s something else. In other words,
taste for them takes on a broader level.
And think about those eyes. And think about if they don’t see properly. That
they’ve in transference moved away from what is their correct salt body. I will talk a
lot about the salt body. It is magical for me, the importance of salt. It really is.
Just to play with salt as a word, as letters, as a formula, to really understand the na-
ture of what it is to be human, the last thing that has to be grasped is what salt
means to us. Because it is disproportionate to just about anything else other than
direct sunlight and oxygen means to us. It is the key to the fulfillment of our
process.
So, here in the 3rd Tone we have outer vision, and of course outer vision is imme-
diately going to point us towards, on the surface, to the eyes. And we’re going to
see very clearly that this huge number of beings that have eye problems, eye weak-
nesses, eye glasses, that most of them are transferred to outer vision, or most of
them do not operate correctly through their outer vision because their world is about
seeing.
Pattern Recognition through Seeing/Right Eye
This is Pattern Recognition through seeing, and it is the Right Eye: Left Tone, right
eye; right Tone, you’ll see, is left eye. It’s a very important crossing, just like the
way in which the systems cross in the brain. So this is about seeing. Again, under-
stand what that means in terms of fixings.
For example, if you’re somebody that has the 1st Color, the whole business of wheth-
er it’s this or it’s that, whether it’s Consecutive or it’s Alternating, the reality is that
it’s the visual that matters, the visual focus on one thing at a time. That visual fo-
cus—for example, somebody with outer vision I would recommend to them that
while they were having their meal not to turn their eyes away from their food, that
it’s unhealthy for them to do so. Not to be distracted by somebody’s conversation or
distracted by reading a newspaper or watching the television, how important it is for
these beings to look at the food they are eating. Then you begin to see that the fix-
ing that is there in the Color, that it has a specific quality. And the quality is rooted
in the cognition sensor.
The 4th Tone: Inner Vision
What happens when we take this shift and we jump over to the right side, you get
this transition from the outer vision to the Inner Vision? Inner vision is something

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A Tone Overview
that is very different. Inner vision is an ability to be able to process the maya inside
the mind, to inner visualize. It doesn’t mean you have to see a picture when you
close your eyes, your very thinking gives you a picture, and your very processing
gives you a picture. This is inner vision.
Differentiation/Recognition/The Left Eye
Think about the person who had outer vision and they’re 1st Color and I talked about
how they should really look at their food and see it. Now, if you have inner vision,
every time you take a mouthful of food, close your eyes. Ah, what a difference.
What information you take in, in that moment—Differentiation, Recognition, the Left
Eye.
Now obviously, with all of these keynotes we have many, many things that we are
going to look into and look into in depth. But again, I think at this stage in our
process together it’s very important that
you see these things and begin to inte-
grate them into your thinking. This in-
ner vision is an extraordinary thing, and
so is its application. How important it is,
this meditative quality that is inherent to
the 4th Tone. What that’s going to mean
when that 4th Tone is going to be right
fixing all of those various Colors.
The chains; we have these incredible

chains and they’re going to give us a
stream of remarkable, mechanical direc-
tion and information about the being’s
physical potential. So the left eye and
the right eye, here is a very, very pro-
found division. Remember that as we
go through these sensors what we’re
really looking at is these different path-
ways to cognition. It isn’t about, as al-
ways, that one is better than the other,
that there is any comparison, or need to
compare in that sense.
Five Salt Bodies and Seven Ways to Cognition
It is simply about recognizing that we have five salt bodies that have seven ways of
cognition. Sevens and fives; it’s good to be alive. Sevens and fives are—I don’t
want to get into Rave Cosmology right now; but nonetheless, this is really one of

169
those things where a real mystery gets unraveled. So, we have the five salt bodies
and we have the seven ways to cognition.
So, one of these ways to cognition is rooted in this inner vision. And that inner vi-
sion is going to be a force as it moves in the chain through the Color to the line to
whatever the configuration is, whether we’re talking about the Sun/Earth and we’re
talking about the internal Color realm, or we’re talking about the Nodes and we’re
talking about the external. How different the world is if you’re dealing with the ex-
ternal and the inner vision is the tonal quality. It’s taking the external in, it’s being
in, in the external—the meditation in the middle of the forest; it’s different.
Everyone has a Pathway
And everybody has a pathway. Everyone has what is in fact their personal health
chain, moving up all the way from the bottom. So, this dynamic here is one that we
need to deeply understand, because in
understanding this dynamic we will have
deeper understanding of why the 4th
Color is always in transference, and why
that leads to the Magnetic Monopole be-
ing able to hold us together in the illu-
sion of our separateness. It’s quite
something.
The 5th Tone: Feeling
We come to the final binary and I know

that there are many, many questions
related to the Solar Plexus system be-
cause obviously we’re going through a
deep, or part of a long-term mutation
that was initiated in 1781, this mutation
in the Solar Plexus, and the net result of
the emergence of a specieal variation.
In the Solar Plexus binary is the key to
why the mutation is taking place on the
surface. You can’t find that in the Color.
I’ve even talked about the fact that the
6th Color is a dilemma because it’s locked into its binary. It is not operating as a trip-
licity in the way in which the 6th line, its resonance is operating.
Here you need to go to what Color really is and to have a deeper grasp of it. It is
this medium between line and Tone. They speak the same number language, the 6-
6-6 language that they all share. It is here in the Solar Plexus binary that we have

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LESSON EIGHT
A Tone Overview
the root of the mutation. It isn’t here, by the way, in the 5. But we’ll get to that in a
moment.
We are on the right side, we’re in the Solar Plexus binary and we’re dealing mostly
with the nervous system as our language of seeing the binaries reach into the body,
and its reach into the whole vehicle. We’re dealing with the cognition sense, or that
is, feeling. Obviously, cognition through the Solar Plexus has been deeply limited
throughout our evolutionary history; there is no question about it. In other words, if
you look at the Solar Plexus as a motor function, it has taken the energy and the po-
tential of any awareness and has absorbed it in its own motor process.
There has not, as yet, been the opportunity for feeling as such to take on what is its
ultimate value. In the same way that when we talk about awareness in the vehicle
we talk about legitimate awarenesses that exist in the Spleen and the Ajna, those
awarenesses that are functional. But we talk about the Solar Plexus as a potential
awareness, and a potential awareness that we, as humans, are not going to expe-
rience. For us, it is not an awareness center, it is a motor program, and it is a motor
program that acts as a very powerful authority in the human life process.
So, it’s clear to me that this mutation is something that will deeply change the way
in which the sensor of feeling operates, and my assumption is that here is the key to
what ultimately will be the Rave Penta. In other words, built into the crystal, be-
cause after all the Rave children that are born are going to be endowed with the
same crystals as we have, they will have an upgraded Design crystal that will service
their process. But it’s important to see that for them feeling is going to be some-
thing different than it is for us.
Experience Differentiation/Sugar
Experience Differentiation is connected to Sugar. You can see this mirror in the
harmony between the 2 and the 5. That is, the taste and the salt of the 2, and here
the sugar that is related to the 5 and is related to the language of judgment. Re-
member, I was talking about the discernment quality of the 2. That is, taste as a
judgmental quality. You can see that here in this harmony.
One of the things to realize and anyone who has children who eat sugar knows that
you lose all sense of judgment and you lose your feeling, your cognition capacity the
moment that there is a sugar imbalance in the system. This sugar imbalance goes
back to what we have in the sense that there are five salt bodies, and each of those
salt bodies has a specific sugar relationship.
All three binaries have a way in which they work together. After all, we’re not look-
ing at all the incredible nuances of what ultimately PHS, genetic research, will be
about, because we’re not looking at all the planets, we’re not looking at all the as-
pects. We are looking at generalized and specific themes that relate specifically to
Sun/Earth and North Node/South Node because it represents such a huge chunk of
our programming, and for the purposes of us being of value to others. In other

171
words, to be able to provide the kind of diagnoses and recommendation that is really
going to transform somebody’s life.
These five salt bodies and their relationship to sugar is about attuning the experience
of the vehicle. One of the things that is so amazing about the 5th Tone is that it is
really what guides us through the experience of life. In other words, it is cognition
that grows through experience and cognition that benefits experience.
You can see that the theme of differentiation is a theme that pervades throughout.
And again, remember that from the tonal point of view the goal is a differentiated
cognition in a differentiated vehicle. That ultimately is the goal. So, the business of
feeling, it is interesting for me in my speculation on Rave children, but I would im-
agine that Rave children will have an unusually high sugar level in their blood. I
think that it will be a sugar level in their blood that in a normal human being would
lead to tremendous problems.
I think it’s simply going to be one of the signposts for being able to recognize Rave
children when they’re born is to be able to see the blood sugar content, because it is
going to be well above average, and yet it isn’t going to bring what would normally
be the symptoms of that level of sugar content. We’re in very special territory.
The 6th Tone: Touch
Here we come to the 6th Tone and this is

the Tone of Touch. Here in the 6th Tone
you have the basis of the theme of the
mutation. It’s interesting because the
general theme in the blue, you can see
the Communal Defense and the Skin.
It’s really something, first of all, to un-
derstand about how this applies in the
way in which we can see the mutation at
work.
Everything about being able to touch

and feel has a very profound relationship
to the skin and the sensory capacity of
the skin. You’re dealing with the skin as
the agency of the sensor. That is, the
skin is the way to cognition. Obviously
there is going to be some impact. The
skin of these children, I do not have the
medical skills, the scientific skills to even
imagine what the differentiation can look
like. However, it’s obvious to me that it
will be different. Maybe it’s just the pal-
lor of the skin that will be different.

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LESSON EIGHT
A Tone Overview
Maybe it will be the density of it or the lack of density. Perhaps it will be more opa-
que. I have no idea about what direction it will take.
But I do recognize something that’s very, very profound about the 6th Tone, is that
it’s the 6th Tone that’s responsible for wrapping the illusion. It’s the skin. What’s
that expression—to be a bag of bones? It’s the skin. This is the bottle that we’re
trapped in. It’s the bottle that is enclosed by the skin; when you think about it in
that way you have to see that the illusion can never work without the wrapping. And
it says that the way in which we’re wrapped is in fact our sensory system.
In other words, when you’re dealing with the 6th Tone you’re dealing with the actual
way in which the Monopole brings together the crystals into the illusion of what a
person is, and what a person looks like. I don’t mean that in terms of what they look
like in terms of how you look different from me, just in terms of arms, two of them,
legs, two of them, different organs, heads, eyes, all of that.
It’s very interesting to thing about any of these Tones, because again I’m just touch-
ing on the surface that I’m just giving you little tidbits. But the 6th Tone is quite
something. It literally means that the long-term process—the mutation is not in the
Personality. That’s the thing that’s interesting. The mutation is in the vehicle. It’s in
the progression of the evolution of the Design crystals that are released that provide
the bedrock for the life process. And to really grasp that it’s this 6th Tone, the De-
sign crystals coming into manifestation since 1781, the nine centered vehicle, that
the whole nine centered vehicle and the way in which the package operates, all of
that is rooted in this 6th Tone.
The Communal Defense/Skin
So the 6th Tone is something very profound. And it’s obvious to me that since 1781
that the tonal nature of the Design crystals of consciousness that they are different.
Otherwise, we wouldn’t have nine centered vehicles. There is a change that took
place. And that change that took place is the way in which we are wrapped. Funny,
eh? And you can see that the theme is communal defense. Of course, communal
defense is very important. To be able to have an environment where everybody
goes through a common cold together and then it’s gone and they don’t have outsid-
ers that are coming in that bring something else, or whatever the case may be.
But this communal defense is also something about the nature of what the Rave is
intended to be. It has very little, truly little to do with the human condition. The
wrapping is much more significant because the way that we’re wrapped, and again
we’re going to see that it’s very specific, these archetypes, the way we’re wrapped
opens us up to different qualities of cognition through our capacity to touch and ul-
timately to feel.
But for the Rave, this communal defense is something that—it’s clear to me that be-
cause, according to the Voice, they’re going to be a conscious Penta, it seems that
there is probably something very unusual about their skin-to-skin contact. Skin-to-

