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LYRICUS DISCOURSE 6
Techniques of the Intui ti ve Intel l i gence


James, t he creat or of the Wi ngMakers Mat eri al s, has t ransl at ed
t hese di scourses. They are a si gni f i cant el ement of t he i nst r uct i onal
met hods used by t eachers f r om t he Lyri cus Teachi ng Order, of
whi ch James i s a member . They ar e bei ng made avai l abl e f or t he
f i rst t i me.

These di scourses are di al ogues between a t eacher and t hei r
st udent , and are recorded f or t hei r t eachi ng val ue so ot hers can
ut i l i ze t he same i nst r uct i on.



Student: How does one di scern thei r i nner voi ce from the
voi ce that has been l earned from thi s worl d?

Teacher: The voi ce of thi s worl d can be traced to the ego-
personal i ty, whi l e your ori gi nal voi ce whi spers and nudges
from the depths of your heart.

Student: But the voi ce of my heart i s not necessari l y formed
of words, but rather feel i ngs. And these feel i ngs are subtl e
and constantl y changi ng. Hope can turn to despai r, or l ove to
hate i n a mere fl ash of ti me.

Teacher: Li ke the uni verse, the heart i s mul ti -l evel ed. The
heart of whi ch I speak i s adept at expressi ng i ntui ti ve
i ntel l i gence i n the spi ri t of compassi on and understandi ng.
When you hear a voi ce wi thi n that stri kes thi s bal ance, you
have found your i nner voi ce.

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Student: Does everyone have thi s i nner voi ce and the abi l i ty
to express i t?

Teacher: No.

Student: Why i s thi s l i mi tati on bestowed on human nature?

Teacher: It i s si mpl y an outgrowth of the i mperfecti ons of the
human i nstrument col l i di ng wi th the i mperfecti ons of the
three-di mensi onal envi ronment.

Student: And these i mperfecti ons subdue the heart s
expressi on and di mi ni sh i ts voi ce?

Teacher: No more than the cl ouds control the sun and l essen
i ts warmth.

Student: So the i nner voi ce conti nues to express i tsel f even
though the i mperfecti ons make i ts voi ce i naudi bl e?

Teacher: Yes.

Student: Usi ng your anal ogy, how does one el i mi nate the
cl ouds?

Teacher: You can t el i mi nate i mperfecti ons, but you can
achi eve supremacy over them for peri ods of ti me. Imagi ne i f
the sky were al ways shrouded i n cl ouds. The tel escope woul d
not exi st, woul d i t?

Student: I suppose not.

Teacher: Suppose that the cl ouds woul d di sappear, but for
onl y one day each year, and i t was onl y on thi s day that you
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coul d see the vastness of the uni verse. Do you suppose the
tel escope woul d be i nvented?

Student: Perhaps

Teacher: The answer i s, yes. The moment the human spi ri t
understands the depths and hei ghts of i ts uni verse, the wi l l to
apprehend i tto study i ti s engaged.

Student: But how does thi s rel ate to the heart s i nner voi ce?

Teacher: The i mperfecti ons of the human i nstrument and the
three-di mensi onal worl d are l i ke cl ouds that obscure the
depths of the heart. If you can see beyond these cl ouds, i f
onl y for a short ti me, you wi l l try to access and understand
your i nner voi ce and express i t ful l y i n your l i fe despi te the
i mperfecti ons.

Student: Agai n, usi ng your anal ogy, what i s the tel escope
as i t rel ates to the heart s deepest expressi on?

Teacher: They are the techni ques of the i ntui ti ve i ntel l i gence.

Student: Can you expl ai n them to me?

Teacher: There i s a component of the human i nstrument
known poeti cal l y as the Heart s Scri be. Your emoti onal
hi storyevery nuancei s recorded and i nscri bed wi thi n the
ci rcui ts of your heart. Thi s, i n l arge measure, i s the source of
the cl ouds we spoke of earl i er.

Student: And they need to be cl eared. How do I do that?

Teacher: Fi rst and foremost, i t i s vi tal to understand the
heart. The heart i s so much more than a physi cal muscl e
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pumpi ng bl ood. Thi s i s onl y the surface mani festati on of
nothi ng l ess than the source of your i ntui ti ve i ntel l i gence. The
energeti c heart i s the source templ ate of the physi cal heart.

