The Truth About Divine Mother Goddess Barbelo

I was asked - Can you share what you know about: Who is Barbelo in gnostic teachings? Is she the first thought of the one and the Trinity? How is she different from Sophia and other divine feminine archetypes?

Barbelo is one of the most fascinating and mysterious figures in ancient Gnosticism. She is not simply a goddess, a mother figure or a personification of wisdom. She represents something much more fundamental: the first divine self-expression of the unknowable Source, the One from whom all existence ultimately emerges.

If you imagine the ultimate divine reality as an infinite, unknowable consciousness, Barbelo is the first movement of that consciousness towards self-awareness, relationship and manifestation.

Let's explore who she is, whether she can be called the First Thought of the One, how she relates to the divine Trinity, and why she is different from Sophia and other feminine divine figures.

Barbelo is the first emanation of the ultimate divine Source, often called the Invisible Spirit, the One, or the Monad.

The Monad is beyond ordinary human understanding. It cannot be adequately described by human categories, and it transcends the distinctions we normally make between male and female, existence and non-existence, or subject and object.

The Invisible Spirit brings forth Barbelo as its first thought or manifestation.

Barbelo is described through a series of paradoxical and exalted titles, including:

• The First Thought - the primordial expression of divine consciousness.

• The Mother-Father - a being who transcends conventional gender divisions.

• The First Power - the first divine power to emerge from the Invisible Spirit.

• The Womb of All - a symbolic source of the divine realm and its subsequent emanations.

• The Forethought - the divine awareness that precedes creation and makes further manifestation possible.

These titles are not necessarily separate identities. They describe different aspects of Barbelo's cosmic role.

Why is Barbelo so important?

The ultimate Source is already complete. It does not need to create because it lacks something. Rather, divine reality unfolds through emanation: one expression of the divine gives rise to further expressions.

Barbelo is the first of these expressions.

She is therefore not merely a female participant in creation. She is the primordial divine principle through which the unknowable Source becomes manifest within the divine realm.

That is what makes her such a powerful figure in Gnostic cosmology.

Is Barbelo the First Thought of the One?

Yes. In the Apocryphon of John, Barbelo is explicitly associated with the First Thought, or Pronoia, of the Invisible Spirit. This is one of the clearest ways to understand her role.

The word Pronoia is Greek for forethought or providence. In this context, it describes divine awareness that precedes the unfolding of the cosmos.

There is a philosophical subtlety here.

The Monad is not a conscious individual who sits somewhere and decides to have a daughter. That would make the Source too human, too limited and too much like a being within the universe.

Instead, the language of thought and emanation offers a way to describe how something can emerge from an ultimate reality that itself transcends ordinary categories.

Barbelo is both distinct from the Invisible Spirit and inseparable from its divine origin. She is its image, its first manifestation and the beginning of the process through which the divine becomes knowable.

This is why Barbelo can be understood as the bridge between the unknowable God and the manifest divine realm.

The connection with consciousness

A modern philosophical interpretation might express the relationship this way:

• The Monad represents pure, unknowable divine reality.

• Barbelo represents the first expression of that reality as awareness, intelligibility and potential.

• The subsequent Aeons represent the unfolding of divine attributes and powers.

This offers a compelling way to understand why the First Thought is so central to Gnostic spirituality.

It also raises an intriguing question: can the Source know itself without expressing itself in some way?

Barbelo represents that first expression.

Is Barbelo part of a divine Trinity?

Barbelo is associated with a divine triad, but this is not identical to the orthodox Christian Trinity.

In Christian theology, the Trinity consists of the Father, the Son and the Holy Spirit. These are understood as three persons of one God.

In the Gnostic Trinity we have the Mother, the Father and the Divine child.

The Gnostic Theolalite Trinity is the Mother - the matriarchal Aeon of the past - Binah on the tree of life, the Father - the current patriarchal Aeon - Chokmah on the tree of life and the Divine Androgynous Child - the Aeon we are moving into - Kether on the tree of life. The new Aeon is known as the Aeon of Veritas, when all truths will be revealed.

While the first Aeon of the Mother is also androgynous it is different from the androgynous child Aeon because that is the result of the two sexes re-joining, where as the first Aeon is complete within itself.

Barbelo occupies a role that resembles the Holy Spirit: she is a divine presence proceeding from the Source, associated with life, revelation and the manifestation of divine reality.