173
skin contact, we all know the mystery of what it is to touch warm flesh; we also
know the pleasure of flesh against flesh. But I think this is something that is tran-
scendent of that, that’s inherent in the way in which they will recognize each other.
If you look at cognition as it moves from the 1st Tone to the 6th Tone it is a progres-
sion. The potential of touch is the ultimate in terms of what is possible, to finally
bring cognition to form itself.
This is the magic. That is, to be able to take in at the highest possible level data
through the surface of your body is one of the intended ways of cognition. It’s highly
limited in the way we operate because we do everything we can to avoid contact.
We cover ourselves in clothing, we pull our bodies close together when we are stand-
ing in crowded elevators, and we don’t want the person on the bus next to us to
touch us. We have a very different mechanism when it comes to all of that because
we’re not Raves.
It’s not so much that they’re going to run around naked in the sun, but I think it is
important to see that they’re going to have a very different way of relating to the
flesh than we do. They’re not going to have very good vision so they’re going to
look at us the way dogs do, they’ll see movement. Their knowing of the other is
something that is going to be deeply tactile, but in a way that’s different from us.
It’s not that they’re going to be feeling the texture of the skin or the warmth of the
skin that they’re touching; they’re going to be receiving information and giving in-
formation at the same time. It’s very different.
The 6th Tone Does Not Bring Benefit to Humans
So, in looking at the 6th Tone there is a dilemma. That is, it appears to me that the
6th Tone in the way it functions since 1781 does not bring benefit to humans. It
seems to me that as we move through the global warming and the opening of the
ozone layer that we end up with an epidemic of people with concerns about skin,
skin cancer, all of these things that have become almost epidemic. For me it’s very
clear that those beings that have 6th Tone they really have to take care of their skin.
And that their skin is going to be something that is really going to be an indicator of
whether they are healthy or not and whether they need to be aligned to what is cor-
rect for them or not.
So, the 6th Tone is really fascinating. I love that it is this theme of acceptance be-
cause what else to do. The mutation is there and mutation benefits those that are
born to it, it doesn’t benefit those that have to deal with it as almost an invading
force. And so, I see that the by-product of mutation of the Solar Plexus which has
led to autism and prostate cancer, these things are part of this whole process in
which this 6th Tone as much as it’s bringing the future, is also bringing a lot of prob-
lems to the physical form of humans. It’s going to be one of our keys to be alerted
to 6th Tone beings.
It’s interesting that when you move all the way up the ladder, up the chain through
the Color to the line, it’s one of the themes of the 6th line is how vulnerable 6th line

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LESSON EIGHT
A Tone Overview
beings are in their first Saturn cycle, and how vulnerable they are once again when
they’re not correct when they come off the roof. You can see the vulnerability is
something that is very much built into that for human beings. In other words, there
are health risks.
So, we’re going to be able to do a lot of positive work in dealing with the 6th Tone
and being able to really point people at the sensor that they need to care for, that
even if it isn’t going to provide them with the same acuteness it is essential that they
pay attention to their skin, that they look after their skin, because obviously that is
something that is at least, at the physical level, is something that is going to deeply
benefit them.
Protect This Material
I began today by talking about my concerns about you as students of this knowledge
making sure that you’re well equipped. I certainly want to be able to both enjoy
your enthusiasm and protect you in terms of the knowledge, and to make sure you
have the knowledge that you need. I’m going to make all of these illustrations avail-
able to you and I would really like you to respect the fact that it belongs in this
community of people who are involved in PHS.
I think it’s very important while you are studying this and working with this, that it
isn’t something that gets into the hands of people that really are not going through
this process and are not correctly oriented to this material. A little knowledge is a
dangerous thing. You can already see that yourselves with how easy it is to apply
fixing information and to get a positive response.
But our goal as professionals is ultimately to be able to do the complete job for
people, and really to be able to provide them with the complete information base.
So, I would appreciate it if you kept this material in the community, that is, the tonal
material here, until we’ve gone through the process of looking at it in depth.
As I said, I’ve changed the way in which I’m going to teach this. It’s not so much
that I’m speeding up the process, I’m putting other things—basically what I want to
do is I want to take you to the end of this semester, I want to take you through right
down to the Base so that when we begin the third semester we can begin working
correctly from the bottom up. I will spend the next two lectures in just making sure
that we really grasp the tonal relationships to the fixing and how we can look at that
and how we can apply the language to it. And to make sure that there is a general
understanding of each of these Tones in the way in which they operate.
Sound
I bring you back, though, to this illustration to bring you to sound, which is this qual-
ity that stands in the middle, it has no blue alignment, it doesn’t say “ear,” or “ears.”
Sound as something that is really deeply broad in the context of frequency. But it is

175
the whole story. And in many ways, when you look at sound it’s as if you’re looking
at the neutrino stream itself, as if you’re looking at the river itself because sound is
the river. And it’s everywhere.
The only way that I can teach you the magic of this level of mechanics is with sound.
It’s interesting about the way in which the “in the beginning was the word.” I’m not
suggesting that I couldn’t do that by sending you a transcript, but to really under-
stand something about the importance of the acoustic dynamic. I bring up the
acoustic dynamic because if you look at the surface, there is only one place to look
and that is individual circuitry. In individual circuitry there are basically three cir-
cuits. That is, integration, centering and the individual circuit. Obviously they make
up an enormous amount of the bodygraph. Not only that, but the individual circuit is
the only circuit that connects as a potential to all three awareness centers.
Individuality is Impacted through Sound
One of the things to grasp about individuality is that individuality is deeply impacted
by tonal qualities through sound. It’s something that we’re going to look at, the im-
pact. In other words, to some level or another we all have a binary sensory system.
One is a constant, that’s sound. Some of us are more attuned to it than others, par-
don the pun. The other part of that is the frequency.
Individuals in this binary have a connection to the constant which is the sound and
then whatever the other sensory cognition happens to be according to their Tone.
So, we have many combinations—the sound/smell, sound/taste, sound/outer vision,
sound/inner vision, sound/feeling, sound/touch. In other words, there is this hidden,
it’s a hidden binary. If you can understand this hidden binary you can begin to intuit
the nature of the 5th Base, because the 5th Base is the mother of sound, in that
sense. The 5th Base does the same thing. It becomes the constant to binaries.
So, sound is something, frequency is something that is very, very important. And it
is the linking of Tone to Color through the 5th Color that makes it all possible, which
means that if you’re a 5th Color being you have unusual sensitivity at the acoustic
side of the binary. And that will come to the surface if, for example, you have strong
individuality or if you have the gates in individuality that are most clearly associated
with hearing. For example, the 57th gate and the 22nd gate, which are ear gates; or
the 28/38, the 39/55 or the 43/23 which are deafness channels.
Sound is the Medium of the Crystal
So, sound is a medium. It is the medium of the crystal, it is the frequency. It is the
frequency that is the by-product of the neutrino slamming through at this incredible
speed through the crystal. And the frequency trail that it leaves from its Base mov-
ing into the whole tonal realm and out through the Color. It’s all a frequency. And
yes, that frequency defines aspects, defines tonal differentiation so that one may

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LESSON EIGHT
A Tone Overview
have a 1st Tone here, or a 3rd Tone there. But it’s all differentiated out of the fre-
quency itself which stays.
Everything is spinning and everything is moving. It is the very essence of existence.

Everything is spinning, everything is moving; it’s what it’s all about. All of that spin-
ning and moving gives off frequency. The biverse is nothing more than a frequency
field, a vast frequency field. And the frequencies have an incredible range.
So, to grasp sound in this context is to grasp it at a metaphysical level. In other

words, to see it as the vehicle’s constant. It’s the constant, which means that all ve-
hicles need to have their frequencies tuned. And that all vehicles can have their fre-
quencies tuned because all vehicles are built on the constant of sound, and sound is
the by-product of all Tones. And all Tones are the by-product of sound.
Wherever you go in the construct, what you meet is the fantastic. If you think Color
is fantastic, or Color fixing is fantastic, then you meet Tones, and not just the sur-
face, you’ll see. It is incredible mechanical insight into the nature of being. And
these magical binaries that are always there. And the beauty of it, the way it works,
the way there is as you move downward there is something to link you to the phe-
nomena above. There is a place to focus; there is a place to really be able to help
the illusion on the surface, the quantum being to make a difference in their life, be-
cause the mechanics are clear. It’s just about understanding the aspects in the
chains and being able to read the chains.

177

178
Lesson Nine
Tone: Cognition and the Splenic Binary
I want to share with you my PHS experiences lately. It’s really fascinating. I’ve
been very busy doing Health System readings. It’s an extraordinary process. I’m
used to shocking people, I’m used to being able to, it’s my nature. It’s some of the
strongest responses that I’ve had to any kind of readings that I’ve done.
The other thing is that my own experimentation with my own PHS how interesting it
is now to see something that’s beginning to dawn on me about the integrity of auras.
It’s something I think is very profound. When I first began doing Human Design
readings there was a basic mantra that I gave everyone, which was: sleep in your
own bedroom. It is an obvious thing in terms of understanding mechanics that to be
unconscious and to be in somebody’s aura is to be conditioned in a way that is really
unnatural.
Eating and Aloneness
I know that all of those beings who have taken my advice, they probably thank me
more for that than just about anything else because it is remarkable how good that
makes you feel and how good that is for your aura. I’m beginning to see that eating
is something that, in fact, may benefit from aloneness. It’s very interesting to see
that. It’s very interesting for me to watch that in my own process with my 4th Color
fixing to the calm, and seeing how, for example, my eldest son at the dinner table
needs stimulation in order to be able to digest his food. I don’t need stimulation,
because that isn’t going to help me digest my food at all. There are a number of
permutations that go with all of that.
It’s just interesting to me as we move towards this mutation and this era that’s com-
ing of the individual and the need for the individual to be their own authority that
eating is something that may lose its tribal quality. That is, particularly with the
moving away from the 40/37 and the impact on the meat and ritual of food, which is
in the 19/49 and obviously that’s going to be changed.
I think the dynamic pulling us towards eating with others is something that may
change. It’s interesting, just as I say this I have this flash of one of my favorite
filmmakers of all time, a Spaniard by the name of Luis Bunuel. He was a surrealist
and part of the beginnings of surrealism. I don’t know which movie of his it was, I
think it was the Discreet Charm of the Bourgeoisie. Everything is reversed. There is

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this scene of a family at the dinner table, except the dinner table is all toilets.
They’re all using the facility at the same time and the bathrooms are little cubicles
that you close yourself into with a tray and your food. Maybe Luis Bunuel knew
something that others didn’t know. Anyway, just thought I’d share that with you.
The Theme of Cognition
To begin today’s lecture I want you to focus on the theme of cognition for a moment
because it’s really necessary to understand this. This is a key to understanding what
Tone actually is. Color is a mechanism. Tone is a goal, if I can put it that way. It is
Tone that actually establishes frameworks for the physical being. When you look at
the tonal triangle, the three binaries, you’re really looking at the ghost of what will
be the bodygraph. When you’re looking at the tonal binaries, you are looking at the
source of what ultimately what mani-
fests as immune systems and neo-
cortexes and nervous systems.
In other words, everything that we’re

looking at in terms of the nature of what
it is to be a human and how the me-
chanism of being human operates, all of
this is sourced at the Tone level. So,
when the Tones themselves have a
keynote, it’s actually telling you some-
thing very profound. What it’s saying is
that we are built for cognition. We’re
not built for speed, we’re not built for
comfort, we’re built for cognition. This
is something to really grasp about what
it is to be a bio-form on this planet and
what the imperative of the form prin-
ciple, the evolving form principle is
about.
There are so many assumptions when

you look at evolutionary biology about
the way in which natural selection took
place; in other words, looking at natural selection in terms of simply the viability of
the mechanism. But in fact, when you’re looking at evolutionary biology relative to
the Homo family going all the way back to its hominid roots, then you have to look at
it from a different point of view. Everything about the physical evolution is geared
towards one thing and one thing only: cognition. In the broadest sense cognition
ranges from, in the language that I would use from to be conscious, to be intelligent,
and to be aware; in other words, three very basic levels of the way in which cogni-
tion ultimately can operate.

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LESSON NINE
Tone−Cognition and the Splenic Binary
But the thing to grasp about our vehicles is that our vehicles are designed for cogni-
tion. Now, that says something very, very important about not operating correctly in
your vehicle. It’s not simply about the circumstances of ending up with poor health.
It’s about understanding the holistic direction of your vehicle. Its holistic direction is
to be able to house and allow you to express the highest level of self-reflected con-
sciousness. That is what the vehicle is for.
So, when the vehicle is properly tuned, when the vehicle is properly aligned, what is
the true beneficiary is not so much the secondary phenomena, which is to be
healthy, because that is secondary. The cognition is even more important. In other
words, if you could look at the form principle and the form principle would look at
Stephen Hawking, as an example, where you have a totally dysfunctional form, but
you’ve got a wonderful mind at work. From the point of view of evolutionary biology,
the cognition, in a way, not entirely, is enough to justify that version of the experi-
ment, but not necessarily to repeat it, because if you keep on repeating it they’re
going to have a great deal of difficulty making more. There are, obviously, balances
in the whole equation.
The Splenic Binary
But I do want you to be very clear about understanding what life is for. That’s what
we’re really looking at. What is the reason for being? The reason for being is to
achieve cognition. That’s what it’s all about. When we’re looking at the splenic bi-
nary then we’re grasping something that is very, very fundamental. In other words,
whenever you look at any form principle
and the form principle has the potential of
a Spleen, so whenever you’re looking at
insects, birds, reptiles, fish, and mammals,
you’re looking at forms that have the po-
tential of cognition, because cognition be-
gins in the splenic binary.
When I say cognition, when we’re looking

at any of these forms, including plant by
the way, which is one of the major ones,
when you’re looking at these forms it’s
about recognizing that there is conscious-
ness at work. And that you can see the
more sophisticated the design, for example
from the moment that you move from the
complexity of the avian form to the much
more complex mammalian form, you get
the potential for displays of intelligence.
When you get to the human form, you get
to the potential of awareness. And they
operate through the underlying tonal infra-
structure.

