The Law of One Search Results for ‘architects square’

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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.

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.

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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