 Hello, everybody. Welcome back to Esoteric Atlanta. Of course, my name is Bryce. Today, we are going to be getting into part 10 of the Hathor material. If this is your first time on the channel, I will put a link in the description box below to this playlist, which is called Understanding the Magdalen, where you can go back and listen to the previous parts in the Hathor material. Also in that playlist is this a via code, the Magdalen manuscript, Megan Waterson's commentary on Magdalen's Gospel as well as our study into the return of the Divine Sophia. Today, we're going to be talking about interdimensional consciousness training. We're going to be looking at the overview, which is an act and a copyrighted training that I believe Tom Kenyon created based off of his study with the Hathors and his development of mental stimulants and healing. As you know from last week, we are starting to talk a lot about geometry and shapes. I spoke a lot about the yoga practice being a part of that, and I know I kind of looked ahead. I know we're going to look at the three geometric shapes he uses and into greater detail coming up in the next few sections. So today is going to be an overview of his training before we get into that how to do this on your own. So super important if you're interested in doing the work, I would definitely say this is a super important episode to listen to. So 2.5, interdimensional consciousness training and overview, sensory modalities. You will be engaging your imagination to create all three geometric patterns and it is helpful to know that you will experience these imaginary geometries in ways that are natural to your brain and mind. This means that you will see these geometries in your mind's eye if you tend to visualize things. But if you don't usually visualize things, you won't see these geometries in your mind's eye. You will experience them in some other way. Most people experience imagined or remembered information via their primary sensory modalities. This means that they will see here or feel the information. In some cases, they might experience a combination of these. If you process information primarily through your auditory sensory modality, you might hear a voice in your head describing the geometries that you are working with as you work with them. If you are psychically aware, you might even even clear audially hear the sounds that the geometries make when you engage it. If you process information primarily through your kinesthetic sensory modality, you might have a felt sense of geometry of feeling in other words. It is our neurological potential as humans to experience all five sensory modalities fully. These are visual, auditory, kinesthetic, olfactory, and taste. With full complexity and richness, but most people experience only one or just a few of them at any given time. I am belaboring this point because I wish to make it clear that this is not a visualization exercise. You will experience geometries in those ways that are most natural to you, and that is what you should work with. As you continue to work with the geometries over time, don't be surprised if you start to experience them in multiple senses. In fact, you might find that you are recalling information in more sensory modalities than is usually the case. If this happens, it is a good thing. It means your brain mind is expanding its neural networks and expanding your sensory base mapping of information. Pacing and attention to detail. One of the greatest challenges facing people when they work with these geometries is the pace at which they move through a pattern. Generally speaking, most people tend to move through a pattern too fast, and this is a real hindrance. The slower you move through a geometry, the more effective it will be at creating positive changes in your brain and mind. The necessity for a slower pace has to do with the fact that you are striving to create new neurological networks in your brain, and this is accomplished by moving through each of the geometries with great attention to detail. This cannot be accomplished if you are zipping through a geometry too fast. The act of moving through one of the geometric patterns slowly and with attention to detail will challenge most people's brains. It certainly challenged mine, and the thing is when faced with a mental challenge that is beyond our current capabilities, many of us will go into avoidance. We talk about this a lot. This will show up as a sudden inability to focus a feeling of drowsiness, agitation, and or boredom. It may also show up as a truly odd phenomenon having to do with the geometry itself. Remember, you are creating geometric patterns in your mind through the faculty of your imagination, and to even hold the geometry in your mind is a neurophysiological feat, big word there. You might be moving through one of the geometric patterns just fine or all of a sudden out of nowhere. The geometry you were focusing on starts to morph and change in shape. Maybe you are working with the infinity sign, and all of a sudden the left side of the figure 8 collapses, making the act of tracing the pattern with the imaginary point of light impossible. If this happens to any of the geometries, by the way, just take some deep inhales, relax into your exhales, and start again. Don't worry about it. Just continue. Eventually your brain and mind will be able to hold the geometry intact so that you can work with it. When your mind wanders, and it will, just bring it back to where you were in the geometry. If you stick with the training, your brain and mind will eventually build the skillset required for focused attention, and you should notice that working with geometries is getting easier. Your ability to focus in the rest of your life's life will most likely be improving as well. Secondary geometries. This is an unusual phenomenon that not all people will experience when working with these sequences. If you experience this, it is important for you to