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First Basic Cognition: We are at Risk
Development of Strategies for Survival
So, when we’re looking at the splenic binary, its basic cognition, that is, basic con-
sciousness. What is basic consciousness? Consciousness is the recognition that one
can be, and is, terminal. The very beginning of consciousness is to recognize that
one is at risk. So, the moment that you get to the level of insects, the moment that
you get to the level of birds and reptiles and fish and mammals and humans you get
to this first basic awareness, this cognition that we can die, that we can be killed,
that we can be eaten, that we can be destroyed, that we can be wounded, all of
these things.
The display of intelligence is the development of strategies to ensure survival. And

so when you’re looking at the splenic binary as a root, as a fixing agent of a Color,
what you’re looking at is a specific way in which that intelligence is going to develop
if it’s allowed to differentiate. It is going to develop in terms of its capacity to devel-
op more and more sophisticated strategies. Now, strategies are very important.
Everything that we understand about intelligence, that is, what we call taste, judg-
mentation, instinct, intuition, anything that we understand about intelligence, all of
this originates in the development of strategies to protect existence.
So, the splenic binary has a specific focus. And no matter how it comes through, if
it’s the splenic binary that’s doing the fixing on the Color and the Color is a lower
Color and it is about the way in which you take things in that you know that what
you’re taking in, that the net result of that is going to be increased cognition in terms
of your strategic thinking.
Internal: Expansion of Strategic Thinking Potential
External: Strategies of Being in the World
Interesting about the readings that I’m doing, because as I’m doing them I get more
proficient, obviously, it’s a process. How important it is to understand what the re-
sult of the correctness brings, because it becomes the focus point. The splenic bi-
nary underneath, this cognition, this ultimately is the focus point. So, for example, if
you’re dealing with the internal Color in terms of what you’re taking into the vehicle,
so this is about the predisposition to differentiate in terms of brain function that you
know that the ability to align to the correct brain function is actually going to in-
crease one’s capacity for strategic thinking. It makes you smarter.

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LESSON NINE
It’s the thing that’s so fascinating to me about what we’re really dealing with here.
Think about what it is to be correct, because you’re going to have these questions
and you’re going to have to deal with this. Let’s say you’re a Generator and you re-
spond to something, it’s correct for you to respond to it, you enter into it correctly,
the fact that you enter into something correctly does not mean that you derive the
full potential of the experience. It simply means that in entering into it correctly you
have reduced resistance and you are operating the way you should.
It’s like seeing. You can enter into something correctly as a Generator now and still
not have the consciousness to see, in fact, what you’ve entered into. It may be cor-
rect because you entered into it correctly, but there is a potential that is there. Each
and every one of us has a potential to uniquely differentiate our functions, including
the way our brain works. Each of you has a unique way in which the brain functions
for you. To ultimately manifest the uniqueness of what your potential consciousness
is all about.
It’s something to grasp that when you’re saying to somebody, “Here is your Color,
and here is your fixing, understand what it means to experiment with this, that what
you’re doing is that you’re changing your physical infrastructure. You’re aligning it.
And it is a powerful experience.” So, when we’re dealing with a splenic binary and
when we’re dealing with cognition and it doesn’t matter whether we’re going to deal
with the 1st Tone or the 2nd Tone because we’re dealing with a binary, there’s an
overview to this. The overview to this is that this is going to lead, in terms of the
internal, to an expansion of strategic thinking potential and all that comes with that.
And in terms of the external, the awareness of the environment and the correct rec-
ognition of the other, the strategy of being in the world, or the strategies of being in
the world.
Tone: Where the Whole Framework of Life is Established
So, let’s take a look here [image below]. We’re going to be looking at this splenic
binary. But before I get into that I’d like to return you to this diagram. It’s almost
like when you’re looking at the bodygraph you’re seeing a finished building. And
when you’re looking at this diagram of Tone, you’re looking at the architect’s draw-
ing. There is always this transformation that takes place between the drawing of the
architect and the realization of the finished environment, whatever it may be. And I
really want you to have this sense that here when you’re dealing with Tone, you re-
ally are dealing with something that is incredibly magical. This is where the whole
framework of life is established. It is not an accident that this is a triangle and it has
this triplicity of the splenic, Ajna, Solar Plexus because it builds the splenic, the Ajna
and the Solar Plexus.
It tells us there’s something interesting going on if not in the 5th Tone, at least in the
6th Tone because the mutation in the Solar Plexus, the Solar Plexus is designed by
the 6th Tone. There must be things in the Solar Plexus that have not yet been al-
lowed to fulfill their potential, if you know what I mean. For me, this graph is one of
those great graphs that I can look at and I can just drift off in meditation because it

183
carries so much information. Anyway, let’s focus on the day’s business and this is
the splenic binary.
The Splenic Binary: Security and Uncertainty
When we’re looking at the splenic binary I first want you to look at these two key-
notes: security and uncertainty. They’re obviously a binary and a binary to each
other. It’s an obvious binary to each other. It says something about the functions
relative to the splenic system. Remember that when you’re looking at these three
binaries remember that each of them
ultimately operate through systems in
the body itself. So, for example, the
immune system, the lymphatic system,
all of this is in the architect’s plans here
at the tonal level.
1st Tone: Defense Systems
When you’re dealing with the 1st Tone

and you’re dealing with security, what
you’re dealing with are defense systems.
There are two kinds of strategies. There
is the defensive strategy—1st Tone; there
is the offensive strategy—2nd Tone.
When uncertain, kill—2nd Tone. The 1st
Tone is this deep need for defense sys-
tems, to be protected. And how you are
protected, what strategies you use for
protection, and if you look at human his-
tory you can see this enormous impor-
tance that has been attached to our de-
fenses, our defense systems. Obviously, since this is the infrastructure and the ar-
chitecture that the defense system of the human vehicle is established here in the 1st
Tone. In other words, here are the plans for what will be the defense mechanism of
the whole.
2nd Tone: Offensive Strategies
When you go to the 2nd Tone you’re dealing with its opposite in a way. In other
words, you’re dealing with uncertainty, those things that defense is not ready for,
prepared for, and does not know. It is in this uncertainty that offensive capacities
are developed; in other words, our ability not simply to be able to protect ourselves

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LESSON NINE
offensively, but also to understand it at a deeper level. We must kill to eat. And the
offense is part of this.
It’s one of my standing jokes for years when I talk about T cells. That I talk about
how savage they are and the warriors they are and whatever. But here is where the
T cell was designed. Here are the architectural plans for the universal soldier, literal-
ly the universal soldier. That ultimately on the surface can manifest as our ability to
be at the top of the food chain because we kill better than anybody else because we
have developed good strategies that have been very productive for us in terms of
our ability both to defend ourselves and to annihilate all competition.
Defense, basic survival, stay alive, be ready to kill—basic stuff. And yet, as you
move up the ladder through the various chains—we have 216 chains. I’m going to
teach them all next year. That is, Tone-Color-Line. So when you’re looking at that
1st Tone, it’s going to be able to influence one of 6 Colors that is going to influence
one of 6 lines, if you know what I mean. Every chain has a different value, obvious-
ly. In other words, there are all kinds of subtleties to the way in which the archi-
tect’s plans are going to be changed the moment they go from the architect to the
workers, and the Color is the workers. It’s the Color that ultimately transmits the
message via the Magnetic Monopole to the holistic whole.
So there is no generic here in the sense that one Tone suits all. It means that inter-
preting any Tone, any Color, any line, they must be all seen together. It’s something
to grasp. Then what we are seeing is the unique Personal health chain. My vision is
that by late next year there will be a software program that will be able to spit out
the chains with all the associated data so that it’s very, very easy to see the various
dynamics and to begin to bring them together into groupings, because they belong
together in groupings.
So, when we’re down here at the bottom and we’re looking at the 1st Tone please
understand how that’s going to interact with any of the 6 Colors and the lines that
they relate to, this is where the whole story is going to be. All we can look at here is
the theoretical.
Cognition is Achieved through the Sensors
It’s interesting that when you think about the security, the sensory keynote—
remember that we’re dealing with the seven senses of the Tones. We have seven
senses: smell, taste, outer vision, inner vision, feeling, touch and sound. This is why
you have this sub theme here, this theme of the sensors. In other words, cognition
is achieved through a sensor and that the sensor becomes the primary field.

185
1st Tone: Smell
So, for example, you’re dealing with the 1st Tone and the sensor is smell. So what
we know is that when we get to the top and we get to the holistic being itself that
the nose and the ability to smell and aroma environment, all of these things are
going to be deeply significant for this person. The wrong aroma in the room can ac-
tually make them afraid.
2nd Tone: Taste
You can see when you’re looking at the 2nd Tone you have taste. Of course, it might
sound odd to say this, but to develop a taste for anything you have to taste it. One
of the most fascinating things about the 2nd Tone is that built into the 2nd Tone is our
capacity to eat ignorantly; in other words, our capacity to explore the entire food
chain.
Again, remember I talked about how

complex the 2nd Color in relationship to
the 2nd Tone is. It is very complex.
It’s something to understand that this
closing off, what we know at the 2nd
line level of what the hermit is, that
this closing off has to start very, very
early. In other words, there is a very
distinct focus for what is correct. But
at the Tone level, the 2 is actually open
to eating, taking in absolutely anything
because it’s only in that way that they
can develop the taste.
The Immune System
Of course, if you think about the im-

mune system, it’s the way it works.
Something odd shows up and you go
and attack it and process it, and then
the defense system records it and
stores it for the future so you don’t
have to be worried about it anymore, you can keep your eye open for something
else.
So here in smell and taste we have these very, very, very basic but very important
sensory qualities. And that to see that the 1 and 2, the way in which the 1 and 2 op-
erate, so in talking about the Colors, in the way in which they operate themselves,

186
LESSON NINE
the way in which things are taken in, to recognize what it means for the being to do
that correctly.
Not only are you enhancing your immune system and your protective system, which
means that that’s their vulnerability. Let’s talk about internal Color because it’s the
easiest way to translate this, you look at internal Color you see that the fixing un-
derneath is the 1st Tone, then you know right away that everything about taking in
the food, regardless of what the binary fixing is, that all of this is about maintaining
one’s security. The health of one’s immune system, one’s ability to be aware of
threat, that in operating correctly it transforms the way in which the brain is going to
experience its security, the way in which it’s going to see what is and what is not
threatening, all of those things, and to also recognize that because this is the sen-
sory focus it means this is the area where they’re going to have the most problems.
In other words, you’re going to have beings whether it is 1st Tone or 2nd Tone fixing,
you’re going to have beings who are going to have dilemmas relative to their im-
mune system. When they have problems, this is where it’s going to show up. So
whether it is about loss of sense of smell, or sudden disturbances that one can’t
smell certain things any more or doesn’t like the smell of things any more, change in
taste, all of these things are going to be a sign that there is a problem in the immune
system and that problem goes back to not operating correctly in terms of the inter-
nal and in terms of how you can advance your determinations. When we’re looking
at Tone, we’re looking at a lot of information that helps us to understand the levels
that are above it.
1st Tone Illustration: Security
Here we have the illustration of the 1st Tone

separated. You can see in the blue box this
“immune system defense” and “the nose.”
Security—think about all the dilemmas that
come into somebody’s life when they’re not
secure. And think about how the lack of secu-
rity impacts the way in which the brain oper-
ates. That is, the way in which the potential
of self-reflected consciousness operates. Fear
is one of the great foot soldiers of the not-self
mind.
When somebody has a 1st Tone, has a 1st Tone

fixing, security is the most important thing for
them. Things have to smell right for them.
And not just smell right in the mundane aro-
ma sense. But smell right in the much dee-
per, inner aroma world—the smell you can’t
smell but you know because you speak in
those terms. You smell a rat, you smell mon-

