 Hello everybody. Welcome to part eight of our reading of the Hathor material by Tom Kenyon. We are actually starting today on part eight with section two, which is called Geometry of Consciousness. Section 2.1 Personal Encounters, a note to the reader. This section contains primitive sketches by the author to help readers conceptualize the various geometric patterns and additional benefit to these rudimentary drawings is that they should eradicate any art shame you may possibly have regarding a lack of artistic ability. The Hathor say that we live in a complex multi-dimensional universe and that we, like they, are multi-dimensional beings as well. They insist that our experience of being human, i.e. a human primitive with a physical body, is only one facet of our vast multi-dimensional reality. And so Shanti from Aquarius Rising Africa actually speaks about this, that the soul that we have lives in about 99 different dimensions and part of our soul has to be here in a three-dimensional body, a very heavy primitive body. So think about that. Part of our soul is anchored here in this very heavy density while our soul is also living in 99 other dimensions, wild, right? Wild. While our biological and social lives are defined by time, place, and circumstances, there are other aspects of ourselves that transcend our third-dimensional reality. And the only reason we don't experience this vastness of our nature is because we have been conditioned not to. Early in our encounters, my mentors begin to instruct me in a body of information they called the Geometry of Consciousness. It was, according to them, a description of how to use certain specific geometric patterns to affect human consciousness in profound ways. Specifically, the Geometrics could open the door of perception so that one could sense or experience his or her multi-dimensional directly, not as an idea, mind you, but as a direct experience. And I speak about sacred geometry all the time through my yoga practice, because the Ashtanga practice goes on account of grid systems. So starting at some CTH at point zero, and then drawing the lines, like to Aikam inhale, that's the first fannyasa. So Aikam is one, do we exhale, drawing the lines down to a forward fold, that's two, treating, inhale, head up, that's lengthen, lengthen in the spine, drawing a line out, then twaddy exhale, jumping back, drawing a line back, punch, inhale, up dog, curving a line up, and shot, exhale, down dog, curving a line back. And we look at even the yoga practice, our old spiritual practices, the body, the micro is mirroring the macro, making geometric shapes with the body that match the geometrics of our world. And also looking at things like the flower of life, the geometry that lives in the flower of life itself, we are all part of these geometric patterns. Direct experience of multi-dimensionality, according to them, improves overall brain function. Not only this, but they claim that it will improve the quality and general level of intelligence, as well as increase creativity and occurrence of non-ordinary insight, meaning new patterns of perceiving situations. They also say that when brain performance increases as a result of engaging these geometries, a sense of emotional wellness also increases. The very first geometry they gave me was a very simple one, which strangely enough was geometry I had already had a little bit of experience with. The horse and the figure eight. Many years previous to my first Hathor encounter, a client and I were wrapping up our work together after a few months of counseling. She asked me out of the blue if I would consider doing some therapy with her horse. I stammered something about not being a horse therapist when she explained her odd request. I knew that she was a very successful business woman, but I did not know that she was also an accomplished equestrian. She had evidently won numerous awards for show jumping. About a year earlier, she had purchased a thoroughbred stallion because he was a great jumper. She had won several blue ribbons with this horse and then for some unknown reason, he lost his edge and his nerve. Now when he approached to jump, he would back down, not only this, but his handlers at the stable where he was boarded said he was jittery much of the time. Sounds familiar sounds like me. It seemed like a case of equine neurosis to me and I once again informed my client that I had no background in working with horses. She said she knew that, but she thought I could somehow help her horse. I said it would drop by to see her horse out of sheer curiosity. Now this is not just a professional challenge to me. It was a personal one and the reason for this was due to the fact the horses make me nervous. My skittishness around horses traced back to an incident when I was 13. I was in full throws of puberty and my cousin Linda took me for my first horseback ride. As an accomplished equestrian herself, she showed me how to hold the reins and how to control the horse by pulling the reins in various directions. I felt a bit nervous being so high off the ground as our two horses started to trot across the pasture. Then my horse got very agitated. I think a horse fly actually bit him on