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8.10 Questioner: What is the maximum speed of one of these craft?
Ra: I am Ra. The maximum speed of these craft is equal to the Earth energy squared. This field varies. The limit is approximately one-half the light speed, as you would call it. This is due to imperfections in design.
7.5 Questioner: What would be the result of this calculation?
Ra: [24-second pause] The result is difficult to transmit. It is one thousand and twelve [1,012], approximately. The entities who call are sometimes not totally unified in their calling and, thus, the squaring is slightly less. Thus, there is a statistical loss over a period of call. However, perhaps you may see by this statistically corrected information the squaring mechanism.
93.8 Questioner: There seems to be no large hint of polarity in this drawing except for the possible coloration of the many cups in the wheel. Part of them are colored black and part of the cup is white. Would this indicate that each experience has within it a possible negative or positive use of that experience that is randomly generated by this seeming wheel of fortune?
Ra: I am Ra. Your supposition is thoughtful. However, it is based upon an addition to the concept complex which is astrological in origin. Therefore, we request that you retain the concept of polarity but release the cups from their strictured form. The element you deal with is not in motion in its original form but is indeed the abiding sun which, from the spirit, shines in protection over all catalyst available from the beginning of complexity to the discerning mind/body/spirit complex.
Indeed you may, rather, find polarity expressed, firstly, by the many opportunities offered in the material illusion which is imaged by the not-white and not-dark square upon which the entity of the image is seated, secondly, upon the position of that seated entity. It does not meet opportunity straight on but glances off to one side or another. In the image you will note a suggestion that the offering of the illusion will often seem to suggest the opportunities lying upon the left-hand path or, as you might refer to it more simply, the service-to-self path. This is a portion of the nature of the Catalyst of the Mind.
94.16 Questioner: Experience is seated on the square of the material illusion which is colored much darker than in Card Number Three. However, there is a cat inside this. I am guessing that as experience is gained the second-density nature of the illusion is understood and the negative and positive aspects are separated. Would Ra comment on this?
Ra: I am Ra. This interpretation varies markedly from Ra’s intention. We direct the attention to the cultural meaning of the great cat which guards. What, O student, does it guard? And with what oriflamme* does it lighten that darkness of manifestation? The polarities are, indeed, present; the separation nonexistent except through the sifting which is the result of cumulative experience. Other impressions were intended by this configuration of the seated image with its milk-white leg and its pointed foot.
94.18 Questioner: In Card Three the feet of the female entity are upon the unstable platform, signifying dual polarity by its color. In Card Four one foot, pointed, indicates that if the male entity stands on the toe it would be carefully balanced. The other foot is pointed to the left. Would Ra comment on my observation that if the entity stands on this foot it will be very, very carefully balanced?
Ra: I am Ra. This is an important perception, for it is a key to not only this concept complex but to others as well. You may see the T-square which, at times riven* as is one foot from secure fundament by the nature of experience yet still by this same nature of experience, is carefully, precisely, and architecturally placed in the foundation of this concept complex and, indeed, in the archetypical mind complex. Experience* has the nature of more effectively and poignantly expressing the architecture of experience, both the fragility of structure and the surety of structure.
95.15 Questioner: In order to make this funnel of garlic cloves, would a wire framework such as chicken wire which has a small inch-square mesh or something like that shaped into a cone with the garlic attached to it all around it, and with the small end toward the house and the open end away from it, strung between two poles. Would that be appropriate or must the wind blow it more than that?
Ra: I am Ra. That is appropriate. You see in this case the center of the negativity is as described, but there will be a general cleansing of the dwelling and its acreage by this means. One action you might take in order to improve the efficacy of the cleansing of the environment is the walking of the perimeter with the opened clove in hand, swinging the clove. No words need be said unless each wishes to silently or verbally speak those words given for garlic previously.
103.11 Questioner: Would Ra comment on that?
Ra: I am Ra. The use of the tau* and the architect’s square is indeed intended to suggest the proximity of the space/time of the Great Way’s environment to time/space. We find this observation most perceptive.
The entire mood, shall we say, of the Great Way is indeed dependent upon its notable difference from the Significator. The Significator is the significant self, to a great extent but not entirely influenced by the lowering of the veil.
The Great Way of the Mind, the Body, or the Spirit draws the environment which has been the new architecture caused by the veiling process and, thusly, dipped in the great, limitless current of time/space.
103.14 Questioner: The bent left leg of the two sphinxes indicate[s] a transformation that occurs on the left that doesn’t on the right, possibly an inability in that position to move. Does this have any merit?
Ra: I am Ra. The observation has merit in that it may serve as the obverse of the connotation intended. The position is intended to show two items, one of which is the dual possibilities of the time-full characters there drawn.
The resting is possible in time, as is the progress. If a mixture is attempted, the upright, moving leg will be greatly hampered by the leg that is bent. The other meaning has to do with the same right angle, with its architectural squareness, as the device upon the breast of the actor.
Time/space is close in this concept complex, brought close due to the veiling process and its efficaciousness in producing actors who wish to use the resources of the mind in order to evolve.
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