Student: The source templ ate?

Teacher: As the physi cal heart di stri butes l i fe-gi vi ng oxygen
to the body, so does the energeti c heart di stri bute i ntui ti ve
i ntel l i gence to the mi nd. The energeti c heart i s the source
templ ate for the formati on of the physi cal heart, and more
than thi s, i t i s the poi nt of connecti on to the hi ghest form of
consci ousness from whi ch your i nner voi ce ari ses.

Student: My physi cal heart i s based on an energeti c heart,
and thi s energeti c heart i s what I want to have access to?

Teacher: Thi nk of i t thi s way. The heart i s di mensi onal and
mul ti -faceted. It expresses emoti onal currents; regul ates
physi ol ogi cal functi ons; acti vates certai n brai n chemi stry;
communi cates throughout the body and mi nd; recei ves
precogni ti ve i mpressi ons from your future envi ronments; and
connects you to al l other states of bei ng.

The heart i s al so the gateway to the compassi on frequency of
l ovethe purest force of the mul ti verse.

Student: I ve never heard of thi s before. What do you mean
by the compassi on frequency of l ove?

Teacher: Love, l i ke al l thi ngs di mensi onal , can be separated
i nto a spectrum of frequenci eseach frequency a part of the
whol eness, but each possessi ng a di fferent i ntel l i gence.

Student: Intel l i gence?

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Teacher: Are al l forms of l ove the same?

Student: Of course not.

Teacher: Love i mbued wi th compassi on and understandi ng i s
di fferent from l ove that i s stubborn and sel fi sh, i s i t not?

Student: Yes but I don t thi nk of i t as a di fference i n
i ntel l i gence i n the l ove i tsel f, but rather the person
expressi ng i t.

Teacher: That i s because you don t understand that emoti ons
have an embedded i ntel l i gence based on thei r frequency and
how the frequency resonates wi th the hi gher ci rcui ts of the
mul ti verse.

Student: I don t understand.

Teacher: Thi nk of the mul ti verse as el even hol ographi c
spheres of consci ousness, each i nterpenetrati ng the one that
i s more i nward. Onl y the outer sphere contai ns al l spheres,
and thi s i s the consci ousness of Fi rst Source, whi l e the
i nnermost sphere i s the consci ousness of i nani mate objects
l i ke a stone or seashel l . Love i s separated i nto frequenci es
that resonate i n harmony wi th each of these spheres or
domai ns of consci ousness. Si mi l arl y, the heart i tsel f consi sts
of di fferent l ayers of consci ousness, and each l ayer has an
i ntel l i gence of percepti on and expressi on. Thi s i ntel l i gence i s
l i nked to the brai n and hi gher mi nd, so that the human
i nstrument i s capabl e of expressi ng from any domi nant
frequency or sphere of the mul ti verse.

Student: Incl udi ng the l evel of Fi rst Source?

Teacher: Yes.
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Student: So the heart i s the mul ti verse i nsi de each of us?

Teacher: It i s the gateway to the mul ti verse because of i ts
abi l i ty to decode emoti onal frequenci es from the hi ghest
l evel s of the mul ti verse and express them i nto three-
di mensi onal envi ronments through a human i nstrument.

Student: I thought the brai n was the supreme organ of the
human i nstrument. The crown chakra, the thi rd eye aren t
these associ ated wi th the brai n and the hi gher mi nd? Aren t
these more cl osel y connected wi th the Fi rst Source vi brati on
than the heart?

Teacher: The heart operates at the hi ghest frequency wi thi n
the human i nstrument. Emoti ons are even faster than the
speed of thought. They operate outsi de of ti me/space when
they are i n resonance wi th the hi gher ci rcui ts of the
mul ti verse.

Student: If the heart operates at the hi ghest frequency then
emoti ons are more certai n to be the catal ysts that awaken us
to our true sel ves?

Teacher: Yes, thi s i s why the most profound spi ri tual
experi ences are woven from the textures of the heart s
emoti ons rather than the thoughts of the mi nd.