the rock and he started into a full gallop. Startled, I dropped the reins and held onto the horn of my western saddle for dear life. One time when I was on horseback in Colorado in the summertime, my saddle, I was a kid. My saddle wasn't positioned properly on the horse and the saddle kept tilting to the side. And I literally as a little kid, like 12 year old, like my game, I just fell right up the horse. My parents were so concerned, but I was fine. I thought it was funny. I just very slow motion just slid right off the horse, going up a steep hill on the Rocky Mountains. Then I saw to my utter horror that my horse was galloping straight to the deep ravine. I knew in my gut if my horse got to the edge of the chasm, he would come to a dead stop and I would keep on going off the saddle onto the ground or worse into the gulch. It was then I saw my cousin suddenly transform herself from a mild manner teenager into Annie Oakley, one of the heroine's sharpshooters and horse handlers from the 1800s. Slapping the sides of her horse with her reins, Annie, aka Linda, bellowed, Haya, Haya. It was straight out of a B grade western cowboy and Indians movie, except instead of the dude rescuing the lassie, the girl was rescuing the dude. I was humiliated and terrified and I don't honestly recall which I dreaded most, the physical danger of the situation or the humiliation. Pulling up beside me and then past me, she reached down and grabbed my reins. She yanked them back and yelled, whoa, whoa. My horse pulled against the reins when my cousin kept the reins steady and he came to a sudden stop, inches it seemed, from the edge of the ravine. We walked our horses back to the stable and I recall trying to grasp onto the last shred of my budding manhood by walking like a cowboy or what I thought a cowboy might possibly walk like. An idea I had no doubt extracted from watching too many John Wayne movies. It was a beautiful autumn afternoon as I drove up to the stables where my client and horse were waiting. As I parked my car near the barn, I marveled at the strange wonder of the psychological imprints of how the singular event when I was 13 still affected my attitude toward horses some 25 years later. Walking toward the barn I was greeted by my client. She said her horse was in the barn and she would have him brought out. Pointing to a large Vincent area, she said for me to wait there. I posted myself by the empty corral and waited. A few minutes later, my client, her horse and his handler came out of the barn and they led the horse into the corral. After the handler closed the gate behind them, my client led her horse over to me. This horse was huge and just the sight of him made me a bit skittish. My client guided the horse up to the fence and he stuck his big white head in my face. His face was so big it engulfed my entire field of vision. He looked at me and it shook his head. So what do we do asked my client. Have a walk around the corral I said. I was biting time. I really had no idea what to do but I had learned to then to just trust intuition. I just needed some time for it to pre-locate up into my conscious awareness. As I watched the horse walking seemingly without any problem, I recalled the figure eight as it was used in certain types of kinetic learning methods. This popular geometrical pattern has an unusual effect when it is engaged through movement. It theoretically creates a neurological response called crossing the midline, meaning that it stimulates the corpus callusum, a thick band of nerve fibers that connect the right and left sebral hemispheres. When we are stressed, crossing the midline can improve brain function and performance. But this was used with people, not horses. How on earth could you get a horse to move in a way that he would not cross his midline? I asked my client to slowly lead her horse through a figure eight patterning sensing that something would emerge from this. The stallion did find walking through the first figure eight until he got to a particular point in the pattern. Whenever he got to this location in the eight, he would shiver, look down and try to pull out of the eight pattern. My client excitedly explained, that's just what he does now when he faces a jump. Barely believing my eyes, I asked my client to guide her horse through the figure eight several times. Every time, without exception, the horse would shiver, look down and do his best to pull out of the geometric pattern. I then asked my client to comfort him just before he entered the problematic area of the figure eight. I asked her to stroke his head and tell him something comforting in a soothing voice whenever he walked through this part of the pattern. After a few passes through the figure eight and my client comforting him through the difficult passage of pattern, the horse stopped shivering. After a few more passes, the horse stopped looking down. And as incredible as it sounds, after just a few more passes, the horse was able to walk the figure eight without any glitches. I said she should take her horse for a jump to see if this had resolved the issue and sure enough, she and the horse jumped a hurdle with the greatest of ease. My client was elated. I was intrigued