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Saint Anthony is referred to as "'Santo Antoninho' or Little St. Anthony as the pet name of the great St. Anthony in Portugal. Rightly so! When Anthony was little, Lisbon was home to him. He belongs to Portugal in his birth, in his education, in his entry into religious life and in his introduction to the Franciscans. Every now and then, the Portuguese reassert their claim on the man many assume to be Italian and connect with Padua."
Spencer A. Marrese
“Three Models for the Universal Language of Color Applied to the Rays and Initiations”
This article looks at an intuitive (non-scientific, non-technical, non-psychological) way for a person to start experimenting with their Ray structure using a three level progressive color model. In most writings the study of the Rays is given in a scientific, technical or psychological manner. However, in addition to this normal scientific manner most people study and discuss the Rays there is a definite mystical and intuitive aspect, which is less emphasized. For example, when the Rays of certain disciples or initiates are discussed, especially in relationship to the discipleship groups of 27 people working under the direction of the Tibetan, it is mentioned that although the people in the group knew each other for a long time and certain Ray structures had been given by the Tibetan it was still basically not possible for the others in the group, without the help of the Tibetan, to determine what Rays were functioning within themselves or their close associates or group members. So, although there is a very scientific way of studying the Rays the science turns esoteric, mystical and intuitive when practically using the Rays applied to the vehicles of a person. This type of esoteric, mystical or intuitive aspect of the science of the Rays has been my own experience over the last 25 plus years of working and studying the Ray qualities in relationship to my own vehicles and those of over 5,000 other people. During this time, and early on during this time, I was given the opportunity additionally to work with an intuitive system of qualities related to human vehicles based on a system of color. The system was revealed clairvoyantly and experimentally through the clairvoyant eyes of Vicky Wall, founder of the Aura-Soma color therapy system, who claimed to be a part of a long succession of clairvoyants from ancient times. This article is based on my own experiences, impressions and interpretations of over 30 years of study, work and teaching about meditation, color and the Rays from several exoteric, esoteric and occult perspectives however I consider it mainly an extension of the work of the Tibetan and Vicky Wall.
What if we go from a scientific, technical, psychological or for the purposes of this article what I will call an ‘intellectual’ study of the Rays to a sensory, esoteric, mystical or for the purposes of this article what I will call ‘intuitional’ study of determining Ray structure with color?
I understand that using the words ‘intellect’ and ‘intuition’ can be troublesome for some people as would be trying to define the concepts implied or used for these words. Other words to help make my distinction between intellectual and intuitional might be ‘odd Ray’, ‘1st, 3rd or 5th Ray’ way of study rather than ‘intellectual’ or ‘even Ray’, ‘2nd, 4th, or 6th Ray’ rather than ‘intuitional’ (let’s leave the 7th Ray for another day). My goal in making the distinction between these words is to use one word, such as, ‘intellectual’ to represent Ray methods and studies that use ‘words’, such as, will, love and intelligence to speak about Ray qualities and to use another word, such as, ‘intuitional’ to represent Ray methods and studies that use a ‘sense’, such as, a person’s visual perception of the colors red, blue and yellow to speak about Ray qualities and studies.
So, hopefully not getting hung-up and at the same time being sensitive to the words used to discuss this subject, what might it look like and how might it help us understand and discuss our own or others’ Ray qualities and the interrelationships between them with color?
I believe that this system is a new way of communicating through the language of color and that although we are specifically discussing the Ray structure of human beings it is a model and method that can be applied widely.
In addition I will indicate where an understanding of a person’s Ray structure using color can lead to an understanding of the 'phase' of our Ray path, or more simply where we are along our path. And finally an indication of how and where a person might fit into a group structure once they accept the Ray structure they are working with, based on color, and the phase or position of their Ray structure again based on color.