focus on the primary geometry you are working with, and just allow the secondary geometry to be there. Secondary geometries can occur with any of the three primary geometries. Let's say that you're working with the infinity pattern. This particular geometry requires you to hold an imaginary figure 8 on its edge while you trace an imaginary point of white light around the pattern. As you do this, you might also sense another figure 8, or multiple figure 8s, in addition to the one you are working with. These secondary geometries might even spin or move around. If this occurs, just let them do their thing, so to speak, but you keep your attention in focus on the primary geometry you are working with. Don't get sidetracked by the secondary geometries. Keep your mind's eye on the primary geometry. If you lose your focus on the primary geometry, you will not be building the neurological networks responsible for holding focus, nor will you be challenging the spatial capacities of your brain, mind, and orderly fashion. Mental, emotional, and or physical detox. We know a lot about that, especially if you did the 30-day challenge. Not all persons experience mental, emotional, physical detoxification in working with geometries, but a few rare individuals do. According to the Hathars, this type of detoxification takes place primarily due to the subtle energy effects of the three geometries. Specifically, they contend that the movement of a point of light and or the rotation of a geometry can create subtle lines of force, which can interact with and challenge energetic holding patterns in the energy body of the individual. This explanation may be a little too obtuse for some people, especially those without any experience of the truly odd phenomenon that can take place around subtle energies. My gosh, are we familiar with that? If you've been doing shadow work, especially through physical exercise, which is finding geometric patterns to the body through the sweat of the body, you probably have massively experienced many, many times of detox, where you go through the dark night of the soul, you have emotional detox, crying, you have physical detox through fevers, headaches, all sorts of stuff. It's always darkest before the dawn. That is necessary to go through. So if that explanation is too esoteric for your taste, here's another take. When you work with the complex geometries, you are challenging your brain's abilities. In some cases, this stimulates a response elsewhere in the brain, other than the spectral areas that are involved in the creation of the geometry. When activated, these areas of the brain can bring into conscious awareness, previously unconscious thoughts and emotions. Whatever the reason for the sudden onslaught of thoughts and or feelings may be, the strategy is similar. Just let the thoughts and or emotions be there. Don't give them much attention. Keep your primary focus on the geometry you are working with. Let your mental and emotional responses be in the background of your awareness while you keep the task of working with the geometry in the foreground of your awareness. In rare instances, there may be also maybe physical reactions such as nausea. If you experience nausea, slow down the speed at which you are moving the point of light and or rotating the geometry. This will usually take care of it. If the nausea continues, stop working with the geometry patterns and focus on your breath. I kind of have a different take on that. You got to lean into the nausea because something is trying to come up and you got to let it come up, not suppressive. Breathe in gentle inhales and relax into your exhale. Imagine that each exhale is gently carrying the feeling of nausea away from you. Continue to breathe in this relaxed manner until the nausea has passed. Don't return to the geometry, but skip that session and work with it again the next day. If you experience nausea and or bitter metallic taste in your mouth during a session, sit some water. Water has a cleansing effect with this type of work. If you are experiencing a lot of detox during your sessions, you might find an article I wrote called Physio-Spiritual Detoxification Helpful. You can read it for free in the article section on our website www.tomkennion.com. I'll place that in the description box below. Headaches. Working with geometry should be a relaxing experience, not a tense one. Nevertheless, people sometimes get headaches when working with a geometry that is particularly challenging. Here are some strategies to avoid this unpleasant reaction. Always engage the geometries with a relaxed focus attention, not concentration. Whereas concentration is like grasping a feather with your hand using a tense grip, a relaxed focus of attention is much gentler. It is more like letting a feather rest in the palm of an open hand. If you concentrate too long during a session, the mental strain can easily transfer to muscle tension, which can then lead to a headache. If you experience a headache while working with the geometry pattern, pause and let the geometry go. Swift your attention to your breath and breathe in gentle inhales. Make each exhale very very relaxed and imagine that somehow these exhales are carrying the tension of your headache away. Do this for a minute or so to see if this reduces your headache. If it does, you can start working again with the geometry. Make sure that you are not concentrating, but following the geometry with a relaxed focus of attention. If the headache does not respond to the gentle breath work described above, stop working with geometry for now. Perhaps work with the next day making sure that you are not concentrating too hard on the geometric pattern. Timing. Generally speaking it is best not to work with geometries on a full stomach. It takes brain power to create and engage the geometric patterns properly and if you have just eaten you might find that you get drowsy when you shift your attention to inner awareness. If