Base Pattern Exploration

‘You can have different tones, different colors, different lines, different gates; you can have a totally different definition, but you are always going to have the same base. The continuity in what we call ‘incarnation,’ is the fixed base of the personality. In the end, it is why it’s so interesting to find out what your base is, but extremely accurate birth times are necessary for this calculation to be correct – within 15 seconds, because the arc is so small.

This fixed base has been your line and perception in the geometry since the very beginning. That very concrete isolation that each of us carries within ourselves, enables each of us to have a continuity that maintains the dimensional field. Somebody who comes in with a 1st base or whatever the case may be, you are actually a part of creating that mechanical environment. In other words, we are the dimensional force; literally the dimensional force is within us. These bases describe for the macrocosmic way in which the dimensional field operates, gets concretized in you in the way in which you operate and the way in which you are limited ultimately in your perspective.’ Quote by Ra Uru Hu, Living Design

Human Design Keynotes

The Five Bases, Orientation: Reactive, Integrative, Objective, Progressive, Subjective

UNIQUENESS | ‘I Define’

Macro
Movement is Energy
Energy is Creation
Creation is Seeing
Seeing is Landscape
Landscape is Environment

Micro
Individuality is Activity
Activity is Reaction
Reaction is Limitation
Limitation is Perspective
Perspective is Relation

ROLE | ‘I remember’

Macro
Evolution is Gravity Gravity is Memory Memory is Taste Taste is Love Love is Light

Micro
The Mind is Character Character is Separation Separation is Nature Nature is Integration Integration is Spirit

GENETICS | ‘I am’

Macro
Being is Matter
Matter is Touch
Touch is Sex
Sex is Survival

Micro
The Body is Biology
Biology is Chemistry
Chemistry is Objectivity
Objectivity is Geometry
Geometry is Trajectory

SELF | ‘I design’

Macro
Design is Structure
Structure is Progress
Progress is Smell
Smelling is Life
Life is Art

Micro
Ego is Homo Sapiens
Homo Sapiens is Growth
Growth is Decay
Continuity is Manifestation

PRESENCE | ‘I think’

Macro
Space is Form
Form is Illusion
Illusion is Hearing
Hearing is Music
Music is Freedom

Micro
Personality is Type
Type is Fantasy
Fantasy is Subjectivity
Subjectivity is Rhythm
Rhythm is Timing

Base 1 | The Outside Observer

**ART |** Abominable Snowman & Beautiful Woman by Alleydjoyo

‘In the beginning we have a yang force, and we start off with this general theme of measurement. It’s one of the oldest of the number games. It’s the whole business about the difference between one and two, which can only be movement. There is nothing else. There has to be this movement.

‘I am’ is totally alone. However, the moment that that ‘I am’ is confronted with light, it’s confronted with another, and then it’s not enough to be ‘I am.’ I am what? Compared to what? “I am not you. I am different.”

All of these measurements begin to take place, and it is through these measurements that we define the Maia that’s around us. In other words, the great catch 22 is that Maia creates Maia. Illusion just creates another illusion and then we all get caught up in it thinking, “Oh, this is us.” The whole spiritual world wants to be one. I mean they don’t know they are one, which, to me, seems the height of ignorance.

However, they all want to be one. But what do you get as a 1st base? The 1st base says, “Hey, excuse me. We can’t be one, as we have to be separate so that we can measure.” We don’t have a choice. This business about wanting to be one, this is just a yearning to be aware. We are already one, no question about that.’

Quote by Ra Uru Hu | Living Design

The observation that holds body & spirit

Holds body before time, light
Holds vitality and will in time, life & progress
Holds spirit after time, sound

Transcription of the divine name as ΙΑΩ in the 1st-century BCE Septuagint manuscript 4Q120

The Tetragrammaton is the four-letter Hebrew theonym יהוה‎ (transliterated as YHWH or YHVH), the name of God in the Hebrew Bible.

The four letters, written and read from right to left (in Hebrew), are yodh, he, waw, and he. The name may be derived from a verb that means “to be”, “to exist”, “to cause to become”, or “to come to pass”.

While there is no consensus about the structure and etymology of the name, the form Yahweh is now accepted almost universally among Biblical and Semitic linguistics scholars, though the vocalization Jehovah continues to have wide usage.

The early Israelites may have leaned towards polytheistic practices that were otherwise common across ancient Semitic religion, as their worship apparently included a variety of Canaanite gods and goddesses, such as El, Asherah, and Baal.