The color system that I have developed, used and taught for over 20 years for finding Ray structure is called SAM Synthesis. SAM, in this case stands for Soma, Aura, Monad. For brevity and so as not to get bogged down in definitions or debates with these words either in this article the Soma will be considered the same as the personality (integrated physical/etheric, emotional/astral and mental/manas vehicles), the Aura will be considered the same as the soul (egoic lotus) and the Monad will be considered the same as the spirit (triad). This model is a three-level, (tri-level) progressive system, of intuitive color interpretation to help determine the Ray structure and discuss Ray relationships within an individual and is shown in Table 1 and Figure 1 below:
Level 1 - Deep Hued – 3 Color Primary Progression (ALCOHOL BASES)
Position 3 Position 2 Position 1
Level 2 – Medium Hued – 7 Color Darkness to Light Progression (OIL BASES)
Position 1 Position 2 Position 3 Position 4 Position 5 Position 6 Position 7
Level 3 – Light Hued – 7 Color Rainbow Progression (WATER BASES)
Position 7 Position 6 Position 5 Position 4 Position 3 Position 2 Position 1
The color model is a one-to-one correspondence between the seven Ray qualities of the Soma and the seven corresponding Soma colors, the seven Ray qualities of the Aura and the seven corresponding Aura colors and the three Ray qualities of the Monad and the three corresponding Monad colors.
For the soma aspect of our being I've chosen a system of light hued, water based colors in the seven-color rainbow progression of red, orange, yellow, green, blue, indigo, and violet (ROYGBIV). This is the rainbow progression and it's viewed as a circular, helical or spiral progression because once you get from the red to violet the violet, through a transition zone of magenta, turns back to red along that level. This is considered circular cycle of personality experience in the different qualities or Rays. The first color, red, can be viewed as the first Ray, the will; the second color, orange, can be viewed as the second Ray love, and so on; third color, yellow, third Ray intelligence; fourth color, green, fourth Ray harmony; fifth color, blue, fifth Ray science; six color, indigo, six Ray devotion and the seventh color, violet, seventh Ray ceremony.
Much can be learned just from interpreting and studying the soma or personality based on color or how one soma color relates to another soma color. However, there is a part of our being which we call the soma or personality, which has a governing or consciousness center as in each part of our being. Therefore there is a conscious center of our being which knows itself as a soma or an integrated personality. This is the center that integrates the dynamics of a mental vehicle, an emotional vehicle and an etheric vehicle into a somatic being, an integrated personality. We can use this center of soma consciousness, our personality, to intuit, reach out for, desire, select, sense, communicate, discuss and understand its qualities and relationships in a color Ray model.
The main sense our somatic center of consciousness can use consciously to make this connection is sight. It could use touch or any of the other senses, however most people don't consciously sense a 'touch, taste, smell or sound of color' so the natural sense to use is sight and to allow the soma to reach out intuitively and select the color that it desires, that it synchronizes with, that it harmonizes with or that it is drawn to.
The next level of our being, its center of consciousness, and its color correspondences is the 'Auric' or soul level. For this level the model uses another seven-color natural progression from violet to yellow, which is the progression of color quality from darkness to light. The progression is violet, indigo, blue, green, red, orange, and yellow (VIBGROY). This is a seven-color progression of medium tone, oil based hues. The reason for the medium tone hue is that the darker tone of the hue corresponds to the stronger or higher quality of the aura relative to the lighter tone hue and quality of the soma. The darker hue is an indication of the strength or significance of the aura or soul in relationship to the strength or significance of the soma or personality. The reason for the oil base is that oil is generally ‘lighter’ (less dense) than water, non-soluble in water and therefore normally will not mix but will float on water. The oil base also gives a different dimension to the color irrespective of hue. The natural progression of color from darkness to light of VIBGROY is to show that the soul is more on an upward progression from darkness to light, or lower to higher, than on a circular spiral going mainly round and round as is the soma color progression. So, again, the correspondence for the aura colors is violet equals seventh Ray, indigo equals sixth Ray, blue equals fifth Ray, green equals fourth Ray, red equals third Ray, orange equals second Ray and yellow equals first Ray as shown in the Table 1 above and Figure 1 below.