you do the exercise just before you go to sleep, you might find that your mind is too stimulated to relax for a while. Thus avoid doing the exercises just before bed and we say that with yoga too. Like you should be practicing yoga on an empty stomach. That's another reason why we do it first thing in the morning. I was laughing with my yoga group, my online yoga group about how you kind of have to learn the hard way sometimes about eating a really big dinner and then getting up and doing your practice the next day where you feel everything in your stomach. It is always best to do these things when you're not super full. Yes, because all your energy, your physical kinetic energy is in the stomach trying to digest food. Whereas it should be elsewhere when you are doing the work. Eye and head movement. When working with the infinity pattern, you might notice that your eyes sometimes, if not always, move when you track the imaginary point of light as it moves through the figure eight. This is a good sign actually. It means that your brain mind is coordinating physical movements of your eyes with specific spectral movements in your imagination. To increase the benefit of this mind-to-eye coordination, make the movement of your eye precise. In other words, as you trace the movements of the point through the infinite pattern in your mind, follow it exactly with your eyes. You may find that your eyes are weaker in some areas, meaning that they will tend to lose some muscle control as you trace through portions of the pattern. But stick with it and match the movement of your eyes with the point as it moves to the figure eight as accurately as possible. This extra attention to detail is well worth the effort. Some people also say that their heads move in response to the movement of the imaginary point of light when it traces the atom pattern. This is a good sign as well, because it means that your brain's motor areas are coordinating physical movements of your head as you mentally trace the patterns of geometry. And finally, some people report head movements when they work with certain phases of the golden octahedron. This is also a positive sign as it indicates coordination between the motor areas of your brain and the mental impressions of your mind. Afterglows. The time directly after completing a sequence is important. This is a period when you let go of your focus attention and just relax. This relaxation period is significant because it allows your brain and mind to integrate the experience. For most people, this phase will be unconscious, meaning they will not be aware of what is taking place. But if you are sensitive to the subtle energies, you may very well be aware of subtle shifts taking place in your brain, as well as changes in the quality of your thoughts, feelings and awareness. Whether you are conscious of this integration phase or not is immaterial. What is important is that you give yourself a few minutes of doing absolutely nothing before starting other types of activities. The Italians have a wonderful phrase that captures the essence of this period after you complete a pattern. Il dol sei far niente, meaning the sweetness of doing nothing. Enjoy the sweetness of having to do nothing for a few moments. As your brain, mind learns to meet the spatial demands of this geometric patterns and the movements seen far more familiar, you will probably begin to notice a feeling of wellness when you engage the geometries. This wellness response spontaneously arises during or right after the end of the session. I call these types of wellness responses afterglows and an afterglow can arise, as I said, during or right after a session. I have noticed that if an afterglow appears when I'm working with a pattern, it is usually because I am paying particular attention to the detail of that pattern. In other words, I am being very conscious of how and where I am moving a point of light or how I am rotating a particular geometry. In general, the strongest afterglows tend to occur after I have completed all three geometric patterns in back to back session. The important thing to remember about afterglow is to enjoy them and relax into the experience. When the afterglow occurs, don't rush out of it. Stay in it as long as you can because these pleasurable states of body and mind are the signature of high coherency and exquisite, synchronized of brain, mind and geometry. And this, my dear reader, is a very, very good thing, rounding. Although it is a rare occurrence, some people may feel a bit spacey after working with one or more of the geometric patterns. This after effect of these geometries can also appear as a sense of having too much energy in the head region. If you experience these types of sensations after you complete a pattern, a simple grounding method will help immensely. To engage this technique, simply place your tongue at the roof of your mouth and then put your focus of attention on the area. I know as to the Dallas as the lower Dantin and to the martial artist as Hara, which is located about two finger width behind and two finger width below your navel. With your attention on a lower Dantin and your tongue of your mouth, begin to breathe in a gentle inhales and relax exhales. This is also a Pranayama practice in yoga. Do I know what he's talking about here? As you inhale, imagine drawing excess energy from your head through your tongue and down the front of your body and into your lower Dantin. Be sure to keep your focus of attention in your lower area and this will greatly facilitate the grounding process. As you exhale, allow the energies that you drew down from your head to circulate through your lower Dantin. Keep breathing in this relaxed way with your attention in the lower Dantin until the ungrounding feeling has passed. A side benefit of this method for grounding is that subtle energies collect in the lower Dantin tend to strengthen the vitality of your visceral organs. 