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:Human Design Academy
The Complete Rave I'Ching by Ra Uru Hu
How to use and read the Rave I ‘Ching
The Rave I ‘Ching (2000) gives a brief description of each
of the 64 gates, and a specific notation of each of the lines. In time Ra developed the Rave I ‘Ching as a combination of two books: “The Human Design System” (1989), known as “The Black Book”, and “From the Book of Letters” (1995), better known as “The White Book”.
"The writing of the Rave I ‘Ching was a really bizarre experience for me. I guess there are people that would say that it was a kind of automatic writing because in fact I had practically no background in the I ‘Ching. There was in fact an I ‘Ching… I met the I ‘Ching as a book very early in my process in Ibiza. But I met it in German. A German translation and in that time in my life I did not speak or read German. Eh… it was the original Wilhelm edition. Eh… I have eh eh… so I had no real I ‘Ching knowledge. What I had basically was a… was the understanding the Voice giving me about the nature of the gates, their placement and what I teach as line-structure. It took me 28 days to write the Rave I ‘Ching. I started in November and finished it around the beginning in December. I would sit down at the typewriter, and I would punching gate 1, line 1, and write. I don’t know why, there were binaries others than, you know, the way I was taught the knowledge from the
Voice, it could not have been any other way, and in terms of the exalts and the detriments: I asked and I was answered. And I don’t wane go any further than that. That is I, that’s why you know the… the planetary exaltations and detriments are the very, are the most mystical things in all of Human Design."
Ra.
Detail, overview, and synthesis
The first thing to understand is that looking at a specific detail of a chart, needs also being aware of the bigger picture, how it works out in the whole circuitry, type, profile, etc.
For example in your own chart it will take time to digest what those details mean in such a wider context, showing you in time a certain theme, even a kind of mythology in your life.
A way to come to such a theme is called “Genetic Continuity”.
Genetic Continuity
Genetic Continuity in Human Design has to do with the lines.
- For every line in a hexagram there is a
characteristic that is valid for all lines in the
same position. For example the first Line is
called ‘the Foundation”, while it gives the
foundational understanding of every
hexagram. It means in that sense that all 1st
lines have a fundamental relationship with
each other. If you go through a chart, and you
read all the lines, certain phrases, certain words
keep repeating themselves. By doing so, in time
you may see all those elements of a person’s
chart come together in a natural synthesis. This
is called Genetic Continuity. Every chart holds
together through its genetic continuity.
- Another way to become aware of genetic
continuity is looking at the so called Role Gates.
In Human Design we have six role gates. We
can use them in a more generalized way to
understand our particular nature as an overview. But also to be clear that in these six role gates you have the opportunity to see through the line themes. In other words, all the first lines of these six gates or all the second lines, you get to see the deep genetic continuity. And if you look at each of those lines in the role gates and you pull them all together, you have a very profound understanding of the basis of that line.
“For me there is nothing more fascinating in Design than the surface and
the genetic continuity that is there throughout the body graph. It was one of
the first experiences that I had that was so revealing for me when I first began
to do professional analysis in the late 1980’s. I began to see that as I moved
through somebody’s design I kept on picking up the same thematic as I went
through. And it’s so clear to see that there is a true genetic continuity that
flows through any analysis. Whether it’s working from the Incarnation Cross
all the way down to tone or base, there is this line of connectivity. Genetic continuity is an important term in Human Design. It’s also a gateway to be able to really grasp the meaning of certain lines. Every single one of the six lines as they appear in the 64 different hexagrams share the same function.”
Ra.
Voice, it could not have been any other way, and in terms of the exalts and the detriments: I asked and I was answered. And I don’t wane go any further than that. That is I, that’s why you know the… the planetary exaltations and detriments are the very, are the most mystical things in all of Human Design."
Ra.
Detail, overview, and synthesis
The first thing to understand is that looking at a specific detail of a chart, needs also being aware of the bigger picture, how it works out in the whole circuitry, type, profile, etc.
For example in your own chart it will take time to digest what those details mean in such a wider context, showing you in time a certain theme, even a kind of mythology in your life.
A way to come to such a theme is called “Genetic Continuity”.
Genetic Continuity
Genetic Continuity in Human Design has to do with the lines.
- For every line in a hexagram there is a
characteristic that is valid for all lines in the
same position. For example the first Line is
called ‘the Foundation”, while it gives the
foundational understanding of every
hexagram. It means in that sense that all 1st
lines have a fundamental relationship with
each other. If you go through a chart, and you
read all the lines, certain phrases, certain words
keep repeating themselves. By doing so, in time
you may see all those elements of a person’s
chart come together in a natural synthesis. This
is called Genetic Continuity. Every chart holds
together through its genetic continuity.
- Another way to become aware of genetic
continuity is looking at the so called Role Gates.
In Human Design we have six role gates. We
can use them in a more generalized way to
understand our particular nature as an overview. But also to be clear that in these six role gates you have the opportunity to see through the line themes. In other words, all the first lines of these six gates or all the second lines, you get to see the deep genetic continuity. And if you look at each of those lines in the role gates and you pull them all together, you have a very profound understanding of the basis of that line.
“For me there is nothing more fascinating in Design than the surface and
the genetic continuity that is there throughout the body graph. It was one of
the first experiences that I had that was so revealing for me when I first began
to do professional analysis in the late 1980’s. I began to see that as I moved
through somebody’s design I kept on picking up the same thematic as I went
through. And it’s so clear to see that there is a true genetic continuity that
flows through any analysis. Whether it’s working from the Incarnation Cross
all the way down to tone or base, there is this line of connectivity. Genetic continuity is an important term in Human Design. It’s also a gateway to be able to really grasp the meaning of certain lines. Every single one of the six lines as they appear in the 64 different hexagrams share the same function.”