In a dual-level color system with auric and somatic colors we can look at the individual qualities of the colors and also at the relationship of the auric color to the somatic color. This is one of the keys that Vicky Wall used to unlock a part of the language of color, through the Aura-Soma color system as a way to interpret and explore the relationship of the aura or soul to the soma or personality.
To complete this system, as discussed by the Tibetan, it needs an additional level of three colors corresponding to the qualities of the monad or triad, which then relate to the seven auric colors and the seven somatic colors. For those three monadic colors the model uses the three primary colors of yellow, blue and red with yellow corresponding to the third Ray, blue corresponding to the second Ray and Red corresponding to the first Ray (YBR). The progression represents, for me, Yellow as the past Monadic intelligence inherent in matter, Blue as the present Monadic love, the governing Ray of which all other Rays are sub-Rays and Red as the future Monadic will. These are deep hued, alcohol based colors so that the highest or monad part of our being can be keyed to the strongest or most significant aspect of our being through color. Indicating that the monad color has a greater influence over the auric color and the greatest influence over the somatic color and although the auric color has an influence over the somatic color it is a lesser influence over the somatic color than the influence of the monadic color. The reason for the alcohol base is that, in general, alcohol is ‘lighter’ (less dense) than oil or water, non-soluble in oil but soluble in water and therefore normally will not mix but rather floats on oil but will mix and form a solution with water also an alcohol base gives a different dimension to the color irrespective of hue. The system is shown in Table 1 and Figure 1, which is the SAM Synthesis Tri-level color system.
Use of the Tri-Level Progressive Color System
To begin let’s consider that each of us has a center of consciousness for each our soma, aura and monad that is sensitive to the correspondences between our beings and this color model. We can then select from each of these centers of consciousness a color from the corresponding level of colors. From our somatic center of consciousness a color from the bottom somatic row is selected and with the next center of our consciousness, the auric part of their being, an auric color from the middle row of colors from darkness to light, the middle hued colors is selected, and finally with the highest center of our consciousness, the monadic center, we select one of the three monadic colors from the top row of deep hued colors. The selection process is again what I call intuitional based on the person’s affinity for or with a color rather than an intellectual decision to select a color based on what Ray or quality they know the color represents. The three colors can be selected in any order and although the order of selection is significant will not be considered for brevity.
The reason for this basically automatic sense of which color is ‘our’ soma, aura and monad color, again, is that this color model is a one-to-one correspondence to the Ray hierarchies and progressions of a human being or as they have also been called ‘the Constitution of Man’. We, and our centers of consciousness, are aware of this correspondence and will either consciously or unconsciously (to the person’s mind selecting the colors) use this bridge as a communication or language tool. And although this color bridge may not be ‘The’ Rainbow Bridge it is ‘A’ rainbow bridge through the language of color for being able to discuss a persons Ray structure and qualities and the relationships between them.
We now have a selected set of three colors corresponding to the three main Ray vehicles, the soma, aura, monad or more commonly known as the personality, soul and spirit of a person. Once this selection is made rather than discussing how a ‘will qualified’ soma or personality would interact with a ‘love qualified’ aura or soul we are open to discuss our personal experience and sense of a lighter hued, water based 'red qualified’ color soma interacting with a darker hued, oil based 'orange qualified’ color aura. I have not known anyone or any system, other than the Tibetan master, who could instruct and inform about the Rays and their specific application to specific people in normal language without that person having the direct experience of clairvoyance. Therefore, in addition to a study of a person’s Rays this color model offers a way of transferring a person’s normal sight, and the sense experienced by them of the colors through that normal sight, into clairvoyant experience and teachings as well.