Student: Okay, so how does thi s al l rel ate to cl eari ng the
emoti onal debri s that s been i nscri bed upon my heart?

Teacher: It i s not the heart i tsel f that i t has been i nscri bed
upon. The emoti onal debri s i s passed from the heart to the
brai n and the neural network that surrounds i t. Thus the
cl eari ng takes the same route and i s a process, not an event.
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It begi ns wi th the compassi on frequency of the emoti on cal l ed
forgi veness. Thi s frequency can be evoked wi thi n your heart
through thi s command:

As the l i ght of my heart bri ghtens, so does my capaci ty to
forgi ve. As forgi veness fl ows i nto my heart i t moves upwards,
fi l l i ng my enti re head wi th the most del i cate and refi ned l i ght
i magi nabl e, and from thi s l i ght, a compassi on for my past
settl es i n, and al l that has occurred i s rewri tten i n thi s l i ght.

Whi l e thi s i nvocati on i s bei ng sai d, you can l i sten careful l y to
the words and al l ow them to form vi sual pi ctures i n your
heart.

Student: That s i nteresti ng. I ve al ways been taught to form
pi ctures i n my mi nd, but never i n my heart.

Teacher: Vi sual i zati on i s not confi ned to a speci fi c posi ti on i n
the body or head. It can be pl aced anywhere by projecti on.
Si mpl y project the pi ctures to the area i n the center of your
chest. The one who vi ews the projecti on can be outsi de of
your body watchi ng from a di stance of a few meters.

Student: Who i s watchi ng outsi de my body?

Teacher: You are.

Student: Is thi s one of the techni ques you referred to as
techni ques of the i ntui ti ve i ntel l i gence?

Teacher: Yes, but thi s techni que has addi ti onal facets to i t.
When you have compl eted thi s fi rst step, three remai n.

Student: What are they?
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Teacher: The second step i s to al l ow thi s l i ght to settl e i n. It
requi res that you percei ve the l i ght as a very, very refi ned
mi st of yel l ow-gol d, suspended, yet movi ng at a l evel beneath
percepti on. It i s i mportant to sense that thi s movement of the
l i ght i nsi de your head possesses i ntel l i gencecapabl e of
rewi ri ng, rewri ti ng, adapti ng your emoti onal hi story.

Student: And by performi ng thi s techni que I can begi n to
cl ear the cl ouds of my emoti onal hi story?

Teacher: Yes, but vi sual i zati on and i magi nati on are vi tal
el ements of thi s process. Agai n, I want to stress that thi s i s a
process that requi res a consi stent practi ce for a peri od of
ti metypi cal l y thi rty days or more.

Student: Why are vi sual i zati on and i magi nati on so i mportant
to thi s process?

Teacher: They engage the heart s core i ntel l i gence and the
brai n s recepti vi ty i s the resul t.

Student: You re sayi ng that the brai n i nterprets the heart s
si gnal s based on thei r cl ari ty?

Teacher: The hi gher brai n i s desi gned to read the heart s
si gnal s based on how wel l defi ned they are i n terms of thei r
vi sual energy and emoti onal authenti ci ty.

Student: Vi sual energy?

Teacher: Whatever i mages are projected upon the heart
regi on, they are energi zed. To the degree you can vi sual i ze
the i mage cl earl y, project i t to your heart area and i mbue i t
wi th your heart s core emoti ons, you wi l l send a more potent
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si gnal to your hi gher brai n. It i s thi s potency that the hi gher
brai n responds to.

Student: In what way?

Teacher: In the context of thi s di al ogue, i t faci l i tates the
course of acti on to rewri te your emoti onal hi story i n the
frequency of compassi on and understandi ng.

Student: So the heart and brai n are partners, but ul ti matel y
the brai n deci des whether to act on the si gnal or the
di recti ves from the heart?

Teacher: Just as the physi cal heart has an energeti c or
quantum counterpart, so does the brai n. These two organs
and thei r peri pheral systemsat both the physi cal and
quantum l evel sare compl etel y i ntegrated, i n a manner whi ch
sci ence i s onl y now begi nni ng to understand.