187
ey, you smell success, whatever description you want to add to that.
It’s so important to see that what we’re bringing into somebody’s life, what you’re
bringing into your own life when you’re operating correctly is that you’re going to
eliminate the insecurity. That’s what it does. And the elimination of the insecurity is
not like it’s just suddenly gone; the elimination of the insecurity is the enhancement
of the potential of the brain to differentiate so it recognizes threat from non-threat.
If you have a homogenized brain the way you see threat is the way everybody sees
threat. You’re worried about the same things that they’re worried about. But that’s
not what you’re here to be concerned about, if at all. You’re only here to be con-
cerned with what impacts you specifically, what is there for you to be concerned
about.
Changing the Way the Brain Functions
When we’re dealing with the Design side and we’re dealing with the proper determi-
nation, you change the way the brain functions. Then suddenly there is this poten-
tial to be aware in a different way, to
see in a different way, to smell in this
sense in a different way, to feel se-
cure. And it’s down here at the tonal
level. You can’t achieve it simply by
seeing that this is the Tone and this is
the sense. You can only achieve that
by aligning yourself correctly to the
fixing of your Color and by operating
correctly on the surface according to
your Strategy and Authority and then
all of that just fits into place.
When you’re looking at it you have to

see it holistically. In other words, you
have to see it within the chain itself.
This is just a basic chain configuration.
Anyone who has taken my earlier PHS
classes has seen variations of this illu-
stration. It’s actually what I will be
doing in terms of my work in covering
all of the chains. It will actually be
much more sophisticated in terms of
the information.
But this is just to give you a basic idea that it is this that we are here to synthesize.
This is what gives us the full information because this is somebody’s physical story,
it’s the story. Here’s the root, here’s the cognition. Obviously, I’m not talking about
Base underneath. Base, as you will see is significant, but it’s significant in a way

188
LESSON NINE
that has nothing to do with this physical process per se. It simply has to do ulti-
mately with the specialized direction that we all move in. But I’ll deal with that when
I deal with Base next semester.
1st Tone: Developing Strategies for Survival
What I want you to see is that this is the diagnostic chain that we have to work with.
It begins with the cognition, everything does. The purpose of evolved biology is to
house self-reflected consciousness. So cognition is the first thing. So we have a
theme of cognition. So, for example, here we have the 1st Tone, we have security,
we have smell, we have fear, we have these basic things. This is what it’s all about
and what it’s all about is this person is here to develop strategies for survival. This is
what we know about this being.
Remember, strategies for survival in our context in this day and age is about being
able to have a good job, being able to know what to do in this life financially, mate-
rially, and any number of other things, because that’s what security is about in our
time, that’s the way it looks. We don’t have to go out and kill something and hunt it
down; we go into the butcher shop and buy it. So, we have different themes in the
way the security is going to play out.
But think about it this way, if you’re somebody who has the 1st Tone fixing it says
that there is an enormous strategic potential in you. Ultimately that strategic poten-
tial is going to benefit you on the material plane. When you have that protection on
the material plane you’re going to be less insecure and the fears are going to be
eliminated because you’re going to be able to eliminate the fears by being able to be
aware of how to operate in a secure manner.
2nd Color of Hope
So, here is the theme of this evolutionary direction in this Tone. But in this example
here we’re going to the 2nd Color of hope. We could be going to the 1st, or the 3rd, or
the 4th, or the 5th, or the 6th. In other words, what this is here isn’t what it stays. In
other words, it has to form a quantum with the layer above it. Remember, we’re
just dealing with a neutrino stream that is going through the infrastructure of the
crystal. The moment that it’s moving away from the Tone and it’s merging here with
the Color, you have a quantum that’s going to take place, so that the thematic that
is here has to be lived out through what is here.
The graph originally was for Personality. What you’re dealing with here is taste. So,
the response to this cognition theme is to respond through what taste is, and what
the fixing of the taste will be, and how that theme is going to operate here. In other
words, that the security has to be found through the response; otherwise, it won’t
be. In other words, if you’re not responding correctly, if you are not acting according
to what is demanded, as an example, in the internal, then you’re not responding cor-

189
rectly, so the cognition is not going to operate correctly. Then you’re going to deal
with somebody who is not operating as themselves, you get into transference, all of
this falls apart.
So, the cognition demands an appropriate response. The response is conditioned by

what we can teach. In other words, our recommendations based on understanding
the Color and the Color fixing, what is required. You have to be able to give them
the information. What you’re giving them is simply a key to aligning to their cogni-
tion because you can’t align to your cognition unless your response is correct.
That’s the magic. That’s why to be able to explain to somebody what it means to be
fixed on this side or that side, what it means to be lower Color, what it means that
how you take food directly into your system is something that has to be regimented
and something you have to be very much aware of. That only when you respond
that way are you going to fulfill the potential of your cognition. There is no other
way.
If you’re upper Color and everything about the nature of the internal is about cir-
cumstance, that unless you are honoring what is correct for you in terms of the right
circumstance for internalizing then you’re not responding correctly. The response is
not going to be correct; the cognition will not have its opportunity to be able to ex-
press itself at its full potential.
Color is Magical/Color is the Medium
Color is magical. As I’ve mentioned many times, Color is the medium. It’s wonder-
ful that we can look at these various themes of cognition. As pure theoretical archi-
tect drawings, they’re fantastic. But then, they have to go through a lot of steps be-
fore they get to the surface. It’s like a broken telephone. By the time they get to
the surface they’re not quite what one would expect, because they’re going through
these transitions of these quantum steps as they move along in the chain.
Key for Cognition is in the Response
So, the key for cognition is not in the cognition. The key for the cognition is in the
response. That’s why PHS, from my perspective, is the most revolutionary thing
that’s ever come down the pipe when it comes to—it’s not just about health. Health,
to me, is the obvious of this. You can really help align people immediately; you can
really transform their vehicles, all of that is very obvious to me. What is spectacular
is that all of this alignment leads to transcendence on the mental plane. It’s like
when you’re a kid and you hear that statistic that we only use a couple of percen-
tages of our brain, there is this sense that there is this vast potential that is un-
tapped when you look into the nature of the human mind. A vast potential in each of
us that is untapped.

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LESSON NINE
Alignment Changes the Physical Brain
It’s clear to me that the alignment of the vehicle to what is correct for the vehicle
changes the brain. It changes the physical brain, which changes the potential of the
self-reflected consciousness. And this knowledge that I received is so that aware-
ness at the highest level, what I call being awake, is something that is almost engi-
neer-able, if you get my drift. I don’t think it’s quite totally, I think the potential can
be there and the passenger can still be stupid. However, it is clear to me that if you
really align the cognition response activation, if that’s really aligned, then it’s obvious
to me that the brain is able to express the potential of awakeness for that unique
being. So, it’s quite something.
And where we have influence is at two levels. That is, influence as analysts or prac-
titioners in terms of the advice and terms of the transference from us to the other
that we can offer is in two areas. The obvious one is at the line level, because we
have been dealing with this for years. At the line level we know that the line is going
to operate correctly. For example, this would be the 4th line of the Sun/Earth profile
on the Design side, so the correctness of that unconscious opportunist is only going
to come out if they are operating according to their Strategy and Authority.
Once they’re operating according to their Strategy and Authority, which means that
the activation can be correct, then you end up with two things: cognition, which is
simply there, the tonal themes are there, there is no way we impact them one way
or another, they’re just there as potentials. At the other end, if you jump over Color
you have the line and nobody can enter into this information anyway without being
in the experiment of living their design, that you have this sandwich where the trig-
ger, the thing that will really make the difference is the response, the Color, aligning
determination.
Key to Our Work is on Two Levels
So the key to our work is two levels. One level is the analytical level. That is, the
analytical level to be able to describe effectively the chain and to be able to make the
recommendations that the chain demonstrates. That is something that is very im-
portant to grasp. The second level is the research, because there is enormous po-
tential here, not simply to be able to lay out all the foundation, which I’m going to do
anyway. It’s clear to me that every single one of these 216 chains represents a dif-
ferent potential of awakeness. They’re archetypes; they’re archetypal pathways to
being awake. In that context they represent something that is really astonishing.
And the key? The key is response. The key is being able to follow at the Design lev-
el both the internal and external configuration that is yours. This is an area of know-
ledge that no one, no science, no matter what it is esoteric, exoteric, has ever had a
grip on. For me, this is the key to understanding why we’re doing this, because this

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is something that almost immediately can be of service to humanity. It’s all about
the response.
A Health Support Mechanism
So, our responsibility as we go through this material is to make sure that we really
understand these chains. And as long as you understand the chain, then you can
give invaluable knowledge to the other, in order for them to align themselves. I
want you to think about what my real goal is in this. I’ve watched now nearly 20
years people go through their process in Human Design. Sometimes they feel help-
less as they’re going through their seven-year deconditioning process. It’s obvious
to me that what we have here is the potential to speed up the process. It’s not that
you can change the seven-year cycle, you can’t, it is what it is. But that’s not what
I’m referring to.
What I’m referring to is rather than going through the deconditioning process and
waiting out the long, slow alignment to what is correct for you that the immediate
ability to counsel people who have gone through their reading and their Living De-
sign, or whatever it is, to be able to counsel these people on how to live a healthy,
productive process during their experiment and how to enhance the potential of their
intelligence, how to enhance the potential of their purpose.
It is the glove that fits on that hand. This is something that is going to make an
enormous difference in the way in which people feel physically about the knowledge.
I know how excited people can get intellectually with Human Design. You all know
that; it’s deep and it goes everywhere. But it’s not the same as what it feels like to
really feel good in your body. Any wish you wish for health in the body. This is
knowledge where we can immediately provide a health support mechanism for any-
body entering into their experiment so that their vehicle is more quickly aligned to
what is correct. It makes the whole thing move so much quicker.
I think for non-sacral beings who have always suffered in the shadow of the ability of
Sacral beings to immediately experience their authority, their decision making
process, the response mechanism, that I think that introducing Manifestors and Pro-
jectors and Reflectors to their PHS is something that is going to bring them the phys-
ical well-being that is going to make their process feel so much better, and so much
more rewarding.
I’m at this 20 years, and I see in my own process how as the knowledge expands
and as the knowledge matures we are getting better and better tools for being able
to be of service to anyone who enters into this experiment. I see the potential of
this knowledge as—for years people have said to me there’s not enough support me-
chanisms. People have a reading, they go out the door and they don’t have some-
body to talk to and they don’t have somebody to go back to and all of these various
things. I used to feel like maybe they were right. I would think in those terms, like
the Living Design Guide program, these kinds of things.

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LESSON NINE
But I’m convinced that if you give somebody, after they’ve had a reading, the PHS
analysis and you set them on that track at the same time you set them on the expe-
riment track you’re going to have an enormous difference in the way in which they
respond to the knowledge. And it’s going to be so much easier for them to stay with
the experiment long enough so that they see the long-term results of what’s possi-
ble. We’re going to speed up the process at that level.
Aside what it can do for anyone else, it’s something to see that this knowledge is for
beings that operate correctly. Otherwise, it doesn’t work, because you can’t talk
about chains if somebody isn’t operating correctly because they’re going to be in
Color transference. It’s just not going to operate correctly, and they just get very
confused. They end up with a confused homogenized mind that doesn’t function
very well.
So, this is the step that comes after you enter into your process, to align your ve-
hicle so that you can feel the results. That is one of the things that this is what it’s
all about. That it’s in the body and the by-product is fantastic. And the focus is the
response because that’s actually where we can read what’s necessary.
Even if we are blind to the subtleties, think about that—for example, you have this
situation. You see somebody’s chain. You have the Color and you have the fixing
and you have the recommendation that goes with it. If you only deliver that to
them, if they take that in as part of their experiment and that’s what they follow, it’s
going to work.
You see, I do love the simple, I love formulas, they’re so incredible. Strategy and
Authority at the line level, at the bodygraph level, and here at the response level di-
agnoses and recommendation. And if you honor the recommendation as simple as it
can be, you will get the results, just like if you honor the Strategy and Authority on
the surface you get the results. Again, we’re in this situation where it is simply the
experiment that leads to the transcendence. That no longer are we handicapped by
the passenger, because if you just have your Human Design and you go through
your seven-year process, which many of you have done, your passenger is always
the burden. And it doesn’t necessarily mean that the brain functions have been
aligned because if you’re not taking in the way you should be taking in, or going out
the way you should be going out you’re not fulfilling the potential.
How incredible it is to have this second key, to be able to bring the potential of per-
fection to any correct decision. To be able to enhance the potential of the mind to
grasp what’s going on. What I see in this, that by launching beings on this road this
way that from the moment they enter into their experiment they are immediately
impacting the way in which their chemistry and biology operate. They’re immediate-
ly impacting the way in which their potential of cognition is going to show itself, and
this is what it’s all about—cognition.
If the vehicle is right, the brain is right. The potential for the unique awareness is
correct, it’s there. It’s all about this movement. And everything is dependent on the
response, in the middle, the Color. And it’s the Color that ultimately will translate
that information to activation, give it over to the Monopole its agency, to the holistic