With this system by establishing a Ray structure, through selecting one color from each level, we can immediately start discussing, in the language of color, what that relationship can ‘look’ like. For example, if the three colors are selected intuitively one from each level, as shown in Figure 2, then we have three color qualities, one for each the soma, aura and monad and we also have four color relationships. There are twenty-one (3 x 7) possible combinations of colors of the monad to the aura (higher equilibrium); forty-nine (7 x 7) possible combinations of colors of the aura to the soma (lower equilibrium); twenty-one (3 x 7) possible new solutions of colors of the monad going into solution with the soma (which I call the Soul-Ution); and one hundred forty-seven (3 x 7 x 7) or (7 x 21) all three qualities relating to each other (which I call the SAM Synthesis). The SAM Synthesis is formed by the relationship of the monad to the soma (Soul-Ution) and how that newly formed color (1 of 21 possible colors) relates to the auric color selected as shown in the lowest section of Figure 2.
Going back to the example of a red soma color relating to an orange (orange = red + yellow) aura color. We can say that, in general, it's the red, quality or part of the orange aura color that relates or corresponds most directly to the red quality of the soma. We can also say, in general, that it is the yellow quality or part of the orange aura color that relates in an ‘enlightening’ or ‘blending’ way to the red soma color. This is shown in the universal language of color where, in this case, the red quality of the soma color stands on its own as a primary color and where the orange aura color is an equal proportion of red and yellow.
On the auric level the red in this model corresponds to the third Ray and the yellow is first Ray, which means that the third and first Ray colors, on the auric level, form the second Ray auric colors. We can talk about what that looks like to our sense and us from what we are seeing. Also we can use this language to describe how the red third Ray part of an orange second Ray aura can be in relationship with the red first Ray soma differently than the yellow first Ray part of an orange aura is in relationship to the red first Ray quality of the soma. Which is a perfect example of how the actual colors of this example shown in Figure 2 describe this much easier than all of these words. Without the colors in front of us the language and the communication of the language as a useful tool becomes complex and difficult. This is the way that most writings on the Rays become for many people because there is no direct sense of a Ray through words without an interpretation, structure or understanding possibly built on years or even lifetimes of pondering or seed-thought meditation of those words. With color there is an immediate sense about the color.
This model and system gives a way of studying and discussing the Rays through a sense, in this case sight, of primary, secondary or tertiary colors or color combinations versus words. This can be a very valuable tool for many people who are much more, for lack of a better word intuitionally or even (2, 4, 6) Ray based especially in their mental bodies but also in their somas, aura and monads. I’d like to emphasize that this model and system is not necessarily a replacement for other ways of studying or determining our own or another person’s Ray restructure. It is a way of helping a much greater number of people start discussing personal and group Ray structure and relationships in terms that can be seen, sensed and intuited through our eyes and then verbalized through the language of color.
Continuing with the above example, we can see that with the yellow auric light in relationship to a red quality of the soma, an orange relationship color on the soma level and also on the auric level is a possibility that blends well by forming a secondary color out of two primary colors. When the red of aura comes in contact with the red of the soma the greater red (deeper hued, oil based) of the aura many relationships can be seen as possibilities to form even though the ‘colors’ are the same (the red part of the orange aura and the red soma). The red soma could be subservient or constantly in conflict with the red part of the orange aura or the red part of the orange aura could educate (level) or direct (color) or manipulate (Ray) in a way to bring about harmonious surrender and blending of the red soma. Of course, there are many other ways that an orange aura can relate to a red soma than these few mentioned.
So there are many lessons from these very simple color relationships that can be discussed. As a matter of fact, with these 17 different colors arranged in the pattern of three colors on the first level, seven colors in the second level and seven colors on the third level as we are discussing, if one color is selected from each level then there are, as previously indicated, twenty-one higher equilibrium color combinations plus forty-nine lower equilibrium color combinations plus twenty-one Soul-Ution new colors plus one hundred forty-seven Synthesis color relationships and if these are added to the original seventeen colors there is a total of 255 qualities and relationships which can be studied relating the soma to the aura to the monad (21 + 49 + 21+ 147 + 17 = 255). Not as a definitive closed system but rather as an open discussion model through which our intuitive understanding can flow and use the language of color. This then will hopefully lead to a better understanding of our determining aspects and attributes and which level of our being or relationship of levels is currently the most significant and where to put our attention, which becomes more important in the path phase and group position sections to follow.