2.6. How to work with geometries. Unstructured learning. Some people prefer to explore new information in an unstructured manner. These individuals tend to feel more heamed and if they are confined to a rigid way of learning. If you are such a person, I suggest you hop around between three geometric patterns as you wish. Having said that, it would be wise for you to start with the simplest geometry, which also happens to lay the foundation for the other two patterns. Make sure that you fully understand the infinity pattern and can sustain it for several minutes. Meaning that you can move the point of light through the geometric perfectly without having the geometry waver or losing your focus. Once you have built the skill set needed to work with the two dimensional geometry, you can move to one of the other geometric patterns. Both the second and the third pattern are three dimensional geometries. They are more complex and they demand a higher degree of subtle coordination than the first one. You can, if you wish, really get creative and pull out portions of the geometric sequence to work with before engaging the entire pattern. You might, for instance, choose first to work with the latest phase of the golden octahedron, the one that brings non-local transform and healing energies into your nervous system and then hop back to the first phase. However you choose to explore these geometries, make sure you complete all the phases of geometric patterns before proceeding to the next geometric pattern in order to avoid confusion. After you have explored all the geometries and feel you have a good grasp on them, I suggest you experiment with going through them back to back in one session. This is very intensive way of working with the patterns, but it yields exceptional results if you can deal with the intensity. If you find this type of sequencing too intense, then skip it for now and just hop around between the three patterns as you wish for the next three or four weeks. Ideally, you will eventually work with all three geometries in a single session at least once a day for seven days. This intensive sequence of the geometries is the final stage of the training. If you wish to boost your brain-mind capacities even further, you can deal with the demands of this much focused attention. It would be really good if you could work with all three patterns in the same intensive manner for three or four weeks, at least once a day every day. It is also a good idea to work with all three geometries again periodically every few months or so. The sobering truth is that neurological networks will stop working as well if they aren't periodically reinforced. Finally, one of the most important things to remember is to have fun with this. Structured learning. When the half-force first presented the geometries to me, they had me work with the first geometry at least once a day for a week. Then they had the second geometry and had me do both the infinity pattern and the atom pattern back to back at least once a day for the second week. Finally, they had me work with the third and final geometry, the golden octahedron, during the third week. During the space, they insisted that I do all three patterns back to back at least once a day for the entire week. This was, you may recognize, the same pattern of repetition that I used in the three beta test workshop. And having worked with three geometries myself, I think that this was a way of working as probably the most rapid method for most people to learn the structure of the geometries and to experience the power of the training, but it is also very demanding. For some people, this intense way of working with the training program may actually be too demanding. The reason for this has to do with the fact that when you follow the first geometry, the infinity, by the second geometry, the atom, you create a much more powerful effect than if you did either one by itself. When you then add the third and final geometry, the golden octahedron, you have really amped up the experience and challenged your brain far beyond the effects of any single geometry. The experience of having your brain amped up in response to multiple geometries will be different for different people. Some people will find it exhilarating. Others will find that it can be a bit disorienting. And for some, it can be just too much input for their comfort. How you will respond to the effects of this multiple back to back geometries will depend upon how stressed or energized your brain becomes when it undertakes a special task of such magnitude. To account for differences in comfort zones, I have proposed two different training programs. Both work with the same three fundamental geometries in that way. The only difference is the manner in which the geometries are sequenced during the training. So the first is the basic approach. In this approach, you will work with the first geometry infinity at least once a day for a week. You can certainly do the geometry more than once a day if you wish. In fact, some people, though not all, will find this particular geometry pleasurable due to its balancing effects. During the second week, you will turn your attention to the second geometry, the atom. And like the first geometry, you will work with the atom at least once a day for a week. If you wish to work with it more than once a day, you can. During the second week, you will not work with the first geometry, but instead focus entirely on the atom. Then when you get to the third week, you will work solely with the third geometry, the golden octahedron. As with the previous geometries, you will work with this one at least once a day for seven days. By the end of the third week, you will have gone through each of the geometries for seven days. The final week, week four, will give you an opportunity to integrate all three geometries into a single brain challenging session. The sequencing of all three geometries will accelerate the building of neural networks related