by the simple geometry's ability to affect the behavior of a horse. My client thanked me and then she and the horse's handler started to lead the horse back to its stable. It was then the most extraordinary thing happened. The horse reared up on its back legs and pulled himself loose from his handler. He trotted over to the corral where I was standing and jumped the fence back into the corral. He then walked right up to me, put his giant head over the top rung of the fence and looked into my eyes. I then had the oddest sensation. I felt the horse was trying to communicate with me. I shook off the weird feeling thinking this is insane. People just don't talk to horses and horses don't talk to people. Still the feeling continued and it seemed like the horse was trying to thank me. It was truly one of the oddest experiences of my life. There were no words, just feelings and they seemed to be coming from the horse. I was trying to mentally get a handle on this when the horse nudged me with his nose. I looked into the horse's eyes and he nudged me again. What do you want? I asked loud. The horse nudged me again and then I got it. He was asking me to come back. I said okay, okay, I'll come back for a visit and with that the horse gently nudged me in the area of my heart chakra and trotted back to his astonished handler and my client. A week or so later I returned to the stable. I wondered what the horse might say or do as I pulled up to the barn. My client and a horse came out of the barn. There was no need for a handle now since the horse was no longer neurotic and it was back to his old ribbon-winning self. The horse walked right up to me and looked me in the eyes. That strange stream of feelings started up again. Thanks for coming, he said. I mean that's just a good for people who don't think that animals have souls. That's ridiculous. Animals absolutely have souls and they absolutely communicate with us for sure 100%. And this figure eight patterning also kind of reminds me of what happens in EMDR therapy which is something that I've gone through myself and I've spoken about on my channel. I know a lot of the viewers have gone through EMDR therapy but you actually with your eyes they have you watch specific patterns so it crosses specific neurological patternings in the brain to get the brain to release anxiety. So it's interesting that that very much reminds me of what they do in EMDR therapy. So if that's something you're interested in especially if you've been through trauma I would definitely recommend looking that up in your area and finding a therapist who specializes in EMDR. The girl who couldn't wake up. My second experience with the ability of geometry to change behavior occurred during one of the most bizarre interventions of my career. I had received a panicky phone call from a mother who had been referred to me by another mental health professional. She explained that her 14-year-old daughter had gone to bed seemingly fine but had been unable to wake up fully the next morning. I asked her daughter if she was able to hear and respond to her. She said she was but her physical responses were very slow when she was still unable to speak. I said that I would see them during my lunch hour that day and wondered what on earth I would be facing when they arrived at my office. Upon entering the therapy room I noticed that her daughter seemed to be in a semi-comatose state. Her eyes were barely open and she was hunched over. She was nonverbal and also shielded from bright light. I closed the blinds to the afternoon sun and this seemed to make her more comfortable. That kind of happens to me when I ask for travel actually. When I come back into my body it takes me a while to actually come totally back into my body. It feels like you're kind of half awake and everything's running a little bit slow and the body feels very heavy and it's kind of hard to respond to people when they're speaking to you. She was sitting in a chair next to her mother. I began to ask her mother various questions about her daughter's situation at home, at school and so on, but my attention was also on her daughter to see if she responded in any way to what her mother was saying. Having revealed nothing in response to my question of her or her mother's awareness I asked her if she would try walking around my office. She nodded her head and slowly got up from the chair. I walked next to her matching her bodily posture and rhythm of walking. This was a matching technique I had gleaned from work of Milton Erickson who had accomplished wonders by matching his patient's realities. I began to have her make sounds that matched how she felt as she continued to walk around my office. I matched the sounds she made and continued to match her posture and the rhythm of her walking. My strategy here was to bring her out of her altered state of consciousness by engaging other areas of her brain, namely her acoustic and motor areas. I didn't know what had caused her to enter such an altered state of body and mind, but if I could bring her out of it, I could speak with her and perhaps help her resolve the issues behind her bizarre behavior. If that didn't work, she would have to be hospitalized. I continued