The oldest plausible occurrence of Yahweh’s name is in the Egyptian demonym tꜣ šꜣsw Yhwꜣ, “YHWA (in) the Land of the Shasu” (Egyptian: 𓇌𓉔𓍯𓄿 Yhwꜣ) in an inscription from the time of Amenhotep III (1390–1352 BCE), the Shasu being nomads from Midian (son of biblical Abraham) and Edom (son of biblical Isaac) in Southern Canaan.

In the earliest Biblical literature, Yahweh marches out from Edom or the Sinai desert with the heavenly host of stars and planets that make up his army to do battle with the enemies of his people Israel:

Yahweh, when you went out of Seir,
when you marched out of the field of Edom,
the earth trembled, the sky also dropped.
Yes, the clouds dropped water.
The mountains quaked at Yahweh’s presence,
even Sinai at the presence of Yahweh, the God of Israel.
…
From the sky the stars fought.
From their courses, they fought
against Sisera.

(Book of Judges 5:4–5, 20, WEB World English Bible, the Song of Deborah.)

Yahweh-worship was thought to be aniconic, meaning that the god was not depicted by a statue or other image. This is not to say that he was not represented in some symbolic form, and early Israelite worship probably focused on standing stones, but according to the Biblical texts the temple in Jerusalem featured Yahweh’s throne in the form of two cherubim, their inner wings forming the seat and a box (the Ark of the Covenant) as a footstool, while the throne itself was empty.

In the 9th century BCE, there are indications of rejection of Baal worship associated with the prophets Elijah and Elisha. The Yahweh-religion thus began to separate itself from its Canaanite heritage; this process continued over the period from 800 to 500 BCE with legal and prophetic condemnations of the asherim, sun worship and worship on the high places, along with practices pertaining to the dead and other aspects of the old religion.

Features of Baal, El, and Asherah were absorbed into Yahweh, and epithets such as El Shaddai came to be applied to Yahweh alone.

In this atmosphere a struggle emerged between those who believed that Yahweh alone should be worshipped, and those who worshipped him within a larger group of gods; the Yahweh-alone party, the party of the prophets and Deuteronomists, ultimately triumphed, and their victory lies behind the biblical narrative of an Israel vacillating between periods of “following other gods” and periods of fidelity to Yahweh.

In the writing of second Isaiah, Yahweh was no longer seen as exclusive to Israel, but as extending his promise to all who would keep the sabbath and observe his covenant.

Tacitus, John the Lydian, Cornelius Labeo, and Marcus Terentius Varro similarly identify Yahweh with Bacchus–Dionysus. Jews themselves frequently used symbols that were also associated with Dionysus such as kylixes, amphorae, leaves of ivy, and clusters of grapes, a similarity Plutarch used to argue that Jews worshipped a hypostasized form of Bacchus–Dionysus.

According to archaeologist Jonathan N. Tubb, “Ammonites, Moabites, Israelites, and Phoenicians undoubtedly achieved their own cultural identities, and yet ethnically they were all Canaanites, the same people who settled in farming villages in the Levantine region in the 8th millennium BC.”

The Levant was inhabited by people who referred to the land as ka-na-na-um as early as the mid-third millennium BC.

The Akkadian word “kinahhu” referred to the purple-coloured wool, dyed from the Murex molluscs of the coast—which was a key export of the region. When the ancient Greeks later traded with the Canaanites, this meaning of the word seems to have predominated, as they referred to the Canaanites as Phoenikes, which may derive from the Greek-language word “phoenix” (φοίνιξ; transl. ”crimson” or “purple”), and also described the cloth for which the Greeks traded. The word “phoenix” was transcribed by the Romans to “poenus“; the descendants of the Canaanite settlers in Carthage were likewise referred to as Punic.

Thus, while “Phoenician” and “Canaanite” refer to the same culture, archaeologists and historians commonly refer to the Bronze Age pre-1200 BC Levantine peoples as Canaanites, while their Iron Age descendants, particularly those living on the coast, are referred to as Phoenicians.

Base 2b

1/2 OF 2 INTEGRATES 4

Uranus | Rendered using Cinema 4D | JCP-JohnCarlo

Discovered in 1781, Uranus is a very unusual planet that sits on its side. It rotates around the axis, making it look like a ball rolling in a circle around the sun.