As the understanding of color, color quality and color dimension increases communication about the Ray relationships can increase and as that increases those so inclined can start looking for scientific, psychological and other basis for the correlations, correspondences and transferences of the language of color. In other words color and its language are learning tools and at the same time those tools in themselves are parts of life, yet one step less removed from the words that can be used to describe the colors themselves. To go a step further into the distinction that I am making there is a distinction between a person who has a willful soma verses a willful aura verses a willful monad verses a person who is thinking, speaking, acting or being willful. The language of color moves these distinctions one step closer than words alone to the actuality of life experience.
Extension of the Language of Color to the ‘Phase’ along Our Path
Once we intuit our Ray structure through the color selection and use it to look at the relationships within ourselves we can move to a form and color model which I call SAM Phases-of-the-Light which can help us discuss, through the language of form and color, what phase along the path (progression) we are, whether that be our soma, aura or monad path (progression).
SAM Phases-of-the-Light again uses SAM as Soma, Aura and Monad and is based on a hierarchy and progression of shapes and facet numbers designed by Marcel Vogel in his Vogel-cut crystal forms and the yellow, blue and red (YBR) primary color hierarchy and progression. Marcel who had been an IBM research physicist for many years and also sensitive since childhood intuited forms of cut crystals for meditation, healing and other activity. The forms to which a crystal was cut, the number of facets cut on that form and the crystal material, such as, clear, smoky or amethyst quartz all affected the qualities of the finished ‘tool’.
There is what I call: Phase 1 crystal or form related to vertical meditation or alignment; Phase 2 and Phase 3 crystal forms related to horizontal healing or tolerant and disciplined relationship; Phase 4 crystal form related to synthesizing of the first three phases into a direct connection of vertical and horizontal purpose, meaning and activity; in addition to the four phase forms there is a protection crystal or form.
Just as with the colors being hierarchical for the soma, aura and monad and yet being progressive within their own level the crystals also are hierarchical in that crystals can be used on a somatic, auric or monadic level. This hierarchical and progressive nature of the crystal forms is shown in figures 3 and 4.
Once we know our Ray structure through the color selection the crystal form phase model can then be used for identifying where we are along our path. The phase color corresponds, in general, to the hierarchical and progressive color system with certain colors corresponding with certain phases, such as, an orange color being linked to an orange phase. This article is a basic introduction to some of these concepts and does not get into the more complex and subtle numerology of the color or crystal hierarchies or progressions, which do, of course exist. Several of these details have been left out to keep this article brief and uncomplicated in order to form a basis on which more information can be given. There are additional ways of using the color system, numerology of the color system and the relationships of the colors, which can give a more specific indication to the level and phase of a person.
As a general guideline, however, if a person is working more on an auric, level with the colors we can assume their emphasis will be on an auric, level with the phases, etc. There are some exceptions to this that can be indicated through the colors and numerology of the colors however for purposes of this article I think it's clear that if the person from their color selection is mainly sensitive on the auric level we will likely be interested of their phase mainly on the auric level. Of course, our phase is normally different on the soma, aura and monad levels and one of the results of the initial color selection and study of the color relationships is to decide which level and relationships are the most active and significant in our lives and previously mentioned.
Just briefly, the Phase 1, corresponding to the form shown in Figure 3 can be viewed as a vertical gathering phase. This is a phase where all our qualities within or group members (as discussed in the next section) that we associate with are basically focused vertically upward toward a higher source (whether that is somatically, aurically or monadically). There is very little or no energetic exchange horizontally between the various parts of ourselves or, if a group, the people assembled. Discussions can happen, ideas can be exchanged yet, and in general, during Phase 1 it’s not a horizontal type of relationship or energetic flow. As we move to Phase 2, which is the form also shown in Figure 3, horizontal relationships form and become the primary form of relationship or way of interacting within ourselves or in group work.
