“In order to study these radiations let us take the ‘ray of creation’ in an abridged form: Absolute-sun-earth-moon, or in other words let us imagine the ‘ray of creation’ in the form of three octaves of radiations: the first octave between the Absolute and the sun, the second octave between the sun and the earth, and the THIRD OCTAVE between the earth and the moon; and let us examine the passage of radiations between these four fundamental points of the universe. Fragments: Nine

“The THIRD OCTAVE begins with do 48. “Impressions enter the organism in the form of ‘oxygen’ 48, that is, la, sol, fa of the second cosmic octaoctave Sun-Earth. Fragments: Nine

“Under normal conditions, that is, the conditions of normal existence, the production of the fine matters by the factory at this point comes to a stop and the THIRD OCTAVE sounds as do only. The highest substance produced by the factory is si 12 and for all its higher functions the factory is able to use only this higher matter. Fragments: Nine

“There is, however, a possibility of increasing the output, that is, of enabling the air octave and the impression octave to develop further. For this purpose it is necessary to create a special kind of ‘artificial shock’ at the point where the beginning of the THIRD OCTAVE is arrested. This means that the ‘artificial shock’ must be applied to the note dodo 48. Fragments: Nine

“It has been explained before that in ordinary conditions of life we do not remember ourselves; we do not remember, that is, we do not feel ourselves, are not aware of ourselves at the moment of a perception, of an emotion, of a thought or of an action. If a man understands this and tries to remember himself, every impression he receives while remembering himself will, so to speak, be doubled. In an ordinary psychic state I simply look at a street. But if I remember myself, I do not simply look at the street; I feel that I am looking, as though saying to myself: ‘I am looking.’ Instead of one impression of the street there are two impressions, one of the street and another of myself looking at it. This second impression, produced by the fact of my remembering myself, is the ‘additional shock.’ Moreover, it very often happens that the additional sensation connected with self-remembering brings with it an element of emotion, that is, the work of the machine attracts a certain amount of ‘carbon’ 12 to the place in question. Efforts to remember oneself, observation of oneself at the moment of receiving an impression, observation of one’s impressions at the moment of receiving them, registering, so to speak, the reception of impressions and the simultaneous defining of the impressions received, all this taken together doubles the intensity of the impressions and carries do 48 to re 24. At the same time the effort connected with the transition of one note to another and the passage of 48 itself to 24 enables do 48 of the THIRD OCTAVE to come into contact with mi 48 of the second octave and to give this note the requisite amount of energy necessary for the transition of mi to fa. In this way the ‘shock’ given to do 48 extends also to mi 48 and enables the second octave to develop. Fragments: Nine

“We have followed the development of two octaves. The THIRD OCTAVE, that is, the octave of impressions, begins through a conscious effort. Do 48 passes to re 24; re 24 passes to mi 12. At this point the development of the octave comes to a stop. “Now if we examine the result of the development of these three octaves, we shall see that the first octave has reached si 12, the second la 6, and the third mi 12. Thus the first and THIRD OCTAVEs stop at notes which are unable to pass to the following notes. “For the two octaves to develop further, a second conscious shock is needed at a certain point in the machine, a new conscious effort is necessary which will enable the two octaves to continue their development. The nature of this effort demands special study. From the point of view of the general work of the machine it can be said in general that this effort is connected with the emotional life, that it is a special kind of influence over one’s emotions. But what this kind of influence really is, and how it has to be produced, can be explained only in connection with a general description of the work of the human factory or the human machine. Fragments: Nine

“The first stage refers to the work of the human organism as it has been created by nature, that is to say, to the life and functions of man number one, number two, and number three. The first octave, that is, the octave of food, develops in a normal way to mi 192. At this point it automatically receives a ‘shock’ from the beginning of the second octave, and its development goes on consecutively to si 12. The second octave, that is, the air octave, begins with do 192 and develops to mi 48 where it stops. The THIRD OCTAVE, that is, the octave of impressions, begins with do 48 and stops there. Thus seven notes of the first octave, three notes of the second, and one note of the THIRD OCTAVE represent a complete picture of the work of the ‘human factory’ in its first or natural stage. Nature has provided only one ‘shock,’ that is, the ‘shock’ received from the entrance of the second octave which helps mi of the first octave to pass to fa. But nature did not foresee and did not provide for the second ‘shock,’ that is, the ‘shock’ that would help the development of the THIRD OCTAVE and thereby enable mi of the second octave to pass to fa. A man must create this ‘shock’ by his own personal efforts if he desires to increase the output of the fine hydrogens in his organism. Fragments: Nine

“The second stage refers to the work of the human organism when a man creates a conscious volitional ‘shock’ at the point do 48. In the first place this volitional ‘shock’ is transmitted to the second octave which develops as far as sol 12, or even further up to la 6 and so on, if the work of the organism is sufficiently intense. The same ‘shock’ also enables the THIRD OCTAVE to develop, that is, the octave of impressions which in this event reaches mi 12. Thus in the second stage of the work of the human organism, we see the full development of the second octave and three notes of the THIRD OCTAVE. The first octave has stopped at the note si 12, the third at the note mi 12. Neither of these octaves can proceed any further without a fresh ‘shock.’ The nature of this second ‘shock’ cannot be so easily described as the nature of the first volitional ‘shock’ at do 48. In order to understand the nature of this ‘shock’ it is necessary to understand the meaning of si 12 and mi 12. Fragments: Nine

“As we pointed out before, man takes in three kinds of food. Each one of them is the beginning of a new octave. The second octave, that is, the air octave, joins up with the first, that is, the octave of food and drink, at the point where the first octave comes to a stop in its development at the note mi. And the THIRD OCTAVE joins up with the second at the point where the second octave comes to a stop in its development at the note mi. Fragments: Fourteen

The point 3, or the “interval” mi-fa, was the place where the “shock” came in which gave do 192 of the second octave. When I added the beginning of this octave to the enneagram I saw that the point 6 came at the “interval” mi­fa of the second octave and the “shock” in the form of the THIRD OCTAVE do 48 which begins at this point. The completed drawing of the octaves came out as follows: Fragments: Eighteen

This signified that there was no wrong place for a “shock” at all. Point 6 showed the entry of the “shock” in the second octave and the “shock” was the do which began the THIRD OCTAVE. All three octaves reached Hi 2. In one it was si, in the second sol, and in the third mi. The second octave which ended at 12 in the enneagram ought to have gone on further. But si 12 and mi 12 required an “additional shock.” I thought a great deal about the nature of these “shocks” at that time but I will speak of them later. Fragments: Eighteen