It i s not that the heart transmi ts an order to the brai n, and
the brai n, detecti ng the potency of the di recti ve el ects to act
on i t or not. The heart and brai n are a uni fi ed system that
cycl es and recycl es energy, i nformati on, and i ntel l i gence
wi thi n the human i nstrument. Thi s system operates wi th
greater effecti veness, i n terms of expressi ng i ts i nnate
i ntel l i gence i n three-di mensi onal envi ronments, when i t i s
entrai ned to the core heart energy of compassi on and
understandi ng.

Student: You speak about compassi on and understandi ng, but
i sn t uncondi ti onal l ove the core heart frequency?

Teacher: I choose to refer to these core frequenci es i n terms
that are not so mi sunderstood, as i s the term uncondi ti onal
l ove.
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Student: You al so menti oned emoti onal authenti ci ty was a key
el ement i n how the brai n responds to thi s techni que. Can you
expand on thi s?

Teacher: When you see a pi ece of cl oth from a di stance of
twenty meters, what di sti ngui shes i t?

Student: Its col or.

Teacher: And when you are abl e to hol d thi s same cl oth and
exami ne i t cl osel y, what then?

Student: I suppose texture becomes more i mportant how i t
feel s.

Teacher: And the subtl y of the desi gn?

Student: Yes, I suppose at twenty meters one woul d not be
abl e to see any subtl e desi gns that had been woven i nto the
fabri c.

Teacher: Emoti ons are i mbued wi th texture and subtl ety. The
hi gher brai n system i s desi gned to scan the emoti onal data
i ncomi ng from the heart system and determi ne i f the textures
and subtl eti es of the data are deri ved from the core heart
frequenci es, or are deri vati ves of the three di mensi onal
envi ronment and/or emoti onal hi story.

Student: The hi gher brai n makes thi s determi nati on? How
does i t know?

Teacher: Have you noti ced my use of the word Desi gned?

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Student: Yes, but I m not sure I i nterpreted i t the way you
meant i t.

Teacher: The heart and brai n systems were desi gned to
enabl e those who were abl e to appl y thei r i magi nati ons from
the core heart frequenci es to access the hi gher frequency,
hi gher i ntel l i gence of the geneti c mi nd. Thi s access made
them the prophets and phi l osophers of humani tythe wi sdom
bearers that el evated al l of humani ty.

Student: So onl y those who had thi s knowl edge woul d be abl e
to access thi s hi gher state?

Teacher: No. Everyone i s abl e to.

Student: Everyone?

Teacher: Shoul d anyone be excl uded?

Student: What about those who knowi ngl y practi ce evi l ?

Teacher: A l i feti me of 4000 weeks to expl ore and understand
the i nfi ni te cosmos i s the expl anati on of evi l .

Student: I don t understand?

Teacher: We are good, spi ri tual bei ngs, not by the expressi on
of our behavi ors, but by our i ntri nsi c natureour ori gi n. We
are each al l owed access to thi s hi gher knowl edge not by how
we act, but by si mpl y bei ng what we are.

Student: Okay, I thi nk I understand, and on some l evel , I m
rel i eved to hear thi s. However, al l my l i fe I ve l i ved wi th the
convi cti on that di vi ni ty i s somethi ng earned. Those who were
weak and easi l y l ed astray by the dark forces were not
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al l owed access to the techni ques that woul d empower thei r
greed, hate, or evi l tendenci es. What you re now tel l i ng me i s
that the techni ques of the i ntui ti ve i ntel l i gence are avai l abl e
to any and al l .

Teacher: They are. Thi s convi cti on you speak of i s an arti fact
of the mystery school s and the esoteri c practi ces that use
techni ques of l i berati on as rewards of l oyal ty.

Student: But won t some peopl e abuse these techni ques,
usi ng them for sel fi sh or even evi l purposes?

Teacher: I just expl ai ned that the heart and brai n are an
i ntegrated system desi gned to acti vate, access, and express
the hi gher frequenci es of compassi on and understandi ng, and
that the brai n serves the rol e of assessi ng the emoti onal
authenti ci ty of the heart. Thi s ski l l , i ntel l i gence, i nsi ght
whatever you choose to cal l i t, i s absol ute and i nborn wi thi n
al l hi gher l i fe forms. No one can uti l i ze the techni ques of the
i ntui ti ve i ntel l i gence i f thei r heart i s passi ng data to thei r
brai n that i s deri vati ve of emoti onal di storti ons common to
three-di mensi onal envi ronments.