There is also an important linguistic background. The Hebrew word ruach, meaning spirit, is grammatically feminine. Some early religious traditions consequently used maternal or feminine imagery for divine Spirit.

Why this matters

Barbelo is especially revealing because she places a feminine divine presence at the very beginning of the cosmic order. She is not an afterthought or a subordinate figure added to a male-centred creation story. She is fundamental to the unfolding of the divine realm.

How is Barbelo different from Sophia?

Barbelo

The primordial divine Mother-Father

Barbelo represents the first emanation of the Source, the original divine Forethought and the generative principle of the Pleroma.

Sophia

Wisdom and the drama of awakening

Sophia represents divine Wisdom. In several Gnostic creation myths, her actions and subsequent restoration are central to the emergence of the lower cosmos and the possibility of redemption.

Barbelo and Sophia are both profoundly important feminine divine figures, but their roles are not interchangeable.

The key difference is their position in the cosmic narrative. 

Barbelo: the divine principle that precedes the unfolding

Barbelo appears at the beginning of the divine order. She participates in the emergence of subsequent divine powers and is associated with the perfection, life and fullness of the higher realm.

Her defining characteristic is not a fall from grace. It is her primordial relationship with the Invisible Spirit.

She represents the divine principle through which the unknowable Source begins to express itself.

Sophia: Wisdom who enters the cosmic drama

Sophia means Wisdom in Greek.

Her myth often involves a desire to comprehend or manifest the ultimate Source independently of the proper divine order.

This action results in the emergence of the Demiurge, a lesser creator who fashions the material cosmos without fully understanding the higher divine reality.

Sophia's story involves suffering, separation, repentance, restoration and the recovery of divine knowledge.

Are Barbelo and Sophia two aspects of the same divine feminine?

We can interpret Barbelo and Sophia as representing two complementary aspects of the divine feminine:

• Barbelo is the feminine principle in its primordial fullness: the source-facing, generative and undivided expression of divine consciousness.

• Sophia is the feminine principle within the drama of manifestation: wisdom seeking understanding, encountering the consequences of its actions and participating in restoration.

Barbelo represents divine fullness before the cosmic crisis, while Sophia represents Wisdom as it moves through the complexities of existence.

Barbelo compared with other divine feminine archetypes

The divine feminine appears in many religious and philosophical traditions, but these figures have different histories and meanings. Comparing them can illuminate Barbelo's significance without treating them as identical.

Isis - the divine mother and magical restorer

Isis, in ancient Egyptian religion, is associated with motherhood, protection, magic and the restoration of Osiris. Like Barbelo, she embodies powerful feminine agency within a divine order.

The distinction is that Isis belongs to an established Egyptian mythological tradition, whereas Barbelo is a metaphysical emanation of the unknowable Source.

Shekhinah - the indwelling divine presence

The Shekhinah is a term for the divine presence, particularly in rabbinic and later Jewish mystical traditions. In some Kabbalistic interpretations, it receives feminine symbolism and is associated with divine presence in the world and the restoration of harmony.

She is the gateway to the physical world and is associated with Malkuth which is situated at the very bottom of the Tree of Life, it represents the final stage of divine emanation before light manifests into the material universe.

Because this sephirah is close to our world, the Shekhinah represents the aspect of the Divine that humans can directly encounter and experience in nature.

This provides a useful comparison with Barbelo as a divine presence that mediates between transcendent divinity and manifestation. However, as a material deity it is more fitting to compare it to Sophia.

Athena - wisdom, intelligence and strategic insight

Athena embodies wisdom, strategic intelligence, craftsmanship and the ordering of action in Greek mythology.

The connection with Barbelo is primarily conceptual: both can be discussed in relation to divine intelligence. But Athena is a goddess within Greek mythology, not the first emanation of an unknowable metaphysical Source.

Mary Magdalene - revelation and spiritual understanding

In the Gospel of Mary, Mary receives and communicates spiritual teaching. In the Pistis Sophia, Mary is also a prominent questioner who seeks understanding of divine mysteries.

These texts offer an interesting comparison with Barbelo's association with revelation and divine knowledge. But Mary Magdalene is a real person of the Serpent Bloodline, not the primordial feminine emanation herself.

