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10.14 Questioner: For general development [of the] reader of this book, could you state some of the practices or exercises to perform to produce an acceleration toward the Law of One?
Ra: I am Ra.
Exercise One. This is the most nearly centered and usable within your illusion complex. The moment contains love. That is the lesson/goal of this illusion or density. The exercise is to consciously seek that love in awareness and understanding distortions. The first attempt is the cornerstone. Upon this choosing rests the remainder of the life-experience of an entity. The second seeking of love within the moment begins the addition. The third seeking powers the second, the fourth powering or doubling the third. As with the previous type of empowerment, there will be some loss of power due to flaws within the seeking in the distortion of insincerity. However, the conscious statement of self to self of the desire to seek love is so central an act of will that, as before, the loss of power due to this friction is inconsequential.
Exercise Two. The universe is one being. When a mind/body/spirit complex views another mind/body/spirit complex, see the Creator. This is an helpful exercise.
Exercise Three. Gaze within a mirror. See the Creator.
Exercise Four. Gaze at the creation which lies about the mind/body/spirit complex of each entity. See the Creator.
The foundation or prerequisite of these exercises is a predilection towards what may be called meditation, contemplation, or prayer. With this attitude, these exercises can be processed. Without it, the data will not sink down into the roots of the tree of mind, thus enabling and ennobling the body and touching the spirit.
103.14 Questioner: The bent left leg of the two sphinxes indicate[s] a transformation that occurs on the left that doesn’t on the right, possibly an inability in that position to move. Does this have any merit?
Ra: I am Ra. The observation has merit in that it may serve as the obverse of the connotation intended. The position is intended to show two items, one of which is the dual possibilities of the time-full characters there drawn.
The resting is possible in time, as is the progress. If a mixture is attempted, the upright, moving leg will be greatly hampered by the leg that is bent. The other meaning has to do with the same right angle, with its architectural squareness, as the device upon the breast of the actor.
Time/space is close in this concept complex, brought close due to the veiling process and its efficaciousness in producing actors who wish to use the resources of the mind in order to evolve.
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