193
whole. And there it is. So, if the response is correct, and the activation is correct,
then everything is correct. You have health, you have expanded consciousness and
you have a being that is really on the path to operating correctly as themselves.
The 2nd Tone: Uncertainty
Let’s take a look at the 2nd Tone of uncertainty. It’s fascinating to me, this particular
Tone. As I said, there is this—it’s almost like the readiness for battle. That is, most
of the time when we think about 2’s in the way in which resonance operates all the
way up the chain to the line, by the time we get to the top and we get to the 2nd line
we have this assumption of things like shyness and barriers and the hermit. There is
all this closed off-ness that is there when you see it at the line level.
So there is a huge change that takes

place from what is the root of this in the
2nd Tone and what happens to it by the
time it gets to the top and it becomes a
line theme. When you’re down here at
the tonal level, the very uncertainty is
about openness. That is, the cognition
for the 2nd Tone is being able to encoun-
ter what is unknown, what has not ex-
isted, what one has not experienced,
what one has not seen, however you
want to describe that.
Pattern Discrimination
In other words, it is geared entirely to

what is new and different. As such, it is
remarkably open, if you know what I
mean. So, at the tonal level uncertainty
is an interesting thing. That is, in order
for us to be able to develop an offense
we have to have deep within us this rea-
diness to meet whatever the challenge happens to be. The meeting of that challenge
is that everything about the 2 is to get to a point in cognition of pattern discrimina-
tion, being able to discriminate. That is a word that unfortunately has lousy conno-
tations, because discrimination has been attached to racism and these kinds of
things. So, when you see or hear the word discrimination you immediately think in
that context. Nothing could be—well, I was going to say nothing could be further
than truth, but there is an aspect to it, otherwise it wouldn’t be there.
The only way in which the maya can expand is through pattern recognition and dis-
crimination. And discrimination is the most important thing for the 2nd Tone in terms

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LESSON NINE
of the way in which cognition works; in other words, who to fight and who not to
fight, and to be able to recognize that in their pattern. In other words, it’s not just
about being offensive; it’s about understanding that in order to be on the offense,
one has to have a special kind of strategic thinking. It’s very different from the de-
fensive thinking of the 1st Tone. Here we’re talking about offensive strategies in the
2nd Tone and this is all about pattern discrimination.
Salt and Creativity
You can see that it’s related to salt. Last week we talked a little bit in the question
and answer period about the fact that this is not simply table salt. As a matter of
fact, for me it’s just about all the crystals that we take into our body, because there
are so many different kinds of crystals that we take in. But it’s something to see
that taste is the basis for our ability to be able to create offensive strategies. That
means that taste is incredibly creative.
You know how I talk about the 2nd line process as one in which there is this hidden
talent, a gift that’s there that can be seen by others when they look in that window.
But there is a very, very profound creativity that is here in this 2nd Tone. It’s the
creativity to know how to deal with something and defeat it that one has never met.
This requires an enormous amount of creative processing. And the salts are abso-
lutely essential for that.
I have on the wall in my studio some work I was doing in my first learning processes
in the mystical and esoteric in the early 80’s. The theme of it was that we are the
salt carriers. It’s something to really grasp about creativity, that creativity is deeply,
deeply, deeply connected to salts in the vehicle and the correct level of salts in the
vehicle. It is salt in the vehicle that is actually the source of our creative potential.
It’s interesting to note that creativity is not something born in the Ajna binary, or
born in the Solar Plexus binary, these much more sophisticated evolutionary aware-
ness processes. But creativity, the deepest creativity you can imagine is here in the
2nd Tone. It has to be. It has an enormous responsibility. And when you think
about humans and you think about the way in which we have evolved and conquered
the planet, you can see that this aspect within us is enormously powerful. This abili-
ty to face uncertainty, the creativity to deal with situations, environments, creatures,
viruses, you name it, to creatively deal with things in which we have no reference
point.
So, this is a very different kind of cognition, potential intelligence, potential aware-
ness, and potential awakeness. When you think about the way the chain operates,
it’s not about going down here to the Tone here and saying, “Let’s figure out exactly
what is the right salts content for them,” you don’t have to, any more than you have
to think about how all the not-self operates if you’re operating according to your
strategy. You simply need to operate according to what is the correct response fix-
ing.

195
When you’re operating according to the correct response fixing, you’re immediately
going to align what is correct for you in terms of your taste, because your taste buds
are going to guide you, they are going to be transformed. You’re going to take in
the salts content that is correct for you. It is going to enhance your ability to discri-
minate in the patterns and it’s going to increase the fertility of what is your potential
mental creativity. Isn’t that nice? Well, it’s true; it’s quite incredible.
Tones are going to be great at the medical level when they’re researched in and of
themselves. So the Tones can be seen in all of that grandeur. This is not about ge-
nerics; it’s about unique chains each of us has. There are 216 basic chains that are
there. But then, we are not talking about the hexagrams. We’re not talking about
the overall design, we’re not talking about the incarnation cross, we’re not talking
about this and that, and on and on and on.
Each of Us Has a Very Unique Specific Chemistry
Each of us is here to have a very, very unique specific chemistry. And as complex as
the 2 is, whatever is its cognition response chain, when you get to the response, if
the response in its fixing is operating correctly then the potential here for the pattern
discrimination, the balance in the salts, the ability to creatively deal with the un-
known, all of that will be enhanced. And it goes back to what this is all about—our
understanding of Color and the way in which Color works, what Color means, how
Color is fixed, what the fixing brings, what the recommendations are.
Then for the first time you don’t have the Color interference in the middle getting in
the way between cognition and activation, and you can see why human intelligence,
human awareness is so deeply limited. In the middle, between the cognition and the
activation, you have transference. It’s not possible for them to develop correctly.
It’s not possible for them to have the infrastructure that will allow them to be aware.
It’s not possible. It’s this place in the middle, it’s Color, and it’s the whole story.
Just as when you’re on the surface Strategy and Authority, that’s the story. Re-
sponse, Color fixing, that’s the story. You align the vehicle, you align the intake, you
align the external environment, you bring the cognition to the surface correctly, and
you bring it into the quantum of its response. Think about what happens to your
cognition when you’re in transference and instead of going to a 2 you go to a 5, or a
3 to a 6, or whatever the case may be. It has nothing to do with you. Those are
those days when you just don’t feel good, pulled away from what is correct for you.
You can see that here we have this double commitment; it’s a binary commitment to
the experimenter, this commitment to Strategy and Authority on the surface to align
the line theme, and to follow the recommendations of fixing, to align the internal and
the external. Then the dream of the potential in cognition can get to the surface.
This is what it is.
Here we’ve had it all along underneath us at this tonal level, this deep, deep drive in
us to be aware. And that it’s not about how much you use your mind or what you

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LESSON NINE
ponder. That’s the folly. No matter how profound a thing you ponder with a homo-
genized mind, what do you think you’re going to grasp? You can only grasp what
everybody has grasped, if at all. Not what you are here to grasp, and ultimately to
express.
PHS is about Health and Perfection
PHS is more than just about health. It’s about perfection. When you deal with Hu-
man Design or PHS you’re dealing with absolutes in the maya. It’s a maya con-
struct. It’s the way the maya works; you want to be perfect in the maya. If you
want to operate the way you were intended to operate in the maya, here is where
the key is.
So, each of the Tones gives us a direction. They give a direction, they give us an
idea where the consciousness is going to be, what the consciousness is going to be
like. A pattern discrimination consciousness, the ability to tell the difference be-
tween this and that, the great measuring that makes the maya happen, it’s all here.
The root of the adventure of life, it’s here.
How interesting to think about this 2nd Tone and that the way in which we see the 2nd
line has been conditioned by millennia of transference. Then you have 2nd line be-
ings that come into the world that are basically closed to just about everything. So,
they have to wait for the call. And the source? The source isn’t like that at all, but
you’ve got to go up the chain. This is the thing to grasp; it’s all about the chains.
The chain forms a unique health pathway.
You can’t afford to go drifting off into transference. And if you’re going along this
pathway you’re operating correctly in this pathway, you’re going to benefit in terms
of your consciousness. That’s really something. Yeah, you’re going to be healthier,
you’re going to digest your food better. Your vehicle in and of itself is going to be
more peaceful, more at peace with itself, and correct.
The Most Radical Change is in the Lower Colors
It does mean you will go through changes, physical changes. It’s the most radical
for the lower Colors. Lower Colors, when they follow their regimen, because these
are vehicles that are totally out of whack, and to follow their regimen means there ‘s
going to be a real shift in their vehicle, a shift in the way it looks, it feels, it operates,
all of the things that go along with it.
And the key is right there in the response, the magic of Color; it’s magical, this Color
and the way in which Color fixes so that we can be so specific. Think about how ex-
traordinary the information is, so that the potential is there to actually teach some-
body, give somebody the information they need to perfect their form. It’s so incred-
ible.

197
I can’t get over it. Every day that I’m involved in this process, I have something
about PHS going on every day. I can’t get over it; I can’t get over how such pro-
found things can be healed so simply. I guess that’s the thing that I love the most.
The beauty of it, the simplicity of it that all you need is a couple of keys, and all you
need is the stick-your-head-through-the-sky and see the mechanism. And then you
come back and you go, “Oh, really, it’s just like that,” because that’s what this is.
It’s just like that.
There is an enormous future for this work. What it calls from us—the next couple of
weeks I will take you through the rest of the Tones just as a cursory view. But I
want you to really grasp, and we will return to this theme of Color and how the Col-
ors work and what the fixings mean, because this is the thing that is going to trans-
form the other, this is the thing that really can have such a deep impact and can re-
ally affect their lives. It’s very exciting. But I really want you to keep in mind that
we’re dealing with an absolute mechanism here that we can use—the response, the
fixing. That, in and of itself, is enough to transform the life.

198
Lesson Ten
Tone: Cognition and the Ajna Binary
If you think about humanity just in evolutionary terms, if you think about our evolu-
tionary process and you think about it in terms of the awareness centers in the bo-
dygraph so that you start our evolutionary process like the rest of the mammalian
line with a splenic system that is the source of awareness, at some point there is an
evolutionary jump and you enter into the domain of the Ajna binary. It is something
to consider that what it is to be human is fulfilled through the work of the Ajna bi-
nary. It’s really quite something to grasp. That finally there is this third possibility,
that is, the possibility that is inherent in the coming mutation in 2027 that is the
possibility of a third awareness awakening within the form construct.
So when we’re dealing with the Ajna binary we’re dealing with something that is very
much one of the main keys, or one of the main directions that humanity has taken in
terms of its evolving form to be able to reach a level of cognition. That is, the very
nature of our communication together at this level of language and insight, all of this
is a by-product of the success of the Ajna binary and the success of what we call
mind.
It is obviously a very different kind of awareness. But I want to just keep for a mo-
ment with the evolutionary process. I’d like you to look at something that we have
not yet discussed and will not discuss in detail until the next semester, but I would
like you to look very carefully at these three keynotes that are here.
Tone: The Inner Architecture
The Splenic Binary
When we’re looking at Tone, we’re looking at the inner architecture, in other words,
we’re looking at the floor plan. It’s something to grasp about the way in which these
awareness systems or the cognition potential of these various systems that they op-
erate in specific frequencies. Let’s talk about it in terms of an evolutionary frequen-
cy. In other words, rather than talking about the way in which this operates in the
microcosm within an individual’s life span, let’s think about this in terms of the evo-
lutionary progress of Homo. If you look at that evolutionary progress, one of the
things you’ll see is that here in the splenic binary we have something that is concen-

199
trated. Literally what that means is that it is always there all the time, always there
all the time.
It is something to grasp about the Spleen, for us it still remains the truest awareness
that we have. In fact, where you can never trust the mind to be your inner authori-
ty, you can trust your Spleen to be your inner authority. It tells you already that
there is still an enormous difference between the function and the quality of function
of the concentrated splenic binary that has been evolving for literally millions of
years, and the periodic Ajna binary that
is relatively new. Relatively new in the
sense that the functioning of the so-
called mind system, at least in the way
in which it functions for us, is probably
something that is no more than 90,000
years old. In other words, this is a rela-
tively new phenomenon. And within the
context of evolutionary time, it is a blip
on the radar map. They discovered the
earliest upright hominids, our most an-
cient humanoid ancestors—Lucy, sweet
Lucy—they found her somewhere in
Ethiopia. That was just over 4 million
years ago.
So, when you think about the splenic

system being the concentrated aware-
ness for 4 million years, remains the
concentrated awareness for over 4 mil-
lion years that 85 or 90,000 years
doesn’t really mean very much. In oth-
er words, the Ajna binary not only is it
something that is relatively new, and
again, I’m speaking in evolutionary terms, but the fact that it is relatively new also
means that it is relatively, and I keep that word carefully, inefficient. That is, it has
its limitations.
The Ajna Binary
One of the most interesting things to understand about the Ajna binary is that it is
periodic. Let me give you an example of what I mean by periodic, to take it into the
mundane of an individual life. If you think about your intellectual life, you will rec-
ognize that you do not have a concentrated process. What you have, in fact, is a
periodic process in where there are periodic moments of potential satori, awareness,
light bulbs going off, great ideas, and logical conclusions.
But it’s one of the things that we recognize about the nature of the mind is that
those moments do not happen on a regular basis. As a matter of fact, you cannot

