Polyhedral Structures B: Let us recount and illuminate the idea of how the polyhedron structures that you are exploring can be utilized in a variety of ways, to enhance and increase and expand your understanding in your ability to connect to other dimensional realms of information within and without you. Let us recap the regular polyhedral structures. First of all, you will find that there are actually, in total, of those that we will discuss this day of your time -- nine. There will be six that will be physiological, there will be three that will be higher dimensional. Now, more often that not, you will hear on your planet of the five regular solids, specifically meaning, what you refer to as the five platonic solids. Again, specifically meaning that they are associated, their recognition, in a sense, their, quote/unquote, discovery is associated with the entity that you call on your planet Plato. But there are actually six regular solids. One of which was not known to Plato, but has been since recognized by your civilization. Let us begin with the six physiological, regular polyhedron. Number one: The tetrahedron, being in a sense, a four-sided structure, or not counting the base, a three-sided pyramid, but including the base, four sides, and each side being an equilateral triangle. This you have. Yes? Audience: Yes. B: All right, next what you call the cube. Six sides each of which is a square. This you have, yes? A: Yes. B: All right. The next being the equilateral octahedron, eight sides, in a sense, that you would recognize as, again, equilateral triangles, the equilateral octahedron. This you have. Yes? A: Yes. B: This would be like what you would call two, four sided pyramids stuck together at the square base. You follow? A: Yes. B: All right, next you usually count the concept of what you would call the dodecahedron. Yes? But, do you have two dodecahedrons or one? There is two. There is the pentagonal dodecahedron, made of twelve pentagons. There is the rhomboid dodecahedron, made of twelve rhombus shapes, which are diamond shapes. So there are two, twelve faced polyhedron, two types of dodecahedron. You follow? A: Yes. B: All right, you can experiment and we will get to this in a moment with constructing the rhomboid dodecahedron, we will explain how to construct such a figure in a bit. All right? A: OK. B: All right. Moving on to the final sixth regular polyhedral structure, you have the twenty sided figure, twenty triangles, equilateral triangles, that you call the icosahedron. You follow? Yes? Yes? A: Yes. B: All right, thank you, thank you, wanted to make sure that there was someone on the other end of this transmission. Is this true? Have you not, up to this point, explored the idea of the regular polyhedral solids? Yes. Q: We've been concentrating on the tesseract. B: All right, that is number eight. But first number seven -- and now we enter the dimension of higher realms. What you have now is what we call the tetragramaton, which is like a tetrahedron, in that it appears to be a four sided figure made of four regular triangles, in that sense, equilateral. But, unlike the typical regular tetrahedron, you can now understand that each of the triangular faces, each of the four, is actually the base of another whole tetrahedron pointing inwards inside the structure, as if each face were a completely separate tetrahedron contained within the overall *outside* tetrahedron. This is because each face is actually the side of an inter-dimensional tetrahedron and they all overlap, /all/ of them overlap. So what you have here is, again, a twenty-sided figure in that you have the overall tetrahedron, the outside one with four and then you have four of four, sixteen and four is twenty. You have another twenty-sided figure but it is twenty sided in another dimension; not in your dimension, it only is, in a sense, four sided in your dimension. The next, the seventh, is the tesseract. That is the cube or the hyper- cube, as you may call it. Again, the same principle applies, and this is that each square space is the side of a completely different cube. So you have, in a sense, seven cubes. A whole cube outside and each space represents another completely different cube making another six. And therefore, you have forty-two faces in this particular polyhedral structure, but, again, most of them are in another dimension. Again, it would be like you have a cube and you can image that you can step into any face and be inside the cube as if it were simply a hollow structure. But that is what would happen in your normal three-dimensional cube, you would simply step through one of the faces and be inside the same cube. In the hyper-cube, in the tesseract, any face you step through would actually put you into a cube separate from any other cube, you step through any other face to enter. Each face is a side of a completely different cube. They are all intersecting but they do not interact, they do not meet. If you step through one face you are in cube number one, if you step through another face you are in cube number two, and the things that are contained in cube number one, if anything at all, will not appear inside cube number two when you step through face number two. This is the whole concept of the higher dimensional polyhedral physics. The final, in that sense, is really simply what