1+1+1=1

 

I said: [1 + 1 + 1 = 1]1.

He said: You’re nuts.

I replied that there were two ways we could look at that equation.  We could say:

[(+1) + (-1) +1 = 1)], or we could say:
the masculine [(+1) + the feminine (-1) + Spirit (1) = 1], or:
[Johnny + Jan + Spirit = 1.]

Sound confusing?  Well it’s not really.

You see, Jan and I have a regular ritual in which we acknowledge the presence of Spirit as the third partner in what we call our “Ascended Relationship.”   This Ascended Relationship is an entity that is neither one of us, nor Spirit, alone, but rather an amalgam of the three.   This relationship even has its own name:  YOUme (the proper pronunciation of which is “youm”).   We also say thatYOUme has 6 hands, two of Jan’s, two of mine and two from Spirit.  You’d be surprised at how much can be accomplished with six hands working on something rather than just two.  Or even four.

And six hands are an absolutely appropriate number with which to hold the six points of the Concordance Grand Sextile, which looks like this:

Now consider this.  The Geometry presented in this pattern is that of the completely integrated being.   The late A.S. Raleigh described the Occult nature of the Hexagram, saying that it represents “...the man of the future, who will have six distinct principles functioning in his outer or true consciousness… in other words, the Law of Opposites and the Law of Balance working in harmony.”2

Astrologer Bil Tierney’s astrological take on this configuration corroborates Raleigh’s understanding of it and adds that “…the creative forces are abundant and need to be actively tapped.”3

This is the central symbolism that was at the heart of the Harmonic Concordance.  I find it, therefore, to be a particularly appropriate concept that (the equation (1+ 1 + 1 = 1) holds and supports that energy in a Harmonic Balance.

Note too, how each one of the six major points are linked along the colored lines to each of the other five.   Astrologically we call those connecting lines “aspects.”   They speak of the way in which the energy represented by each planet interacts with the others with whom they come in contact.   The energy flow of these lines merge at the point of balance, at the “fulcrum” of it.   This point of balance marks the locus of creativity within Raleigh’s “man of the future.“  By acknowledgingYOUme, we three stand, in perfect balance, upon that fulcrum and “tap,” as Tierney would suggest, our power as active Co-Creators of our world.

That world comes into manifestation, according to Physicist David Bohm, through the portal between the Implicate and Explicate orders.   The Implicate Order is the field of non-manifest pre-existence, the source of all that appears in the field of the Explicate Order, i.e., all that exists in manifestation.  YOUme stands, balanced on the fulcrum in that portal, and acts as a conductor of non-manifest pre-existence to its state in manifestation.  From there YOUme sends out “Sky Hooks” into the future which are designed to draw from the Implicate and pour into manifestation in the Explicate that which is the best possible solution for all concerned, in whatever situation presents itself.  (Too much specificity in design limits what may become manifest.)

While Jan and I, and Spirit, engage in this practice in a conscious manner, and so acknowledge our role as Co-Creators, we also recognize that all of us engage in that act at every moment, even if almost always unconsciously.   The more we are consciously aware of the fact of our ongoing creative input, the more we get to manifest the best possible outcomes.  And we think that it’s important too that we remember that every one of us can partake in this Creative enterprise withany Other.   And [1+1+1=1] is a nifty way to remember to invite Spirit into the equation.

 

__________________________________________________________________________________________________

 

1.  Where the outer brackets are understood to be CREATION.
2.  Raleigh, A.S., Occult Geometry, (New York: DeVorss & Co., 1991) p 64.
3.  Tierney, Bil, Dynamics of Aspect Analysis, ( Sebastopol, CA: CRCS Publications, 1980) p. 81.