matching her sounds and movements as I searched my mind for possible psychiatric referral. Suddenly I had the idea to have her walk through a figure eight patterning and I guided her through this geometry into my office much like I had done in the horse I mentioned earlier. She didn't show any signs of difficulty as she walked the pattern, but miraculously she began to walk more upright and her eyes open fully. After a few minutes of this, I asked her how it felt to be walking through this pattern and I fully expected a non-verbal response, but she said, good. With that verbalization, she began clearly to come out of her altered state. I guided her back to the chair and asked her a ton of questions, which required her to self-reflect on the experience. This process of verbalization helped me to ascertain if she was in a fully associated state of awareness before bringing the sensation to a close. A week later, we met again, the mother and her daughter. The strange behavior had not returned and the 14-year-old girl in my office seemed to be a normal, well-adjusted teenager. From our ensuing conversation, it had been clear that she had been under a lot of stress adjusting to a new school and the stress may have precipitated her semi-cosmato state. The night before the strange incident, she had an unusually stunning and lucid dream. It could have very well been stressed for her, but that sounds to me like astrotravel. Honestly, in my opinion, that's what that sounds like is astrotravel and the next time this happens to me, I'm actually going to try to do the figure eight patterning just if I can walk it to see if I can bring all my motor skills back. It's frustrating because if you have the ability to astrotravel, which we all have the ability to astrotravel, I didn't even know I was astrotraveling until not too long ago. That's what was happening to me. Now that I know what it is, I can take more control over it, although I don't have that much control over it. It can be very traumatic when you're able to do that and you don't actually know what it is or what's happening to you at that time. So very interesting, but lucid dreaming, that's a well, I don't even think it's lucid dreaming. I think it's actually you're in a different reality. You left your physical body and you're experiencing another reality where your soul is. As I said earlier, soul lives on so many different multi-dimensional layers that you're actually leaving and going to another one. You're traveling beyond the beams of your physical body. So here's her dream. In the dream, she found a milky white stairway that led up into the clouds. As she walked up the staircase into the sky, she encountered a woman with long golden hair who welcomed her home. The girl that sat on a cloud and looked down at her house in the earth below her. I've had that as well, where I've looked down at the world below me. Stars filled the sky all around her and she was very happy and quite content to just float on her cloud far above the cares of the world. At some point in her dream, she sensed that Dawn was approaching. She looked down and saw her body, which was asleep in her bed. Yes, she was asked for traveling and she would could clearly see the first light of the morning through the frilly curtains of her bedroom window. She was also at the same time aware of being asleep in her bed and being in a dream. Her last thought before waking up into a semi-cosmetic state was that she didn't want to go back down the staircase. As a therapist, there were several things that struck me about her dream. Some of them having to do with the classic nature of her dreamy imagery, but one of my greatest quandaries was the effect of having her walk through the figure eight pattern. How had that simple geometry been so effective? Enter dimensional consciousness training. We now shift our focus of time some 10 years later when the Hathors began teaching me the geometry of consciousness, both as a theoretical system and as a practical method for improving brain function and enhancing consciousness. I will go into the theoretical aspect of this a little bit later, trusting that you will find it as fascinating as I did. But for now, I would like to focus I would like to focus on the practical part of their information. In order to clarify these two bodies of information, I will refer to the theoretical part as the geometry of consciousness and the practical method that came out of it as the interdimensional consciousness training. The Hathors gave me three fundamental geometric patterns to work with, and then meticulously guided me in the subtleties of how to derive the greatest benefit from working with them. After a month or so of working with these geometries in a very intensive manner, I had to acknowledge that they were onto something. After working with the geometries, it often felt like my brain was more alive, and it had switched on in a new way that I couldn't quite articulate. Each successive exercise produced greater effects, and by the end of the progression, it felt like my brain was electrified. Not only this, but I had a distinct and growing sense that my ability to perceive multiple perceptives and realities was on the