7th planet from the Sun
Rings + 28 moons
The magnetosphere is highly asymmetric with many charged particles which may be the cause of it’s dark ring system that only reflects 2% of light.

Uranus has always been visible to the naked eye, yet it remained undetected to ancient observers because of it’s dimness and slow orbit.

The planet was finally discovered on March 13th, 1781 by William Herschel when he observed it from his home garden in Bath, Somerset, England. He used a 6.2 inch reflecting telescope and initially reported it as a comet.

It took two years of collective effort to accept Uranus as a planet in 1783, which effectively doubled the size of the solar system because it is twice the distance from the Sun as Saturn.

Herschel chose the name ‘Georgium Sidus’ explaining his decision to Joseph Banks as follows, ‘In the fabulous ages of ancient times the appellations of Mercury, Venus, Mars, Jupiter, and Saturn were given to the Planets, as being the names of their principle heroes and divinities. In the present more philosophical era it would hardly be allowable to have recourse to the same method and call it Juno, Pallas, Apollo, or Minerva, for a name to our new heavenly body. The first consideration of any particular event, or remarkable incident, seems to be its chronology: if in any future age it should be asked, when this last-found planet was discovered? It would be a very satisfactory answer to say, ‘In the reign of King George the Third.’

His decision was unpopular and alternatives were soon proposed lol!

Lalande proposed ‘Herschel’
Propsperin: ‘Astrea’ ‘Cybele’ and ‘Neptune’
Lichtenberg: ‘Austraa’
Bernoulli: ‘Hypercronius’ ‘Transaturnis’

In March 1782, Bode proposed ‘Uranus,’ the latinised version of the Greek god of the sky, ‘Ouranos.’ He argued that the name should follow the mythology to be similar to other planets, and that Uranus was an appropriate name as the father of the first generation Titans. He noted the elegance of the name in that just as Saturn was the father of Jupiter, the new planet should be named after the father of Saturn.

Bode’s Royal Academy colleague Martin Klaproth named his newly discovered element ‘Uranium’ in support of Bode’s choice.

The suggestion became final 7 decades later in 1850 when HM Nautical Almanac Office, the final holdout, switched from Georgium Sidus to Uranus.

Uranus’s name is literally translated to ‘sky king star’ in Chinese, Japanese, Korean, and Vietnamese. In Thai, it’s official name is Doo Yurenat, or Dao Maruettayu, after the Sanskrit word for ‘death’ ‘mrtyu.’ In Hawaii it’s name is Hele’ekala, ‘Herschel.’

Bode also proposed using the symbol for Platinum for Uranus. He suggested a combination of the symbols for gold and iron, and thought an upright orientation fit better with the other planets while remaining unique. However, the nearly universal symbol was proposed by Lalande in 1784, appearing as a globe surmounted by ‘H’ for Herschel.

He may not have secured ‘Georgium Sidus’ but I think it’s sweet that Herschel himself was built into the labels.

I see Uranus as (1/2) of Base 2 that integrates Base 4. The heart that integrates the emotional wave. Understanding. The Holy Spirit of the Bhan Trinity.

We can find her as the ‘father’s daughter’ in many myths and religions, although this base is not exclusively female.

I find her themes in Bat, Nut, Lilith, Inanna, Ishtar, Hathor / Sekhmet / Tefnut, and more.

On the male end, I feel that Joseph is a great example. He was sold to Egypt by his brothers in order to integrate the mother aspects.

The pain leading to progress created untrue projection, betrayal, isolation, and secrets. A time of uncertainty and patience as the story unfolded.

He eventually reunited with his family, after gaining reputation, wealth, and security, when he invited them to move to Egypt to share his new spirit and order. He displayed the pain and progress of alignment. The juxtaposition of choicelessness.

Everyone fears what is new, but we can accept and allow change as it unfolds, even if it knocks us sideways – forcing us to roll around the sun like a ball. lol!

Bat is a cow goddess who eventually became Hathor. She was depicted as a human face with cow ears and horns or as a woman. Evidence of worship exists from the earliest records of the religious practices in ancient Egypt.

The epithet, Bat, may be linked to the word ba with the feminine suffix ‘t’. A person’s ba roughly equates to one’s personality or emanation and often is translated as ‘soul’.

Fun Fact: My son named a bat at the church across the street ‘Dingbat’ tonight as I finished this – my mind loved it. Ironically, they are typically unseen characters of a typeface lol!