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LESSON TEN
Tone−Cognition and the Ajna Binary
measure when they’re going to happen. They may happen in your youth, they may
happen in your old age, they may happen anywhere in between. In fact, the ability
of the Ajna mind system to excel is something that is, in fact, periodic. I mean, I
look at the work of Einstein, as an example. If you look at Einstein over a period of
maybe six or seven years, there was this enormous, incredible outpouring of what-
ever you want to call it, inspired thinking. Then he spent the rest of his intellectual
life on a plane, never to have that highlight again.
I look at my own process. I spent still the majority of my life, certainly the first 35
to 40 years of my life with nothing really going on, nothing of value, anyway. So, it’s
very interesting to think about mind in this concept and to recognize that this period-
ic is something that’s very important. It also means something else about our men-
tal age. That is, this mental age that was initiated with the last major mutation, the
last major mutation that took place in the 12th gate. That mutation in the 12th gate
was the dropping of the larynx. Of course, the dropping of the larynx, the 12-11 po-
larity, was the beginning of our ability to be able to enunciate the maya.
In other words, the capacity to be able to create more and more sophisticated
nuances of tone and sound in order to be able to create tonal differentiations for
things. That is, language—to be able to give things names. The moment you begin
that process you begin an accelerated binary evolutionary process that started 85-
90,000 years ago, and 5,000 years ago it suddenly exploded. It exploded with writ-
ing and all kinds of things. It exploded with transcendent thought, all kinds of things
happened.
All of this has been very, very, very fast, and it is a slice in time. That’s all it is. It’s
a slice. It’s what I call the garden theme. For me it’s very clear it’s a convenient
mythology but it’s a suitable mythology. In other words, this last 85-90,000 years,
this is the garden movie, this is the capacity to go out and see the world, not just be
in it. When you think about the Adam and Eve mythos, one of the things to recog-
nize about that mythos is that when you first meet them they’re splenic. They’re
just splenic. They’re like any other mammal. Their ignorance, lack of awareness, or
lack of potential for awareness often has the look of peacefulness and simplicity; just
enjoying being in the world; nothing more, nothing less. Not even being aware that
one is aware that one is enjoying, and so forth and so on.
By the time we’re finished with the story, they are thrust out, the veil is lifted from
their eyes, the analogy to clothing, the veil is dropped from their eyes, the world can
be seen, the corruption of the world can be seen, the beauty, the ugliness, the this,
the that, whatever, and they’re sent on this trail of building up the maya until it gets
to a point of density that it has its own life.
Have you ever noticed that in these science fiction movies, these computer movies
where they program some computer to be very intelligent and all of sudden it takes
on its own life. Suddenly they can no longer control it. One of the things to under-
stand about the expansion of consciousness is that the build-up that took 85-90,000
years of the maya, building the density of the maya that at some point it simply ex-
plodes. And it explodes into the potential we have today, the potential that we share
in this kind of environment where, in fact, we can fulfill the mythos. In other words,

201
we can have the fruit and we can have the tree and we can examine its roots, and
this is the whole pack of cognition.
No Ajna, No Maya
So, for us, as humans, the Ajna binary is and has been both the Holy Grail and the
eternal curse. Everything is a binary. It’s the nature of things. Without the Ajna
there would be no maya. A dog does not experience maya; maya is an intellectual
construct. It does not in any way share the same world that its master shares, it
can’t. The world that we live in is such an intensely deep construct that we make up
and maintain every day. And the very beauty of what this maya has generated for
us, and generated is really the word, the beauty of this maya at the same time we
understand what has happened to us. The fact that we have moved away from the
authority of the Spleen, and that we have dabbled with the authority of mind, what
we now call the not-self, this dabbling with the authority of mind created the world
we lived in, and it also has created a variation of what human can be. And we see
the consequences of that.
In other words, the incorrectness of an awareness that in fact was never intended to
be the survival mechanism and it should be obvious simply by looking at the termi-
nology. In other words, there is no way that mind can maintain your survival, it
cannot. Of course, here lies the dilemma.
So, when we’re dealing with mind we’re

dealing with something very fascinating.
Built into this blueprint here at the tonal
level, what’s built in here is the capacity to
create the maya and the maya is created in
two ways. These two ways are what we can
call left and right. There is a left way and
there is a right way.
The 3rd Tone: Outer Vision
The theme of the 3rd Tone is outer vision.

Remember something about the eyes; they
are receptors, literally receptors. This out-
er vision is the most important action of the
Ajna binary. It is the most important action
of the Ajna binary because it is the action
based on it being a left Tone that aligns the
maya to its survival. In other words, being
able to watch the world, that’s something
to realize, is a capacity that allows us to
survive in the world. The outer vision is

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LESSON TEN
tied to our survival.
It’s very interesting to see that this theme of the 3 and the 4 the way they split from
each other, that they are connected to different principles. And to begin with, when
you’re looking at outer vision, you are looking inherently at logic. What I mean by
that is that you are looking for disruption of patterns.
For example, the dog or cat that you have as a pet does not have very good vision.
What they’re good at is noticing things moving. That’s what they’re good at. So, for
example, if you hold a treat in front of your pet it doesn’t necessarily know where to
get it because it’s not moving. If you wave your hand with it, they will immediately
go for it.
Seeing What Disrupts the Pattern
It’s one of the things to see clearly about our outer vision system, is that our outer
vision is looking not so much at the pattern, but anything that will disrupt the pat-
tern because it is connected to the splenic system and its need to be alert. So, this
Tone, the way in which this Tone fixes, we know that it’s responsible for any left fix-
ing of the Color above. And what it’s really saying to us is that looking out at the
world is something that is enormously important for these beings.
In Rave Psychology I talk a lot about seeing, actually seeing seeing seeing. Seeing is
what cognition is about for humans. It is. This is the goal. This is the ultimate goal.
After all, only human beings achieve cognition through an Ajna binary, it doesn’t ex-
ist in nature other than with us. This is unique ground. It is, therefore, through the
seeing, whether it will be outer or inner and we’ll look at both, but it is through the
seeing that the cognition is achieved. But we well know how distorted seeing can be.
If you have somebody who has a 3rd Tone on the Design side and they’re having
problem with their vision, you know that they’re already incredibly sick, that there’s
something seriously wrong with them. Because within the architectural plans of
what that unique being is intended to differentiate as, that the differentiation is going
to be focused through that outer vision.
Remember, the real gift of outer vision is not seeing what’s in the pattern, but seeing
what breaks the pattern, what doesn’t work. And it’s not always there; it’s periodic.
One of the things that is clear about the way in which we’re designed is that if you
look at the Cross of Life, that is, the Sun/Earth and the North Node/South Node,
you’re looking at the basic infrastructure of the quantum, of the illusion on the sur-
face. You have two things—being and seeing. Seeing is a universal human theme.
We are designed specifically to see in certain ways. And the fulfillment of the Nodes,
both in terms of Design and Personality, is the foundation for true cognition at a hu-
man level. It’s really what it’s all about.

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Two Dilemmas
We have two dilemmas. We have the limitation of the training of the passenger. In
other words, the passenger that is unaware of mechanics is deeply limited. We have
a limitation of the physical plant itself; in other words, the physical brain. Remem-
ber, everything about PHS is about aligning through both digestion and environmen-
tal conditions, aligning one to what is exactly the right information to take from re-
sources in order to perfect the predisposition to differentiate. In order to perfect the
way in which brain is going to function. The perfection of the functioning of brain
opens up the possibility for higher levels of consciousness or awareness in the pas-
senger.
But seeing is something that is exceedingly difficult. It’s why the 3rd and 4th Tones
always presuppose that we’re going to have a problem. In most cases you will see
that 3rd or 4th Tone usually leads to beings that are caught deeply in the not-self
mind. After all, this is the underlying architecture of building the mind with a focus
on the mind itself, and the tool of the mind, which is the vision. Of course, these are
beings under that kind of deep influence that give enormous credence to their not-
self process. They’re convinced that they are in charge of their lives from the mental
plane, and that they know what the world looks like, and that they see things. They
see what’s right and they see what’s wrong. Of course, it’s an enormous lie, because
it’s simply not true.
The moment that you understand Color transference, it is obvious that there are
very, very few human beings on this planet that has any capacity to really see at all.
They take things in. And they have a homogenized interpretation of it. But they are
not seeing liberated from the mental responsibility to control the life. And there is a
hook, and perhaps you can intuit that from what the 3rd Color is about. The fact that
it is this outer vision that is left Tone so that it is influencing the way in which the
individual will think by in some ways mirroring the concerns of the splenic system
and the immune system. But it’s not really, because it’s mind and it is 3rd Tone, it’s
not 2nd or 1st. It just happens to have this commonality of left. What that means is
that the mind is seeded with an illusion that it can look after its survival. Understand
that it’s seeded with that illusion. It can’t; but, the seed is there, because it’s on the
left.
Inner Vision is Not Stable
In the same way that we step over to the other side and we go over to the right
side, the right side is deeply connected in the same way as the left, but not to the
Spleen, but to the Solar Plexus binary. Inner vision is not something that is stable at
all. Inner vision is moving. This is all about the way memory works. Memory is re-
ally a trap, isn’t it? We don’t really remember, do we? What is it exactly that you
remember? You remember bits and pieces of this and that. And even the bits and
pieces of this and that that you remember, do you remember them as they were?

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No. Can you? No. You reconstruct them. You reconstruct them in an unstable, in-
ner vision environment. Details come and go. Moments get elaborated, things get
lost, whole years fly away and dissolve into nothingness, and they’re gone.
It’s not like, yes, it’s true everything that you’ve ever experienced is stored. But the
4th Tone says there is a limit to how you can access it. It’s what inner vision is
about. How do you access stored data? How do you do that? How does that work?
The most interesting thing about it is that everything that we stand on today we
base on yesterday, and we can barely remember any of it. It’s quite interesting
when you think about it.
The 3rd and 4th Tones are operating ultimately in a way that it’s very different than
the other binaries. The other binaries are not split binaries. They’re not intrinsically
related to different things. It’s something so important for us to understand about
mind. Think about the Solar Plexus for a moment. When you look at the splenic
side, the Spleen is all about survival. When you think about it as survival, this is a
commonality in the form principle, obviously. The first priority if you’re going to be
in an evolutionary bio-form program is that you have to get the bio-forms to survive,
reproduce, and that’s the whole splenic game. There are so many different forms on
this planet that operate out of this splenic formula, to be able to survive, to be able
to reproduce, to be able to defend yourself; there is a whole security system, the
whole survival system concentrated, deep.
The Emotional System is What Makes Humans Different
But, that’s not what it is to be human. That’s the thing that makes us so interesting.
We are not just that. And leave alone that we have the evolutionary arc that takes
us into the opening up of the Ajna binary; but think about the Solar Plexus. If you
look at any other form, what you will see is that sexuality, if you can call it that,
however you want to refer to it, the mating, bonding, all of these formulas are at any
level of life is rooted in the Sacral, but not in humans. It’s emotional in humans. It’s
emotional, it’s what makes us different. It operates out of the principle of the emo-
tional wave system.
When you think about the 4th Tone, you have to recognize that the 4th Tone, as a
right tone, is aligned to the pleasure/pain principle, in the same way that the 3rd
Tone is aligned to the splenic survival principle. And again, it’s a trap. The mind
ends up with the illusion that it can survive, and ends up with the illusion that it
knows where to find the pleasure, or how to give the pain, or whatever the case may
be.
The seeds are there out of this left and rightness, and it gives the mind a false em-
powerment. It’s a false empowerment. So, mind ends up being able to look at
these things, it looks out in the world and says, “Oh, that looks dangerous, I’m not
going to go that way.” But it’s not for the mind to make that decision, this periodic,
every-once-in-awhile-you-get-it mind. This is for the concentrated splenic binary.