increase. Each of the geometries had a name, and the first, as well as the simplest, was called infinity, because it consisted of a figure eight laying on its side like a pair of spectacles. Tracing this imaginary figure in the center of my brain seemed to stimulate my corpus callisum, resulting in a feeling of increased neurological communication between the two hemispheres of my brain. I have used the word seed on purpose, since the feeling of having my corpus callisum stimulated was a highly subjective one, not objectively verifiable at the time. Nevertheless, the net result of working with this geometry was an increase in my ability to approach problems in ways that were both logical and intuitive simultaneously. The second geometry was called the atom, because its patterns resembled the path of electrons around the nucleus of an atom. But in this case, the nucleus was my brain, and the electrons were imaginary points of light. By moving these points of light around my brain in specific patterns, it felt like my brain was being charged with energy. The third and final geometry they gave me was called the golden octahedron, and this geometrical pattern was the workhorse that quickly increased my capacity to experience multi-dimensional realities. In a short while, I will take you through these three fundamental geometries so that you can experience them for yourself. But first, I think it might be helpful to share what other people have experienced with these patterns. After its undeniable effect on me and my own brain processing, I decided to see if these geometries would affect others as profoundly as they had affected me. Ever the researcher and skeptic, I decided to put up the beta test sites in three different cities and offered free classes to anyone who might be interested in experiencing the effects of these geometries for themselves. The classes attracted a wide variety of people from highly skilled professionals to late persons and students. The results were nothing short of amazing. For the sake of brevity, I will discuss just three individuals and their remarkable encounters with a body of knowledge, but virtually everyone who went through the training experience, some type of personal improvement in brain processing, creativity enhancement, increased intelligence and or heightened sense of wellness. Everyone who took the training agreed to meet as a group for two hours, one night a week for four weeks. Each person also agreed to work with geometries between classes on a daily basis. This was an important part of our agreement. Not a single day would go by without them having gone through the geometries at least once. Each week I would introduce a new geomic pattern and they would work with that pattern at least once a day until the next class. Then I would add a new geometric pattern and by the third class they had received all three geometries and continued to work with all three of them every day until the fourth and final class. Some persons experienced change after the first session with the first geometry. Others took longer before they noticed the effects, but by the third week everyone was experiencing some type of benefit. My observation of this is that the geometric patterns affected individuals in unique ways and the placement of development varies from person to person. Even though the geometric patterns can create changes rather quickly in some people, a consistency of working with geometries is vital for most people to experience the full effects of their training. In other words, you must repeat the exercise on a regular and consistent basis for your brain and mind to grasp what is occurring. Three students who went through my beta testing for geometries experienced profound and life-changing shifts in their now brain processing information and it is to their stories that I would now like to turn our attention. Per privacy's sake, I have changed their names. Understandable. The artist. Ron was both an artist and a professor of art at one of the local colleges and point of fact he was the dean of the art school, which made his situation all more difficult. A few years earlier, Ron began to be uninspired by his work, both as an artist and as a professor of art. But due to his position as the dean, no one really noticed his quandary other than himself. His administrative position kept him insulated from his emotional reality by diverting his attention from the creative void he had been feeling to the task of running a school and supervising other professors. A crisis emerged when the Sydney annual faculty art show was announced and his fellow professors invited him to submit something new to the show. Not to participate was unthinkable, but coming up with a creative idea for the show continually stumped him. He would go into the foundry almost every night and try to create something original, but his mind went blank whenever he tried to even sketch out an idea. Ron was in the middle of a creative block. No matter what he tried, his muses were nowhere to be found. He was caught up in the midst of a personal, artistic and professional crisis, and every night brought a new level of anxiety. When Ron appeared at the first class, I had