“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

“Do 48 has sufficient energy to pass into the following note but at that place in the organism where DO 48 enters, the ‘carbon’ 12 necessary for this is not present. At the same time DO 48 does not come into contact with mi 48 so that it can neither itself pass into the next note nor give part of its energy to mi 48. 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 DO 48. Fragments: Nine

“But what is meant by an ‘artificial shock’? It is connected with the moment of the reception of an impression. The note DO 48 designates the moment when an impression enters our consciousness. An ‘artificial shock’ at this point means a certain kind of effort made at the moment of receiving an impression. 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

“In order to understand the analogy between man, the human organism, and the universe, let us take the world as we did before in the form of three octaves from the Absolute to the sun, from the sun to the earth, and from the earth to the moon. Each of these three octaves lacks a semitone between fa and mi and in each octave the place of this missing semitone is taken by a certain kind of ‘shock’ which is created artificially at the given point. If we now begin to look for an analogy between the three-story factory and the three octaves of the universe, we ought to realize that the three ‘additional shocks’ in the three octaves of the universe correspond to the three kinds of food entering the human organism. The ‘shock’ in the lower octave corresponds to physical food; this ‘shock’ is do 768 of the cosmic three-story factory. The ‘shock’ in the middle octave corresponds to air. It is do 192 of the cosmic factory. The ‘shock’ in the upper octave corresponds to impressions; it is DO 48 of the cosmic factory. In the inner work of this cosmic three-story factory all three kinds of food undergo the same transformation as in the human factory, on the same plan and in accordance with the same laws. A further study of the analogy between man and the universe is possible only after an exact study of the human machine and after the respective ‘places’ of each of the ‘hydrogens’ in our organism has been established exactly. This means that to proceed with any further study we must find the exact purpose of each ‘hydrogen,’ that is to say, each ‘hydrogen’ must be defined chemically, psychologically, physiologically, and anatomically, in other words, its functions, its place in the human organism, and, if possible, the peculiar sensations connected with it must be defined. 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

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” mi-fa 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