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But the mind has this seed and it says, “I can see that’s the wrong way to go. I
want to go this way.”
It’s the same thing about memory, this inner vision. The 4th Tone builds into every
being the limitation of what can be accessed from experience. It builds it into every-
one, including at extreme levels like Alzheimer’s. This is all in the 4th Tone.
Mind’s Deep Control over Us
The Importance of Living the Experiment When Involved in PHS
I find that when you think about mind and how mind has such a deep, deep control
over us, how hard it is to break the shell of the not-self, how hard it is to get mind to
see its own dilemma. You can see that this just isn’t something that somehow exists
on the surface; this is something that is bred in us. It is part of what happened to us
when we evolved out of the dominance of the splenic binary into this human con-
struct. It’s temporary, but it’s our world. And it gave mind enormous power to as-
sume its control over things, enormous power.
It’s why the mind is always in deep conflict with splenic beings, much more so, by
the way, than mind with the emotions because the emotions overwhelm the mind.
But the mind has greater power than the Spleen. Mind just says, “Yeah, but I know
what’s good for us,” because it’s left. It says something about left and right fixings,
and how important it is to see that as a kind of generic. When you’re seeing that
somebody is being fixed left, you know that there is this theme of survival that un-
derlines everything. It just does. And when they’re being fixed right then the expe-
rience of being in the world, of being in the flesh, of feeling life, of touching life, this
is the right side.
And mind? Mind sticks its little fingers into both, and not because it’s like either, it
isn’t, that’s the joke. But it’s also the mystery of what these triplicities are all about,
wherever you see them in Design. Whether they’re trigrams, or lower and upper
Colors, or left and right Tones, we’re dealing with these fascinating triplicities. And
it’s this very relationship on either the left or the right that ultimately is how mind
has been able to build its power.
It’s interesting to speculate about the coming Rave mutation, and to recognize that
the opening of the Solar Plexus binary to actual awareness that obviously for Raves
this is going to change in many ways the way in which this whole formula operates.
But for us, the mind juggles what is the emotional field and the survival field and
takes control of them and dictates to the being.
It is built in. It is in the blueprint itself. And here, at the tonal level, is the only
place where you can see why mind has such a hook on us. It’s so deep, because it
has this ability to be able to tune into these aspects and assume authority. This is
what mind does. You know what your mind does the moment that you’ve gone

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through an experience and you did all right, it immediately assumes authority—
“been there, done that, I’m ok, I can handle it, and I’ll do it again.” This is mind as-
suming authority for our survival.
It’s why at the very surface when we’re talking about anyone being involved in the
PHS process, in other words, receiving a diagnoses and recommendation, how essen-
tial it is that they’re operating in the experiment, that they’re following Strategy and
Authority, because there is this overwhelming hook that the mind has. It’s enorm-
ous, everybody knows that. The power of the not-self, and if you want to see the
not-self, you want to see the blueprint of the not-self, it is in the 3rd and the 4th
Tones.
The 3rd Tone Theme: Action
When we’re looking at the 3rd Tone remember

that this theme of action is rather interesting,
because it’s not about doing, it is about taking
in the doing. It’s the difference between pho-
tography and motion pictures. This is a mo-
tion picture receptor system. Remember that
the way in which the 3rd Tone helps the mind
assume responsibility for our survival is that it
is very attuned to things breaking patterns.
And it’s looking for that action of the breaking
of patterns because it’s the breaking of pat-
terns that opens the door to satori. Remem-
ber that we’re dealing with something that is
periodic. Great thoughts don’t come every
moment. They may never come in a being’s
life. Most homogenized beings don’t have
those kinds of experiences.
Pattern Recognition/The Right Eye
So, here you’re taking in pattern recognition. This is the theme. And remember in
looking at this as the architect’s blueprint, recognize that the goal of the architect is
something that is going to be aware; in other words, creating the potential environ-
ment for cognition. And that the key for the 3rd Tone being is pattern recognition, is
seeing and specifically seeing through the right eye. The right eye becomes the do-
minant eye, is the logical eye. It sees the patterns.
But again remember, on the surface when you’re looking at the right eye, the 17th
gate, you’re looking at the eye that looks for patterns. Here, in the blueprint you’re
looking at the eye that’s looking for the disruption of the pattern. That’s what we’re
designed for. It’s not the mundane, not-self version of that, which is looking for pat-

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terns. This is the natural gift to recognize patterns and thus be able to see when the
patterns are broken.
Looking at Your Food When Eating
This is the way that the evolutionary consciousness works. It doesn’t create any-
thing, it is skilled in reaction; the perfection of reaction through pattern recognition.
When you see a fixing in someone’s Color, and you have a fixing that is a 3rd Tone
fixing. For example, let’s say we’re talking about the internal Sun/Earth and you’ve
got a 3rd Tone fixing, it’s one of the things to see very clearly that seeing your food,
as an example, seeing the pattern, the recognition of the pattern, looking at your
food while you take it in, these kinds of things, they’re totally transforming.
It is what the 3rd Tone is for. But there’s something else. We weren’t designed to
live out the 17th gate delusion, that the job is to organize based on the patterns.
That’s what you get through not-self evolution on the surface. But when you begin to
understand the function of the right eye, the process is not one of working on the
recognition—the follower/leader that’s part of the 17—not working on the recognition
at all because the recognition of the pattern is an obvious, it’s a natural, it’s just
there.
Just Watching
What is different is the focus, speaking in logical terms. The focus is on disruption of
pattern, not pattern. It’s all turned upside down by the time that you get to the sur-
face because you have a not-self domain. For the 3rd Tone, the potential is a predis-
position to be able to simply watch, nothing else, watching. It’s one of the most dif-
ficult things for the passenger to do, is to watch. It looks passive; this is ultimately a
passive theme. And yet, it is incredibly dynamic to watch. There’s nothing to do,
after all. One is simply taking in. But there are filters that we have in our neo-
cortex. There are Personality filters and not-self strategies and all kinds of Color
transference and this and that that get in the way, distort the vision. More than
that, absorb the passenger in being concerned—where’s the pattern—and that’s not
the passenger’s concern.
The ideal is the passenger that watches and notices the difference, the changes.
This is the magic that’s there. Yes, searching for errors, it’s correct to align them
together. Yet, at the same time to see that it’s not just about error. It is about see-
ing that you have to be able to be free of the burden of being responsible to see any-
thing for what it really is, and to see anything for how it can really be. And the pas-
senger can only do that when it’s free of the responsibility.
But again, you have to recognize that because we are talking about the infrastruc-
ture of the Ajna and we know that the mind is the enemy, in that sense, because the
mind is the place where the not-self lives, it thrives. The 3rd and 4th Tones, more

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LESSON TEN
than other Tones, lose the purity of their essence by the time they get to the sur-
face. Because the moment that the passenger is absorbed in being responsible for
the life, is the moment that you’re in transference, the moment you’re not working
with the right determination, you’re not going to have the right motivation at the
Personality level, you’re not going to be able to see correctly, you’re ultimately not
going to be able to reach that level of cognition.
Achieving Cognition through Surrender
You know that line about the difficulty of a camel going through the eye of a needle.
How difficult it is to have a defined Ajna and to liberate yourself from the turmoil and
anxiety generated by the not-self. And if you’re somebody that on top of that has a
3rd or 4th Tone underneath the surface, to see how much pressure is placed on the
mental plane, and that it is through the mental plane that you’re there to achieve
cognition and you’re there to achieve cognition in only one way, which is surrender,
there is no other way. And not simply the blind surrender, but the surrender to the
mechanical necessities of what is necessary for you to be able to fulfill your potential.
Every day that I deal with this knowledge, is another day that I am astonished at
what I see as its potential. Being able to align vehicles to their predisposition, being
able to see the radicalization of their form, something that can take place is self-
evident and is something that ultimately is going to align them to what is their pos-
sibility.
I’ve gone through a very long process of looking at consciousness and looking at
what I can achieve as a messenger in terms of raising the consciousness of the hu-
man beings that I have contact with. At first I thought it was intellectual. I was
very aware of the various masters of the 20th century and the way in which they use
language and their description of the maya to try to motivate and inspire.
I had the wonderful serendipity in the early 1980’s to be in a community of people

that had literally searched all over the planet for transcendent awareness. These
were intelligent people and very brave beings in their own way. And yet, it was so
obvious to me the deep, deep limitations that they had to deal with, the fact that
they could not achieve states that they had some fantasy about that were possible,
states of enlightenment and whatever. That they ended up with deteriorating social
lives and all kinds of things that just weren’t part of what they assumed the formula
was. Yet, these were beings that were the bright of the bright. It is clear to me that
when I look at the limitations of my own mind it is obvious to me before my encoun-
ter that despite whatever the IQ I might possess, it certainly wasn’t of anything of
value, because it did not either serve the truth or operate out of the uniqueness of
my authority.
It’s clear to me now at the deepest possible level that this transcendent conscious-
ness is something that is wholly and completely dependent on the form. I say “whol-
ly and completely” and I should be careful with my language. It’s not wholly and

209
completely. There is within the very nature of the form hierarchies of the potential
of differentiated consciousness.
Emergence of the Unique Personality Totally Dependent on the Unique

Form
However, it is all about the form. It is clear to me that the uniqueness of the Perso-
nality that is something that is a dream, is possible through something that is not.
In other words, that the real emergence of the unique Personality is totally depen-
dent on the emergence of the unique form. And that whole question of uniqueness,
like the magic of snowflakes that are never alike, there is this incredible differen-
tiated potential in each of us that can be achieved, this is the promise of the time of
Eden, and this is the promise of the closing of the gates. This is what it’s all about.
It cannot be done unless the form is aligned. It cannot be done unless the experi-
ment is lived. It cannot be done unless the internal and external are in harmony
with one’s predisposition. And I am convinced that in this alone lies the one thing
that escaped me, in a sense, how do you get people past the point of the homoge-
nized limitation. How many times have I tried to explain “no choice” to brains that
are unable to process it? It’s not that they’re not bright. They’re intelligent. It’s not
about that.
There is a neural track they need access to. There is a certain nutrient that they
need, a certain element that they need, a certain this or that that they need in order
that that part of their potential brain function operates, and when that operates cor-
rectly, then the potential of the consciousness. This is the magic. Not to digress,
but it’s important for me to state it. PHS is goddess worship, it’s my goddess wor-
ship. It’s the closest I get to honoring what I call the Mother which is the source of
the knowledge that I received. I was given form knowledge, and I am a form mas-
ter, and this is all about form.
Ultimately now, I truly see that here is the exaltation at the most profound level of
the magic of the form principle, it is magic. The self-reflected consciousness is a de-
light, but it’s an illusion. It is the place between the sparks as the neurons fly in the
brainpan. It’s the gas of the mind. It’s so obvious that this extraordinary tool that
was given to us, this knowledge, is not just about educating the Personality so that it
can grasp the basics of mechanics, but it is about the potential and the gift and the
holy gift that each and every one of us can differentiate completely. Complete the
fulfillment of our uniqueness, not simply act as a Generator, not simply act as an
emotional Generator, not simply act as a split definition emotional Generator, and on
and on and on through profile and line and Color and Tone and Base and cross, and
you name it, to get to that place of the perfection of one’s uniqueness.
It’s not about how you think. It really isn’t. Your mind is limited by its form. And
that the form itself is not dormant. The form is a mutative principle. We are muta-
tive principles. And to understand that the mutation of the physical form is some-

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LESSON TEN
thing that can take place at any time. The scientists love to say that synaptic tracks
at different times in your life get closed down and don’t open up again.
But then again, that is the homogenized view of the way in which brain development
operates. But then all of the beings that are being measured for that are beings that
don’t operate correctly according to the potential of their form, and it starts when
they come out of the womb, being homogenized from the get-go. So, their vehicles,
their brains, they just don’t have a chance. They’re not taking in what is correct for
them; they are not in environments that are correct for them. It’s all in the form.
So, here on the left side, this pattern recognition, this brings the deep visual context
to any Color fixing, it just brings it. And yet how important it is for these beings to
understand that because they are designed to reach cognition through their minds,
and it’s not contrary to their authority, to reach cognition through their mind means
that they must surrender mind’s mundane not-self authority, otherwise, it can’t hap-
pen.
So, whenever you see somebody, particularly when you’re dealing with the internal
and you see you have either a 3rd or 4th Tone, you have to understand something. It
is only when you are liberated from mental decision making that you even have a
chance to fulfill the cognition potential that is there in you. And that if you’re not
operating correctly, you can imagine how distorted the way in which you see is ac-
tually going to be.
The 4th Tone: Inner Vision
Now, we can take a deeper look at the 4th Tone. The 4th Tone for me is one of those
aspects that carry with it quite a story and its own mysteries. Think about the lan-
guage here, we’re talking about inner vision. It’s one of the things to see about
what inner vision is all about. It’s not about
seeing, it’s about reconstructing data. It
makes it very odd in the way it operates.
Visually Taking in Only Certain Things
In other words, think about abstract seeing,

you’re watching the experiential. In that ab-
stract seeing, in fact, you’re not really seeing
very much while you’re participating in it. As
a matter of fact, your focus—it really wouldn’t
be a focus—you would simply have a very
narrow existential spectrum in terms of your
seeing. Yet, the real capacity of the 4th Tone is not about being alert in the sense of
being left, being 3rd Tone and connected to splenic survival, but not being alert at all,
as a matter of fact. How can I phrase this? What the 4th Tone does is it selects im-