Student: I sti l l don t understand how the brai n knows how to
do thi s, but l et s move on.

Can we revi ew the techni que you started to expl ai n?

Teacher: There are four steps to thi s parti cul ar techni que. Its
purpose i s to hel p the practi ti oner to recast thei r emoti onal
hi story i nto the compassi on frequency, and by so doi ng, gai n
a deeper access and more fl uent, on-demand expressi on of
thei r i nner voi ce or i ntui ti ve i ntel l i gence.

Student: Does thi s techni que have a name?
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Teacher: Onl y i f you gi ve i t one.

Student: And you ve di scl osed onl y two of the four steps thus
far?

Teacher: Yes, the fi rst two we have covered: the i nvocati on
and i magi nati on steps. The thi rd step i s to rel ease.

Student: How i s thi s accompl i shed?

Teacher: When you fi ne-tune your i magi nati on and you see
the refi ned l i ght frequency wi thi n your head area and you
al l ow thi si n a senseto take up resi dency, you must adopt
the i nner atti tude of surrender and rel ease.

Student: To what?

Teacher: To the resul ts of the techni que. To the fact that the
emoti onal hi story that you have stored i n your neural and
quantum network cal l ed the human i nstrument, may undergo
change or modi fi cati on.

Student: But i f I m practi ci ng the techni que haven t I al ready
surrendered to the resul ts? I mean, why woul d I be practi ci ng
i t i f I weren t si ncere?

Teacher: Your desi re for the end benefi t, i n thi s case, a more
profound connecti on to your i ntui ti ve i ntel l i gence, can
overshadow your wi l l i ngness to see the wi sdom i n the process
and del ay grati fi cati on for the thi ng you desi re.

Student: You mean that I may become i mpati ent?

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Teacher: It i s more l i kel y that you wi l l be l ess i ncl i ned to
al l ow the fi rst two steps i n thi s process to unfol d organi cal l y
i n thei r own ti mefor the purpose of recasti ng your emoti onal
hi story. Thi s i s why thi s thi rd step i s desi gned i nto the
process.

Student: How do I perform thi s rel ease as you cal l i t? Is there
a speci fi c techni que?

Teacher: It i s si mpl e, and yet di ffi cul t at the same ti me. To
rel ease i s to trust. To trust i s to bel i eve i n the i ntel l i gence of
both your i nnermost sel f, as wel l as the ori gi n from whi ch i t
ari ses. Thi s i s the si mpl e part. The di ffi cul t part i s to
understand that the judgment of the ego-personal i ty i s
i mpai red, and i n some measure anti theti cal to the i ntui ti ve
i ntel l i gence.

Thi s stage of the techni que i s to rel ease judgment of your
progress wi thi n the bounds of the process.

Student: How do you mean thi s? I m not sure I understand.

Teacher: If by cl eari ng the cl ouds of your emoti onal hi story
you i mprove access to your i ntui ti ve i ntel l i gence or i nner
voi ce, the ego wi l l search for evi dence of your progress i n
order to sati sfy i ts i nnate hunger for achi evement.

The ego i s not somethi ng to be bani shed, i gnored or faul ted
for thi s atti tude, but rather i t i s to be refi ned.

Student: Is thi s part of the rel ease techni que?

Teacher: Yes.

Student: How?
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Teacher: Rel ease i s a psychol ogi cal i mperati ve when an
i ndi vi dual aspi res to access and express thei r i ntui ti ve
i ntel l i gence. Your ego i s adept at operati ng wi thi n the l ower,
outer forces, i n much the same way as your heart i s adept at
operati ng wi thi n the hi gher, i nner forces.

As you seek to al i gn to these i nner forces, your ego wi l l
percei ve the effort and the process therei n as a tri vi al
di stracti on to the real worl d probl ems that press upon you.
The i nsti nctual response of the ego-personal i ty, i n thi s case,
i s to percei ve the focus on your core heart frequenci es as
mi sdi rected.

Student: Why?