Sekhmet, later known as Tefnut, is a form of Hathor with the head of a lioness with a sun disk and ‘uraeus’ on her head.

In a myth about the end of Ra’s rule on the earth, Ra sends the goddess Hathor, in the form of Sekhmet, to destroy mortals who conspired against him. In the myth, Sekhmet’s bloodlust was not quenched at the end of battle, and this led to her going on a bloody rampage that laid Egypt to waste and almost destroyed all of humanity.

To stop her, Ra and the other gods devised a plan. They poured out a lake of beer dyed with red ochre or so that it resembled blood. Mistaking the beer for blood, Sekhmet drank it all and became so drunk that she gave up on the slaughter and returned peacefully to Ra. The same myth was also described in the prognosis texts of the Calendar of Lucky and Unlucky Days of Papyrus Cairo 86637.

In other versions of this story, Sekhmet grew angered at the deception and left Egypt, diminishing the power of the sun. This threatened the power and security of the world—thus, she was persuaded by the god Thoth to return and restore the sun to its full glory.

Hathor | ‘House of Horus’ ‘My House is the Sky’

‘Hathor was a solar deity, a feminine counterpart to sun gods such as Horus and Ra, and was a member of the divine entourage that accompanied Ra as he sailed through the sky in his barque.

Horus and the sun god Ra, both of whom were connected with kingship, and thus she was the symbolic mother of their earthly representatives, the pharaohs.

She was one of several goddesses who acted as the Eye of Ra, Ra’s feminine counterpart, and in this form, she had a vengeful aspect that protected him from his enemies.

Her beneficent side represented music, dance, joy, love, sexuality, and maternal care, and she acted as the consort of several male deities and the mother of their sons.

These two aspects of the goddess exemplified the Egyptian conception of femininity. Hathor crossed boundaries between worlds, helping deceased souls in the transition to the afterlife.

Historian Susan Wise Bauer suggests that the word “sphinx” was instead a Greek corruption of the Egyptian name “shesepankh”, which meant “living image”, and referred rather to the statue of the sphinx, which was carved out of “living rock” (rock that was a contiguous part of the stony body of the Earth, shaped, but not cut away from its original source), than to the beast itself.

The Sphinx of Giza is the oldest known monumental sculpture in Egypt and one of the most recognizable statues in the world. The archaeological evidence suggests that it was created by ancient Egyptians of the Old Kingdom during the reign of Khafre (c. 2558–2532 BC).

Some time around the First Intermediate Period, the Giza Necropolis was abandoned, and drifting sand eventually buried the Sphinx up to its shoulders.

Thutmose IV “Thoth is born” completed a restoration of the Sphinx in 1401 BC, he placed a carved stone tablet, now known as the Dream Stele, between the two paws of the Sphinx.

In 1887, the first modern archaeological dig, supervised by the Italian Giovanni Battista Caviglia, uncovered the Sphinx’s chest completely, recovering the stele.

Base 4 | Anti-Neutrino to Spirit

**WIKI** | Beelzebub from the Dictionnaire Infernal

The name Beelzebub is associated with the Canaanite god Baal. In one understanding, Baʿal zəvuv is translated literally as “lord of (the) flies”.

Alternatively, the deity’s actual name could have been Baʿal zəvul, “lord of the (heavenly) dwelling”, and Baʿal zəvuv could have been a derogatory pun used by the Israelites.

Zeboul might derive from a slurred pronunciation of zebûb; from zebel, a word used to mean “dung” in the Targums; or from Hebrew zebûl found in 1 Kings 8:13 in the phrase bêt-zebûl, “lofty house”.

The dung beetle is also associated with Ra and the sun cycle, rolling his ball to completion.

Beelzebub is also identified in the New Testament as the Devil, “the prince of demons”. Biblical scholar Thomas Kelly Cheyne suggested that it might be a derogatory corruption of Ba’al-zəbûl, “Lord of the High Place” (i.e., Heaven) or “High Lord”.

Carved relief of the cartouche representing Thutmose III on the wall of the Precinct of Amun-Re, Karnak

The Quran mentions that Prophet Elias warned his people against Ba’al worship. ‘Do you call upon Ba’l and leave the best of creators – Allah, your Lord and the Lord of your first forefathers?’

Al-Tha’labi offers a more detailed description about Baal; accordingly it was an idol of gold, twenty cubits tall, and had four faces.