211
age bits, image segments, visual segments from any experience and it’s the visual
segments that it stores.
Now, the visual segments are sort of like writing a sentence without conjunctions or
anything in between. It takes out things, and it takes out things that are filler—the
thing between this and that. It takes them out. Because it takes them out, when
it’s taking anything in, it is only taking in the components and there are things left
out.
For example, you have the problems of the translation of the Qumran Scrolls, the
Dead Sea Scrolls, and the dilemma was very simple. The ancient Aramaic languages
all used power points. That is, you can still see that in some modern languages like
German or French where you have these power points that change the way in which
a word is pronounced.
If you don’t know what the points are, or if you don’t know where the points go, it’s
like you have the letters G and D but you don’t know whether it’s God or gad or gid
or good or whatever the case may be. So this is the way in which the 4th Tone de-
signs our mind to take in information to reach cognition. Remember, the goal is to
reach cognition. It’s not like this is a handicap or a problem, it’s only a problem
when you relate it to the not-self and the way in which the not-self mind operates.
Re-Seeing
But in terms of Design it’s a really interesting design. In other words, the 4th Tone
designs us to visually only take in certain things from any experience. It just does.
Not only that, when we take it in, then we go through this process because this is
what the 4th Tone brings to us, is it brings us this process of re-seeing. And re-
seeing is a dilemma. You know what that’s like when you’ve had a very bad expe-
rience, an emotionally trying experience, you’re very upset with somebody, whatever
the case may be. This is where the 4th Tone—remember, the 3rd and 4th Tones are
very tricky because they give the mind access and illusion of authority because they
tap into these other awareness areas.
Of course, inner vision taps into the Solar Plexus binary. How easy it is for the mind
to bring into mind this distorted memory of an experience. Would you remember the
look on their face, the snarl in a moment, whatever the case may be, you do not re-
member the experience. You don’t. Yet, what you do remember sets off all kinds of
fireworks because it’s directly connected to the Solar Plexus, deep, deep underneath.
It’s inner vision.
The 4th Tone Keynote: Meditation
It’s interesting this keynote of meditation. The meditation is actually something that
is very active as a principle. Basically what it requires is this periodic review of

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LESSON TEN
memory. And anyone that has a 4th Tone is going to end up with a kind of mind in
which things roll around, periodically they show up to be assessed again.
It’s interesting because every time that the mind receives, it changes what it’s see-
ing. It changes it, it evolves, and change isn’t quite the word. Some things become
more highlighted. You know what that’s like, every single human being has their
kind of pat introductions about who they are or the way they describe themselves to
the other. Every human being has that story that they’ll always share with you at
some point or another in their intimacy with you.
Like all of us as human beings, because we are gregarious and because it is part of
our collective principle to share, we tell these stories, the ones that are dynamic
enough in our process, we tell them over and over again. And yet, every time that
we tell them we are retelling them. We are making them up anew. And we are bor-
rowing from what are samplings of that story that in fact after many retellings that
the mind is actually remembering a retelling, rather than the original. And it even-
tually becomes—it doesn’t have to be terribly distorted from the original, but it cer-
tainly isn’t anything like it. And there are so many things that are not there.
The Left Eye/Differentiation Recognition
Now think; this is the path to cognition. So exactly how does that work? When we
look at the left side we saw how important it was to see not the pattern, but anoma-
lies in the pattern. Here you can see that the left eye is all about differentiation.
The differentiation is rooted to experience. One of the things about 4th Tone beings
is what they actually remember are new experiences. Everything else is ancillary,
everything else gets layered on top of it.
But it is this potential to remember the experience that is the pathway to cognition.
But it’s not remembering the experience in order to do something about it. This is
the dilemma again. The dilemma is whether or not mind is the authority. As long as
mind is not the authority, as long as the being is operating out of what is correct for
them, as long as mind isn’t responsible for the moment-by-moment burden of deci-
sion making, then it’s possible to retell the experience, and that in and of itself be-
comes an inspiration, becomes one of those incredible moments of cognition.
The 4th Tone is the root of our fantasy. It is the root of making things up. And I
don’t mean that in the sense of making lies or maliciously inventing things. It’s
about understanding a basic principle of mind. The basic principle of mind is that it
will manipulate reality and ultimately that manipulation can be concretized.
The Eron
I think it’s so interesting, in my gray courses I have taught over the years about the
Eron, that is, what will be our eventual vehicle, which will not be a bio-form because

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eating is a problem. Eating is an enormous problem. That’s why PHS is so impor-

tant because it tackles one of the most essential things for human beings to be
aligned to, which is what they take into their form because it means everything for
them. Obviously, eating is a problem because it leads to killing and all kinds of
things. Eating is socially unacceptable, but what to do. We have to live with our li-
mitations.
But when you think about the potential of the Eron and you think about something
that is non-bio, and you think about a form that can be conscious in that way, you
can also see that in the very evolution of the human form is the potential of the by-
product, self-reflected consciousness, to enhance the potential of the evolution of
form. It is something that is really remarkable. This ability to be able to retell the
experience—re-see it because it’s really a re-seeing of the experience—in that very
re-seeing can be a transformation of the way in which anything operates or works. It
can be the great idea. It can be the extraordinary moment of clarity, whatever you
want to call it.
In order for the 4th Tone to be able to operate correctly there is no chance for this if
the being on the surface isn’t in their experiment. I cannot emphasize enough over
and over again, endlessly emphasize, that this is about Strategy and Authority. And
that Strategy and Authority open the door to the fine-tuning of what’s possible. Be-
cause this is what it is, this is all fine-tuning. As a matter of fact, for adults it can
never ultimately be 100% complete. Children can truly be tuned. We can have gen-
erations and generations of humans coming into this plane with expanded conscious-
ness simply by being naturally what is correct, fed correctly, living in the correct en-
vironments, operating correctly according to their strategy.
The 3rd and 4th Tones Enrich Mind with Powers of Cognition through Seeing
So, we have a dilemma with the 3rd and 4th Tones is that they enrich the mind with
great powers, powers of cognition through seeing. And yet, the very gift that they
endow us with, which is to be aware on the mental plane, is the most difficult of all
to reach. It’s periodic, after all. It’s not concentrated. The Spleen, if that is what
it’s all about for you at the tonal level, it’s always there to be accessed, whether
you’re defined or not on the surface, it’s always there. It’s concentrated. But this is
not. This can be that period in your process, within the larger period that’s been
made available to us as a specie, to really get it right.
So, when you see a client is going to have either the 3rd or the 4th Tone, and particu-
larly 3rd or 4th Tone related to the internal, because this is very specific, then to un-
derstand the dilemma for them, how much focus has to be given to removing inner
authority from their mind, getting them directly into the experiment because if they
don’t get directly into the experiment it will not be possible. Because ultimately in
the way in which they are designed at the architectural level is that they are de-
signed to achieve cognition through mind and when that’s bastardized by the not-self
this is the arrogance of mind to maintain its vanity. And quite frankly, 3rd and 4th

214
LESSON TEN
Tones, at the internal level, have been defining the mental plane for tens of thou-
sands of years, and not in a positive way.
Yes, they have given us our civilization. Yes, they have given us the world that
we’re in, but so what. There is no “what ifs” when it comes to the past. It’s not like
I could say, “Well, what would it be like if…” because we have no way of seeing it.
But the fact that this is where we have gotten to through the not-self doesn’t mean
that there’s anything about it that’s correct; anything about it that’s correct.
We truly do not know. We can’t. There is not yet enough individual authority on this
plane now to even begin to express what the possibility is. What the possibility is for
human beings to be able to operate correctly as themselves and with the other, and
to operate according to their own authority. And to operate in a way that is biologi-
cally and chemically perfect for them. We can’t imagine that. Not only can we not
imagine that, it had never been a possibility before.
The End of a Process
This is the end of a process, not the beginning. That’s something to grasp. This is
the end of a process. We are at a point where the potential of mind and its vision,
this is its peak. It’s never going to be greater than what it is now. And the opportun-
ities to see are never going to be greater than they are now. This is the end of the
process. The ultimate victory at the end of the process is what?—differentiation rec-
ognition.
Nothing more extraordinary than to meet the other and the other is not at all like
you. And to see in that bond with the other the potential of a transcendent aware-
ness. Because after all, we do not know our world, and cannot know our world until
we’re all expressing our uniqueness. So, this is the end of something. And it means
at this point in the way in which things works that the fractal lines open up and there
are certain forces that end up with the opportunity of being able to fulfill the poten-
tial of form in this time.
3rd Tone: Seeing the World as it Appears in the Maya
4th Tone: Seeing the World That Could be the Maya
This is the medium. Look for the 3rd and 4th Tones at the internal level, you’re al-
ways going to see over and over again how strong the minds are of these beings,
and what a challenge it is because when you take the authority away from that kind
of mind, the way it’s rooted deep underneath, how liberating that will be for that
mind. And then we can get to see what we really get to see. To see the world as it
appears in the maya—the 3rd Tone gift. And to see the world that could be the
maya, or a maya—that’s the 4th Tone gift.

215
Transcendent Consciousness
Tones are so beautiful for me. I see how everything that ultimately is on the surface
in the bodygraph is born here at the tonal level, all of the potential. And most im-
portantly for us to understand within the metaphor that I’ve been using, this Eden
metaphor, is that cognition is what it’s about, every Tone lays an infrastructure for
us to reach a place of perfected unique awareness. It’s always there. That potential
is always there. It is the only goal. For me the most remarkable thing about the na-
ture of what it is to be, is to understand that we are only here to be conscious, noth-
ing else. That’s the goal—cognition—and within this context, the potential for, at
least within our variation of the form principle, our perfection of transcendent con-
sciousness.
Transcendent consciousness is not something that is special. It’s what you would
describe the consciousness of anyone who is operating correctly, quite frankly, be-
cause the moment that you’re operating out of your own authority, this is an expres-
sion of consciousness that is unique. This is the goal. This is why we are here. The
beauty of all of this, the beauty of the knowledge is that it gives us a chance to really
see how significant our lives are. Your lives are of value. They truly are. It is not an
accident that we are here. Ask Jovian’s programmer, he’ll tell you. The program
takes great care in making sure that we’re this and that. There is this enormous
program that’s laid out for us so that we do have this extraordinary potential to diffe-
rentiate.
Here is our time. And all of us in this program, I think more than anything that there
is or has been on this plane, that we have something that is truly of service to those
that are here at the end of this process and ready for their reward, because that’s
what it is. You might as well get the gold watch; it’s part of the fun of doing your
time and getting it right.
~The End of PHS Year 1 Semester 2~

216

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PRIMARY HEALTH SYSTEM

PHS Practitioner Program

Year 1, Semester 2 Lectures

Determination & Healing

International Human Design School

PHS is a certificate program of the (IHDS) International Human Design School

Lesson One ..................................................................................... 1

Lesson Two ....................................................................................23

PHS is a certificate program of the (IHDS) International Human Design School

Guides for Mothers/Preventive Knowledge ....................................... 39

Lesson Three .................................................................................43

Lesson Four ...................................................................................63

PHS is a certificate program of the (IHDS) International Human Design School

The Nervous Circumstance ............................................................ 68

Lesson Five ....................................................................................83

PHS is a certificate program of the (IHDS) International Human Design School

Lesson Six ................................................................................... 105

Lesson Seven ............................................................................... 127

PHS is a certificate program of the (IHDS) International Human Design School

PHS is a certificate program of the (IHDS) International Human Design School

External 1.4 Blending ................................................................. 153

Lesson Eight ................................................................................ 157

PHS is a certificate program of the (IHDS) International Human Design School

Lesson Nine ................................................................................. 179

Lesson Ten................................................................................... 199

PHS is a certificate program of the (IHDS) International Human Design School

The Emotional System is What Makes Humans Different .................. 205

PHS is a certificate program of the (IHDS) International Human Design School

The IHDS PHS Practitioner Certification Program Year 1

PHS is a certificate program of the (IHDS) International Human Design School

PHS is a certificate program of the (IHDS) International Human Design School

Internal and External Determination

The Terminology of Design Color

PHS is a certificate program of the (IHDS) International Human Design School

This is the binary, the mirror to the Personality understanding of uniqueness. In

So, we have determination. And

PHS is a certificate program of the (IHDS) International Human Design School

Then we have external determination. In external determination we have its binary

Determination, the genetic predisposition to form differentiation, and this is as spiri-

PHS is a certificate program of the (IHDS) International Human Design School

The Inner Architecture of the Crystal

What we’re talking about is the

PHS is a certificate program of the (IHDS) International Human Design School

The Color/Tone Chain Schematic

We have our six

PHS is a certificate program of the (IHDS) International Human Design School

PHS is a certificate program of the (IHDS) International Human Design School

The 1st Determination: Appetite

But what I want you to see in this

So, let’s think about that for a mo-

PHS is a certificate program of the (IHDS) International Human Design School

PHS is a certificate program of the (IHDS) International Human Design School

PHS is a certificate program of the (IHDS) International Human Design School

The Importance of Experimenting with the Design

PHS is a certificate program of the (IHDS) International Human Design School

Realigning People to Their Predisposition

The Conditioning of the Internal and External

PHS is a certificate program of the (IHDS) International Human Design School

PHS is a certificate program of the (IHDS) International Human Design School

PHS is a certificate program of the (IHDS) International Human Design School

Of course, that ultimately

PHS is a certificate program of the (IHDS) International Human Design School

PHS is a certificate program of the (IHDS) International Human Design School