Ra.
Exaltation and Detriment
The second thing is about the line-binary, often named as exalted (the up pointed triangle) and detriment (the down pointed triangle).
Now those expressions are quite confusing. Because those qualifications exalted and in detriment, relate only to the planets affecting that line, fixing that line in one variation. It’s not that one doesn’t experience other variations of that line, however, the fixed characteristic will predominate.
The negative tendency of the detriment may also urge to upgrade that aspect to exaltation. Although detriments are perfect in context of the overall design, nothing wrong of course to sometimes foresee a negative outcome in relating to others, and create a more positive way to manifest or not, as far it’s not acting from the ‘not-self’. That should be much more worse.
When there is none of those fixating planets involved, all intermediate variations are available to express life.
To complicate things, if you have a planet in the 'harmonic' gate that fixes the opposite gate of the channel, it will put that gate in exaltation or detriment too. So if you have the Moon @ in Gate 2, then it should Exalt your Gate 14.4.
The same for composite charts. When somebody (or a transit) has Uranus B affecting Gate 60, then it would fix your Gate 3 Line 2 in detriment during the relationship (or during the transit).
The negative tendency of the detriment may also urge to upgrade that aspect to exaltation. Although detriments are perfect in context of the overall design, nothing wrong of course to sometimes foresee a negative outcome in relating to others, and create a more positive way to manifest or not, as far it’s not acting from the ‘not-self’. That should be much more worse.
When there is none of those fixating planets involved, all intermediate variations are available to express life.
To complicate things, if you have a planet in the 'harmonic' gate that fixes the opposite gate of the channel, it will put that gate in exaltation or detriment too. So if you have the Moon @ in Gate 2, then it should Exalt your Gate 14.4.
The same for composite charts. When somebody (or a transit) has Uranus B affecting Gate 60, then it would fix your Gate 3 Line 2 in detriment during the relationship (or during the transit).
“Remember that any kind of an identification to this or that in the spectrum leads to imbalance. I mean for me, and I mentioned this many
times to students of mine over the years that in essence the only mistake
in naming that I’ve had in my experiences in HD was putting these terms exalted and detriment to the lines themselves. Actually the exalted and detriment were there to describe the planetary force in that aspect of
the thematic.
But of course it has taken of another quality over the years to interpretation because the not-self easily will interpretate exaltation as being good and detriment as being bad. Rather than seeing that there is a planetary force
that will bring out in that specific place that quality as an identified quality. Everything about having an exaltation, you know this is again, I would have been happy to have called it this and that, but nonetheless, you have an exaltation in your design, the assumption is that you know you really have something special there. You know you’re only getting ‘the best part’. But it’s not true.” “See for me, the Rave I ‘Ching was written for the not-self. There was nobody else in front of me in those years, when I first began. It’s all written for the not-self. The lines themselves express the not-self life. It is the mechanism of life. And yet for each and anyone of us it is an extraordinary opportunity to go beyond the this and the that, to embrace the Juxtaposition, to find the wholeness. And to find the wholeness by allowing the wholeness simply to display itself. It is the beauty of passenger’s consciousness, to get to that place where one simply sits back, and allows the vehicle to operate correctly and move you through a geometry that allows you to fulfill the potential of your imprint. Your incarnation, your unique contribution, to the vitality of the biverse.”
Ra.
times to students of mine over the years that in essence the only mistake
in naming that I’ve had in my experiences in HD was putting these terms exalted and detriment to the lines themselves. Actually the exalted and detriment were there to describe the planetary force in that aspect of
the thematic.
But of course it has taken of another quality over the years to interpretation because the not-self easily will interpretate exaltation as being good and detriment as being bad. Rather than seeing that there is a planetary force
that will bring out in that specific place that quality as an identified quality. Everything about having an exaltation, you know this is again, I would have been happy to have called it this and that, but nonetheless, you have an exaltation in your design, the assumption is that you know you really have something special there. You know you’re only getting ‘the best part’. But it’s not true.” “See for me, the Rave I ‘Ching was written for the not-self. There was nobody else in front of me in those years, when I first began. It’s all written for the not-self. The lines themselves express the not-self life. It is the mechanism of life. And yet for each and anyone of us it is an extraordinary opportunity to go beyond the this and the that, to embrace the Juxtaposition, to find the wholeness. And to find the wholeness by allowing the wholeness simply to display itself. It is the beauty of passenger’s consciousness, to get to that place where one simply sits back, and allows the vehicle to operate correctly and move you through a geometry that allows you to fulfill the potential of your imprint. Your incarnation, your unique contribution, to the vitality of the biverse.”
Ra.
“Lines are normally expressed with an exalted and a detriment. However, there is more. Many lines have a sort of intro. So as a start there is something else first. When you see such an intro, then you know that the potential of that line matures overtime. It is not there from the beginning! You have to learn first.
In most cases the potential of those lines is reached at the midlife point. So for example the 25.1, showing the intro called “Motiveless action”, that motiveless action is not there from the beginning. However, in case of a line without an intro, then you immediately go to the exalted and the detriment, this is material that works from the moment you come into the world. This
is something that is automatically present and active.”
Ra
Sun/Earth Fixations
Ra: “Whenever you see the Sun ! and the Earth Q affecting a certain line in the exaltation and in the detriment, then this line has enormous impact. It is speaking for one of the basic structures that we have: Sun above/Earth below.”
Lines with the Sun exalted and the Earth in detriment are:
8.2, 12.6, 14.6, 15.2, 20.3, 23.4, 27.1, 29.5, 31.1, 38.3, 40.6, and 48.4.
There is one line with the Earth exalted and the Sun in detriment: 9.3.
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