In other words, from the Phase 1 we glean what the higher work is, in the Phase 2 we start working toward a tolerant way of relating that work within ourselves or with others when in a group. Most people at this point erroneously believe that with enough tolerance the objective can be achieved which is an error and cause of failure for people and groups.
To continue past Phase 2 or correct a Phase 2 personal or group error or failure Phase 3 of disciplined relationship must be entered upon. Phase 3 can also be considered an odd Rayed or masculine phase just as Phase 2 can be considered an even Rayed or feminine phase personally or in group formation (which will be discussed more but briefly in the group section to follow). Without extending or evolving the inner relationships within us or of the relationships of the group outside of us into the horizontal Phase 3 discipline the purpose has little chance of being accomplished, and the meaningful work done so far in moving toward whatever objective dissipated.
With Phase 3 the problem can be that the discipline turns to severity or a purpose that is lost in detail. So, a Phase 4, a more balanced phase, beyond tolerance and discipline must be entered within us or among group members. To accomplish a movement from Phase 3 to Phase 4 a synthesis of the previous three phases must be made and the energy consumed in the disciplined relationships of Phase 3 must basically disappear. This is similar to the disappearance of the soul, which is the relationship of monad directly to the soma at the fourth initiation. Then we have in phase 4 direct contact through us, or the group, as a synthesis of vertical alignment (Phase 1), horizontal tolerant relationship (Phase 2) and horizontal disciplined relationship (Phase 3). The form of Phase 4 is shown in Figure 3. The triangular form designated as protection, again shown in Figure 3, protects the whole of the phases and progressions from one phase to the next but will not be discussed in more detail except as to say that this protection has to do with the links from one level to another and other things outside of the purpose whether individual or group.
Although this has been a fairly long lead-in about the forms of the phases the color of the phases, as discussed briefly at the beginning of this section, is shown at the upper, monadic, part of Figure 4. For simplicity the lower aura and soma colors have not been included in Figure 4. Nor has the more complex nature of the aura forms, also shown in Figure 4, been discussed. The aura forms can be simplified to what has been discussed and I feel it best to at least give a glimpse of how much more broadly and in depth the simple form and color models being discussed can extend.
Returning to the discussion of the color relationships to the phases shown in the upper monadic part of Figure 4. Red is the color in the Phase 1 form of the red monadic phase progression at the very top of Figure 4. This Phase 1 form is the color red because it is the red Phase 1 form of the red monadic phase progression (red + red = red). Likewise violet is the color in the Phase 2 form of the red monadic phase progression because it is the blue Phase 2 form of the red monadic phase progression (blue + red = violet). The same method is used for determining the remaining colors in phase forms of the blue and yellow monadic phase progressions as shown in Figure 4.
Going back to the original color example with the red monadic color from Figure 2 it is an indication that the person is in the Phase 1 of the red monadic phase progression. They could be in the phase of a new vertical alignment within themselves or a key person for directing Phase 1 of a group. Other less obvious correlations and ways for indicating the phase of a person from their color selection can be used and again this is only a brief introduction. As the model is extended further the possibilities increase.
Extension of the Language of Color to Our Group Position
This is a color model for triangular groups, which I have called SAM Group Consciousness or Monadic Manifestation. SAM Group Consciousness or Monadic Manifestation again uses SAM as Soma, Aura and Monad and is based on a hierarchy and progression of triangular group relationships based on the teachings of the Tibetan and the yellow, blue and red (YBR) primary color hierarchy and progression applied to these groups.
Again, once we intuit our Ray structure through the color selection and use it to look at the relationships within ourselves we can move to the group color model can help us discuss, again through the language color, what position in our group we are, whether that be our soma, aura or monad group.
