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56.7 Questioner: Then I assume if I start my angle at the bottom of the Queen’s Chamber and make a 33 to 54° angle from that point, so that half of that angle falls on the side of the centerline the King’s Chamber is on, that will indicate the diffusion of the spectrum, starting from the point at the bottom of the Queen’s Chamber; let’s say, if we were using a 40° angle, we would have a 20° diffusion to the left of the centerline, passing through the King’s Chamber. Is that correct?
Ra: I am Ra. This will be the last full question of this session. It is correct that half of the aforementioned angle passes through the King’s Chamber position. It is incorrect to assume that the Queen’s Chamber is the foundation of the angle. The angle will begin somewhere between the Queen’s Chamber position and thence downward towards the level of the resonating chamber, off-set for the healing work.
This variation is dependent upon various magnetic fluxes of the planet. The King’s Chamber position is designed to intersect the strongest spiral of the energy flow regardless of where the angle begins. However, as it passes through the Queen Chamber position, this spiraling energy is always centered and at its strongest point.
May we answer any brief queries at this time?
59.12 Questioner: Could I assume then that from all points in space light radiates in our illusion outward in a 360° solid angle and this scoop shape with the pyramid then creates the coherence to this radiation as a focusing mechanism? Is this correct?
Ra: I am Ra. This is precisely correct.
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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