Teacher: Because the ego resi des wi thi n the l ower mi nd and
i ts attachment to the physi cal body i s mai nl y through the eye-
brai n s percepti on of i ts domi nant real i tythe three-
di mensi onal worl d. To the pure ego, the heart i s si mpl y a
bothersome appendage of the physi cal body that di spl ays
weakness.

Student: Okay, I thi nk understand the reason that rel ease i s
the thi rd step, but how do I speci fi cal l y perform thi s step i n
the process?

Teacher: Breathi ng through your heart regi on i s the method
to i ntermi x the desi res of the ego wi th the capaci ti es of the
heart, and thi s i s the method of rel ease.

Student: How do I do thi s?

Teacher: After you have compl eted the fi rst two steps, center
your attenti on on your breathi ng. Imagi ne that your i n-breath
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bri ngs the desi res of your ego i nto an i nteri or chamber of
your quantum heart. Then, i magi ne thi s desi re for
achi evementi n the form of an i n-breathi s suspended wi thi n
thi s i nteri or chamber by hol di ng your breath. As you do so,
your breath i s i ntermi xi ng wi th the i nfl ow of compassi on that
ari ses from your quantum or energeti c heart. Now, expel thi s
newl y energi zed breath back through your heart area, and
each ti me, as you exhal e, repeat the phrase: Leave i t i n the
mystery to shi ne of i ts own l i ght. Do thi s si x to ei ght ti mes.

Student: That s al l ?

Teacher: Yes.

Student: I was expecti ng the rel ease part to be more
compl i cated and di ffi cul t.

Teacher: The di ffi cul t part i s when you l ack the techni que for
rel ease, or you practi ce the techni que wi thout emoti onal
authenti ci ty and vi sual energy.

Student: What i s the fourth and fi nal step of thi s process?

Teacher: It i s someti mes referred to as l i ght di stri buti on,
though I prefer to thi nk of i t as l i ght connecti on.

Student: How does i t work?

Teacher: Just as the physi cal heart di stri butes oxygen vi a the
bl ood to the peri phery of the physi cal body, the quantum
heart di stri butes l i ght vi a vi sual energy and emoti onal
authenti ci ty to the borders of the human i nstrument. The l i ght
di stri buti on techni que i s to i magi ne l i ght ci rcul ati ng
uni mpededthroughout the expansi ve you.

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Student: I m not sure what that means.

Teacher: The human i nstrument consi sts of the physi cal body,
emoti onal system, and the facets of the mi nd. The gri d that
i nterconnects these el ements and causes them to operate
effi ci entl y as a system i s si mi l ar to the vei ns and arteri es of
the physi cal body. Thi s gri d conveys l i ght that i n turn uni fi es
a quantum fi el d and al l ows i t to operate i ndependentl y of the
mul ti verse. We someti mes refer to thi s i ndi vi duated gri d as
the expansi ve you.

Student: So I am thi s l oose confederati on of l i ght parti cl es
that somehow manages to coal esce i nto a body and mi nd, and
to thi s I need to vi sual i ze l i ght bei ng di stri buted wi thout
bl ockages or i nterrupti ons. Is thi s the i dea?

Teacher: You si mpl y need to pl ace your attenti on on the
real i ty of what you are. It onl y takes a few moments, but i t i s
cri ti cal that you practi ce thi s techni que frequentl y and i n a
speci fi c manner.

Student: How frequentl y?

Teacher: That i s up to you, but you cannot do i t too much.

Student: Why do I even need to be consci ous of thi s? It
seems that the l i ght fl ows just fi ne wi thout my di recti on.

Teacher: It does, but you are not di recti ng i t, you are
accessi ng i t, touchi ng i nto thi s hol ographi c gri dwork of l i ght
that i s the fundamental structure of your exi stence i n the
three-di mensi onal envi ronment.

Student: Maybe you shoul d just expl ai n the techni que, and I l l
stop aski ng questi ons.
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Teacher: If you coul d concentrate thi s gri d of l i ghtmake i t
bri ghter, more i ntense; what do you thi nk the resul t woul d
be?

Student: More energy?

Teacher: No. It can actual l y have the opposi te effect i n the
sense that the body i s fati gued and weakened.