no idea what was going on with him. It was only later in the training as people began to report changes in themselves that he revealed that he had been what he had been grappling with. Ron's first major breakthrough came after working with the second geometry, the atom. After his very first run at it during the second class, that night he dropped by the foundry as he had every evening for the past two weeks or so. This time, however, he reported that his brain felt energized. He entered the workspace, looked around and had a sudden artistic impulse. This impulse led Ron to create a sculpture over the course of several nights. He also reported that each time he practiced the atom pattern, his brain felt that familiar energizing feeling and he seemed to be solving technical problems that had arisen around his new sculpture with a degree of skill that fascinated him. He was intrigued and he was inspired, something he had not felt not by his own estimation for years. The woman who caught on fire. Evelyn was a woman in her late 50s who joined my second beta test group. She had been a librarian most of her professional career and was now on the verge of retiring. Her breakthrough also came during the second class when I introduced the atom pattern. Neither she nor anyone in the class was prepared for what happened next. I had just finished guiding the group through the rather complex geometry and I asked everyone to focus on the strongest sensation in their bodies. Most of the people in the class experienced a strong sensation within the region of their heads which makes sense as this is where they were focused when working with geometries. Evelyn however experienced the strongest sensation in her back. In fact she got very excited and said my back is on fire, my back is on fire. Her face had turned beat red and she was trying to wave at her back with her hands. After a few seconds her expression changed from one of concern to one of elation. Oh my god she said I can feel my back. With a look of utter surprise she started going around to everyone in the group and asking them to touch her back. Each time someone touched her back she squealed with excitement. I can feel you touching my back oh my god this is incredible. This went on for the first few minutes with Evelyn literally going around to everyone and having each person touch her back and then Evelyn plopped down in her chair and said I'm sorry I didn't mean to monopolize everyone's attention it's just that this is so amazing it's so amazing. What's amazing I asked. Evelyn then told the class that she had been suffering from a strange condition that no one not even her physician had been able to help her with. It seemed that Evelyn had been losing physical sensations in her back for some time. Her doctor was so concerned that he had scheduled an appointment for her to see a neurologist for further testing. Evelyn then shared her experience of the geometry. At first she said nothing in particular happened but then about halfway through the pattern her back felt warm and hot. Her nerves woke up and guys this is so incredible because this is this is what we talk about in yoga. So as I said earlier when you're making these different shapes with your body these geometrical patterns they're opening up different values or different naughties different pathways of energy in the body that can be felt in a subtle way through the nervous system. This is exactly what this is 100% and so this is another reason why people should be practicing yoga. Yeah this is it this is what this is. Finally right after completing the exercise Evelyn experienced her back catching on fire. She said that this was such a vivid impression she thought her back had literally burst into flames. This intense impression lasted only for a few seconds and then shifted from a heat to a feeling sensation in her back. Evelyn said she couldn't believe this was happening and reached behind her to touch her own back miraculously. She said she was able to feel her own touch. Although confused how the mental exercise could create such a result she left the class elated. The following week we all reconvened for the third class and Evelyn reported that she still was able to feel physical sensations in her back but she also noticed something else of great interest to her. She was remembering past events in her life something that she had not been able to do for some time as well and she was recalling these events with a great degree of detail. Yeah because the body keeps the score and the body remembers everything when the body goes numb the memory has gone numb. The thoughts the body the body is the minefield. Again yoga to different order. This is all yoga. This is what the ancient yogis were telling you. One of these events in her past have been particularly traumatizing she noted and she wondered if this blocked memory might have had anything to do with the previous lack of sensation in her back. Absolutely. She asked me point blank if I thought such a thing were possible. I said I wasn't sure but asked her if she would be willing to do a short memory exercise to determine where she stored memories and her energy field. She said sure. I then asked her to