Many people can and are being trained in triangular groups of three people. However these are considered seed groups and although can be very potent I am going to begin with groups being considered as three triangular groups of three people each or a total of nine people. The reason for this is that with many ‘groups’ of three people it is really three individuals working together and has no esoteric or occult possibilities. Once three groups of three people are working esoterically then the real fun begins and if and when that would ever reach an occult significance or possibility real work can be accomplished.
Figures 5 shows three exoteric groups of three people each or nine people total consisting of a red triangular group of 3 people, a blue triangular group of 3 people and a yellow triangular group of three people. These three triangular groups extension as an esoteric group is shown in Figure 6. And now we can see a hierarchy and progression of group growth until we come to the nine exoteric triangles of 27 people which extend into three esoteric triangles of three people each and one occult triangle of three people shown in Figure 7.
Linking the color through the color model to the phase model through to the group model the red is chosen for the first Ray, head positions and groups, the blue is chosen for the second Ray, heart positions and groups and yellow is chosen for the third Ray, throat positions and groups.
These color relationships to the group positions are shown in Figure 5 and simply extended into Figures 6 & 7. The red color in the first position at the very top of Figure 5 is the first position of the red triangle. It is the color red because it is the red first position in the red triangle (red + red = red). Likewise the second position on the red level triangle is violet because it is the blue second position in the red triangle (blue + red = violet). This same concept repeats itself with the colors and positions of the blue and yellow level triangles with the colors as shown in Figure 5.
Going back to the original color example with the red monadic color from Figure 2 it is an indication that the person is in a first triangle position, a red triangle, an esoteric head triangle or occult triangle. Other less obvious correlations and ways for indicating the triangle position of a person from their color selection can also be used as previously mentioned.
The group shown in Figures 5-7 is the progression of a red masculine based group. A masculine based group in this case is defined as a group, which has two men and one woman if the total number of people in the group, on a specific level, consists of three people. If the size of the group is three triangles of three people or a total of nine people it would have five men and four women acting as two triangles of two men and one woman and one triangle of two women and one man. And if the group has 27 people it would consist of 14 men and 13 women where the 14 men form five triangles of two men and one woman and four triangles of one man and two women.
There is, for some, a troublesome aspect to the word masculine that this group presentation uses that I would like to briefly address. What is masculine and why is any gender specified at all in relationship to the groups? Masculine can be defined as any person with an odd (1st, 3rd, 5th, 7th) governing Ray on their governing level. At the same time it is any person in a masculine vehicle during the present incarnation. Although vehicles just as Rays can vary greatly there are correspondences and paths-of-least-resistance to energy flow between:
I believe that previous misunderstanding, error and failure on the part of individuals and groups has been partly caused by not designating the over-all group as masculine; by not indicating a gender of masculine or feminine for a position in a group; and by not mentioning the above correspondences and the impact that they have on group formation and work.
There is a correspondence between an individual’s Ray structures, their phase on the path and their position in a group and color. This correspondence can be identified or experimented with by intuitively selecting colors from an appropriate color model and discussed with the language of color.
The article discusses the language of color in open, general and some specific terms. It should be noted that several of the names and marks used in this paper are registered by SAM2013 with all rights reserved.
© 2009 SAM2013 Further information and teachings are available through SAM2013 which is a not-for-profit corporation incorporated in Phoenix, Arizona, USA in 2000. Any questions regarding this article or its contents can be directed to its author at: Spencer Marrese, 20215 320th Ave. NE, Duvall, WA 98019 USA; Tel (USA): 001 - (425) 844-9089; or Spencer Marrese, Ioan Voda Caragea Street, No. 25, Fl. 2, Ap. 2, Sec. 1, Bucharest, 010536, Romania; Tel (RO): 0040.745.113.641; Website: www.SAM2013.org or Email: [email protected]