Student: So di stri buti ng l i ght i s not about concentrati ng i t?

Teacher: No. It s bal anci ng the l i ght quoti ent wi thi n the
human i nstrument and ensuri ng i t i s coherent, rhythmi c, and
free fl owi ng.

Student: It sounds l i ke you re descri bi ng the physi cal heart
agai n.

Teacher: Thi s i s the natural state of the heart and the enti re
human i nstrument, but i n the day-to-day i nteracti ons wi th the
three-di mensi onal envi ronment, the human i nstrument can
l ose thi s bal ance and sl i p i nto an i ncoherent, arrhythmi c, and
entangl ed state of exi stence.

The heart percei ves thi s state and, wi thout knowl edge of the
proper techni ques, responds i n ki nd, fuel i ng the mental
dysfuncti on and physi ol ogi cal i neffi ci ency wi th i ts energy.

Student: More cl oud cover?

Teacher: Preci sel y. Thi s i s why thi s step i n the process i s
i mportant because i t hel ps the heart to synchroni ze i ts energy
wi th the deeper, sub-quantum structures upon whi ch you
depend.
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Student: What do I do?

Teacher: Can you vi sual i ze your heart beati ng i n your chest
di stri buti ng oxygen to your body and brai n system?

Student: Yes.

Teacher: Imagi ne thi s same functi on i s occurri ng i n your
quantum or energeti c heart, and that i nstead of vei ns and
arteri es, there are fi l aments of l i ght that di verge from your
quantum heart and connect you to a broader gri d. Thi s gri d i s
the source of your exi stence as a physi cal bei ng.

Now, you can thi nk of these fi l aments as both roots and
wi ngs. Roots i n the sense that they anchor and ground your
exi stence; and wi ngs i n the sense that they provi de upl i ft and
expansi on to your l i fe.

Throughout the day, si mpl y feel the energy structure that
surrounds you. When you do thi s, i magi ne that your heart i s
pl uggi ng i n or connecti ng to thi s structure, even i f you
cannot vi sual i ze i t, feel i ts presence l i ke a pri mordi al soi l of
l i fe-gi vi ng energy. Feel thi s connecti on as a rhythmi c pul si ng
of l i ght, fl owi ng from the gri d i nto your heart system and then
fl owi ng out from your heart to the rest of your body.

Student: I fel t thi s just l i steni ng to you.

Teacher: That i s the techni que for the fourth and fi nal step.

Student: Shoul d thi s fourth step be performed i n concert wi th
the other three techni ques?

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2004 WingMakers LLC, All Rights Reserved
Teacher: It i s not necessary to perform thi s when you act
upon the other three steps. Thi s fourth techni que can be
performed throughout the day and onl y takes a matter of
seconds. It can be performed twenty ti mes each day for the
rest of your l i fe. It i s a techni que to rebal ance and repl eni sh
your core heart frequenci es and to ensure they are bei ng
di stri buted throughout the human i nstrument. It acti vates the
i nner currents.

Student: What are those?

Teacher: When a ri ver l oses i ts current what happens?

Student: It sl ows down and becomes stagnant.

Teacher: Cl ari ty and tempo are rel ated, are they not?

Student: I thi nk thi s i s true as i t rel ates to ri vers, but I
assume you re tal ki ng about the human system as wel l .

Teacher: Correct.

Student: So the techni ques of the i ntui ti ve i ntel l i gence are
real l y mul ti -faceted i n what they bri ng to the i ndi vi dual ?

Teacher: If you can access your i ntui ti ve i ntel l i gence, i n a
sense, i ncrease the bandwi dth of your connecti on to the l i ght
energy gri d that supports you, a si ngl e word can catapul t you
i nto understandi ng, when before a hundred books l eft you i n
i gnorance.

Intui ti ve i ntel l i gence i s the potency of the quantum heart
tri ckl i ng i nto the three di mensi onal worl d. It i s the key to the
knowl edge that matters. For thi s knowl edge changes
everythi ng i n the di mensi ons of the past, present and future.
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Student: I wi l l fai thful l y practi ce i t. Thank you for shari ng thi s
wi th me.

Teacher: It i s my honor.