think about something that she would be doing in the near future. She nodded her head and said got it. Now notice where this impression is located. I asked in front of me right in front of me. She said now recall something from your past that you find pleasant. Got it. She said and where is that impression located. I asked to my right. She said great. Now recall something that was unpleasant and difficult. Got it. Evelyn said with a mark change in her tone or voice. Where do you sense this memory. I asked behind me. She said okay. I said open your eyes whenever you're ready. Evelyn opened her eyes immediately and looked at me questingly. I explained that most people store impressions and memories in locations seemingly outside their bodies like in front of them to the left or right of them or behind them. People also store impressions in other locations but these are the foremost common. Since Evelyn had asked me my opinion regarding the intense sensation during the first encounter with the atom I told her I felt that the geometry may have activated subtle energy lines as I just said that had been held difficult past memories in its place. So she moved stuck energy. She unstuck stuck energy. The impression of fire in her neck could have been her nerve pathways coming back online as often times there is sensation of heat or pain when nerves heal and based on what I witnessed I would say that there was some kind of connection between the repressed memories of her past and the loss of physical sensation in her back. What that connection was I couldn't say for sure but whatever the connection was it would seem that the atom had stimulated a healing response in her back and re-owning of her past. By the end of the fourth and final class Evelyn reported that she could still feel physical sensation in her back and she could still recall events that happened in her past with great detail. No longer depressed. Glenn was a second year student at one of the local colleges enjoying the third and final beta test group. She was in her early 20s and sat in her chair slumped over a bit. Whenever she spoke it was mostly in monotones with little deflection in her voice. After working with the first pattern infinity for a week Glenn reported that she was able to do her schoolwork a little less stressed than was usual but that was all she noticed. After the second week Glenn worked with the atom as did everyone else in the group. During the third class when I asked how everyone was doing with the new atom pattern Glenn reported that she didn't feel the buzz other people had reported but then stare that she had been too bummed out to do the geometric pattern more than a couple of times. I suggested that she try to be more consistent regardless of what she was feeling because I had noticed both in myself and with others that repetition of the geometries was very important for them to be effective. She said she would try and do better and that's again important as well when we're looking at the practice of yoga. This is why you don't do different yoga practices every day. You do the same consistent practice for a long period of time over and over and over again. If you're going to vinyasa flow classes you are not practicing yoga. You're not. Vinyasa flow is not yoga. You need to consistently be doing the same patterning over and over and over again to create our neurological held response. He just said that right here. After everyone shared where they were with geometry I had given a second class. We worked with the final geometry the golden octahedron. This pattern has three phases. One involving a rotation of the pattern in a specific way. The second phase involving viewing the geometry from the unusual perspectives and the third phase involved the circulation of the gold light through the brain. Gwen said that she really liked the feeling of the gold light. On our fourth and final meeting I noticed something distinctly different about Gwen. She was conversing with other class members before class started and when she sat down in her chair she wasn't slumped over. When it was Gwen's chance to share she was more of her boast than usual. She explained that while she had worked with the other geometries consistently during the preceding week she liked the golden octahedron the most. She especially liked the circulation of gold light through her brain because it soothed her. It was also during this final class that Gwen shared she had been depressed for a few months when she started the class but now she was feeling a lot more on top of things. One possible explanation for Gwen's response as well as the improvements reported by the other two individuals I mentioned may have to do with the theory of the brain function called dimensionality. This theory proposes that the brain improves both its function and performance when it learns how to coordinate multiple and complex tasks. For this theoretical perspective it could be well that the three combined geometries engage the brain of those in the class in ways that increase their dimensionality. Whatever the causation however all three individuals experience marked improvements in both their brain performance and their emotional well-being.