you recognize as a /sphere/ for in that sense it is unidirectional. You have this, in a sense, even in your own reality and it can be said to be the idea of the zero point, even before the tetrahedron in physical terms, for when you step in a sphere it is the same in all directions. This is the same in the higher dimensions as well. Again, however, when you step into the hyper-sphere you now have an infinite array of possible realities that you can experience because each point on the surface of the sphere is really a completely different sphere. So while in the physical reality the sphere being the zero, not the one, will simply be that you step into a ball and it is the same ball. In the higher dimensions the sphere will be an infinite array of realities, an infinite array of spheres contained within the same sphere. So you have the zero and infinity at either end of the spectrum of the interim eight, or an octave of polyhedra. Are you following along so far? A: Yes. B: All right, close enough. Now, so the progression in terms of the sides, in terms of the faces that is, will be, starting with the physical sphere, zero. And, then you will have the tetrahedron for four. Then you will have the cube for six. Then you will have the equilateral octahedron for eight. Then you have two dodecahedrons, two twelve faced figures. Then you will have the icosahedron for twenty. Then you will have the tetragramaton for twenty, again, forming the bridge connector from physical to non-physical reality with the same number of faces inward as the icosahedron has outward. Then you will have the idea of the tesseract or the hyper-cube for forty-two. And then you will have the hyper-sphere for Infinity. So this is the count then as you have it: zero to the idea then of four and then six, and then eight, and then twelve/twelve and then twenty/twenty and then forty-two and then Infinity. Now the idea herein is to understand that these forms are some of the most basic structures in what you call nature, physical reality. They are some of the underlying templates, or if you wish, building blocks for how things arrange themselves in physical reality. And what this means is, they arrange themselves not only atomically, even sub-atomically, but also on a larger scale, a macrocosmic scale, even relationships of energy follow these patterns in general. This is not to say that there are not other patterns but when you are talking about the regular ones, i.e., ones that have faces that are equal to every other face. These form the basic skeleton of the underlying template of how things are arranged or the relationship that exists throughout many different dimensions that are all connected to your particular universal reality, physical and etheric. And, in that sense, the hyper-dimensional connections as well, but we will concentrate and focus on what will be most applicable to your reality, since, of course, that happens to be where you're focused at the moment. So let us begin by understanding that one of the ways, and it is only one, one of the ways to use these forms is, whether you do this in your imagination, in your minds, in your mind's eye, so to speak, or whether you create some kind of media format in which to view this occurring, will not really matter as long as, simultaneously to any assistive tool you may be using /outside/, you also will allow this to be going on in your imagination at the same time. When you can begin to imagine or visualize these forms inside your mind, inside your imagination, when you can see them in your mind's eye, dimensionally, and you can begin to move them, to turn them, to spin them, to /rotate/ them in your mind, you will find that they actually have the capability of making changes within you. First of all they will make energetic changes. Secondly, they will actually instill neurological changes. Thirdly, they can even instill physiological changes within you. They are like skeleton keys and when you can hold the form in energy, strongly, and begin to associate with it strongly, and begin to move it in space and time, then it will move *you* in space and time, you will go along with it, it will carry you, in a sense, into different orientations, different perspectives, allow you to perceive and access different dimensional perspectives of informational reality. So these are the keys turning in the locks; and as you become more proficient at turning them, then you will find you will be able to open more locks, open more doors and begin to /perceive/ through inspirational methods, through meditational methods, through artistic expressional methods, through many different creative methods, you will be able to perceive INSTANT insights and perceptions of things you here to for had not imaged. And you will find that you can also use these to take these new perspectives of information and figure out ways to apply this information, to adapt this information to your physical reality to create new things, to have new ideas, to apply new methodologies, to create new results, new effects in your reality. This is the primary utilization that we will be discussing, there will be other utilizations that we can also, perhaps, touch on in this first preliminary discussion about the use of these regular polyhedra. But for now in having laid this basic foundation, let us begin...