to the spatula demands that your brain mind has been experiencing. Beginning with the first day of week four, you will work with the geometries in a single session each and every day for seven days. During these daily sessions, you will go through the first geometry, the infinity, followed by the second geometry, the atom, and ending with the third and final geometry, the gold octahedron. When you have completed the last geometry for that session, I suggest you lie down and rest if possible, or at least close your eyes for several minutes in order to sense what is occurring for you in terms of physical sensations, particularly in the area of your head as well as the space around your head. Also be aware of your mental emotional experience and the quality of your awareness. After doing daily back to back sessions with all three geometries for a week, you will have completed the training program. If you wish to boost your brain mind's special capacity, as well as its non-ordinary perceptual abilities further, go through all geometries at least once a day for three to four weeks. After completing the training, some people choose to work with just one or more of the geometries they feel particularly drawn to for a while. Some people prefer to take a week or more before re-engaging in the training, and some people feel done with the training after going through it once. You may find it helpful to revisit the training program every few months so that you don't lose the progress you made. As I said earlier, the sobering truth is that neural networks tend to stop working as well if they are not reinforced. The advanced approach, which is the second approach. The advanced approach, you will be working with all three geometries in the same way as you would in the basic approach. The only difference is the speed at which you bring the geometries together into a single session. During the first week, you will work with the first geometry's infinity at least once a day for seven days. If you can, work with this geometry more than once a day if you wish. During the second week, you will work with the first geometry, infinity, and immediately follow by the second geometry, the add-in at least once a day for seven days. If you want to work with both of the geometry more than once a day, you certainly can, but every time you work with them, you work with them, both of them, in a single session. As you move to the third week, you will work with the first geometry, infinity, and immediately follow by the second geometry, the add-in, and then move immediately to the third geometry, the golden octahedron. You will work with all three geometries in back-to-back sessions at least once a day for seven days. You can, if you wish, work with them more than once a day, but you will always work with all three of them together in a single session. In the fourth and final week, you will continue to work with all three geometries in a back-to-back session, especially as you, exactly as you did in week three. The second seven-day period of back-to-back sessions will challenge your brain to further enhance its special capacity and non-ordinary perceptual abilities. If you wish to accelerate the capacities of your brain mind further, continue to work with all three geometries in back-to-back sessions for three to four weeks. You may find it helpful to revisit the training program every few months so that you don't lose the progress you made. The sobering and annoying truth, as I have said before, is neurological networks tend to stop working as well if they're not reinforced. We will now turn our attention to each of the three geometries in order. And so what I'm going to do, guys, is I'm going to put a link again to this book down in the description box below. And the next, I guess, three weeks, we're going to solely be focused on one geometry. I'm going to try this myself. I would actually also, in my professional opinion, because again, this is what I do professionally, if you are going to be participating in this exercise that he is suggesting you do, I'm going to also insist that you physically exercise as well. Start your day off getting your heart rate up, getting your blood pumping, cleanse your body, detox your body physically so that when you sit down to do these geometries in your head and your mind's eyes, you have a better grip on what is going on. Okay? There's going to be – that's so important for grounding also by doing physical exercise, you're moving your body in shapes too. And so these patterns that he's speaking about or the patterns we talk about in yoga, your patterns of thought have created actual shape patterns in your body where energy has been stuck. And by moving the mind through these patterns, you're unsticking energy, but you also need to be moving the body too. The Hathorys spoke about this in the beginning of this book that you absolutely need to be physically exercising. There is no excuse. There's never an excuse to not be physically exercising. That is part of why you have a body. That is why you have muscles. That is why you have a breath. That is why you have a heart rate. Your body is your temple. It needs to be cleaned out. Now I'm not telling you you have to be an Olympic athlete. You could just go for a 30 minute walk around the neighborhood in the morning. Just do something. Do something please to get your body moving and get your body sweating. It is very important to sweat. In fact, one of the niyamas in the yoga world is tapas. The niyamas and niyamas are like our 10 commandments. Tapas is heat. You need heat. Heat is necessary. So please, please, please, I will put in the description box below as well. Surya Namaskar A and Surya Namaskar B, the sun citations that I did. It's like 15 minutes, but that's all you do. Do that. Or a bar episode. I will put a bar exercise of Marni Alton's. Just do something to get your body healthy as well. Alright you guys, have a wonderful day. I will talk to you soon.