Sophia - Wisdom itself

Sophia is the closest comparison because she belongs to Gnostic cosmology itself. Yet Barbelo is the first divine expression, while Sophia is commonly associated with a subsequent stage of emanation and, the crisis that makes restoration necessary.

The main lesson is that the divine feminine is not one universal archetype with many interchangeable names. Different traditions explore different questions through feminine imagery: the origin of consciousness, the presence of the sacred, the recovery of life, the nature of wisdom or the transmission of revelation.

Barbelo is particularly distinctive because her femininity is woven into the metaphysical structure of the divine Source itself.

Why is Barbelo called the Mother-Father?

Barbelo is described in the Apocryphon of John through paradoxical language that includes the Mother-Father and an androgynous divine principle. The text does not merely present her as a female goddess who happens to possess creative power. It uses imagery that transcends conventional differentiations of sex and gender.

Why?

Because the ultimate divine reality is not limited by the oppositions that structure human experience.

Human beings often understand creation through pairs:

• Masculine and feminine.

• Father and mother.

• Giving and receiving.

• Stillness and movement.

• Unity and multiplicity.

The Mother-Father symbolism suggests a divine reality that contains or transcends these distinctions.

Barbelo can be understood as both receptive and generative, both the image of the Source and the power through which the divine realm unfolds.

She is feminine in the language of the myth, but she is not confined to a narrowly human conception of femininity.

This is also why it would be too simplistic to call Barbelo merely the female half of God. The symbolism is more radical than that. She represents a divine power whose nature exceeds the ordinary boundaries of gender.

As I have discussed before, the first life on this planet was female and complete, because they reproduced asexually and therefore were of the first Aeon, the Aeon of the Mother and the first part of the Gnostic Theolalite trinity. 

Does this make Barbelo a symbol of divine balance?

It can, particularly in a modern spiritual interpretation.

The Mother-Father imagery can be read as a symbol of wholeness: a reality in which apparently opposing principles are not in conflict but exist within a greater unity.

That interpretation may resonate with ideas of sacred balance, the union of complementary energies and the integration of apparently opposing aspects of consciousness.

Barbelo, the Pleroma and the awakening of humanity

Barbelo's significance extends beyond the beginning of creation.

In the Apocryphon of John, the divine Forethought is also associated with revelation and the awakening of those trapped in ignorance. The text includes a powerful first-person hymn of Pronoia in which the divine presence descends into the world and calls humanity to awaken.

This is a particularly important connection because Gnostic spirituality is often concerned with gnosis: a transformative knowledge of divine reality.

Gnosis is not simply the accumulation of information. It is an awakening to something fundamental about one's spiritual origin and condition.

Barbelo's role can be understood in three related ways.

First, she belongs to the origin of the divine realm. She is the First Thought through which the unfolding of the higher divine order begins.

Second, she is associated with the disclosure of divine knowledge. The myth of Pronoia presents divine awareness as something that can reach into the human predicament and call people out of ignorance.

Third, she represents the first Aeon, the Aeon of asexual reproduction, when there were the first females who were complete within themselves, there was no division. She is the Mother of the trinity. 

This creates a fascinating parallel between cosmic origins and spiritual awakening.

The divine reality that gives rise to the cosmos is also the reality that, in the Gnostic narrative, can reveal the truth to those who have forgotten their spiritual origin.

Could Barbelo symbolise the awakening of consciousness?

As a modern interpretation, absolutely.

We might understand the Monad as the unknowable ground of reality, Barbelo as the first expression of awareness, and gnosis as the process through which a person becomes conscious of a deeper spiritual dimension.

That gives us a symbolic movement:

1. Source: a reality beyond ordinary understanding.

2. Awareness: the first expression of divine consciousness.

3. Manifestation: the unfolding of differentiated existence.

4. Forgetfulness: the loss of awareness of one's spiritual origin.

5. Gnosis: the recovery of knowledge and a transformed understanding of existence.

This is a philosophical interpretation of Gnostic tradition in that spiritual knowledge can transform one's understanding of who one is and where one belongs.

Is Barbelo the Great Mother of all existence?

In some ways Barbelo certainly supports this understanding. She is associated with the Mother-Father, the primordial womb and the origin of subsequent divine powers.

But we need to distinguish between two meanings of creation.

In the higher divine realm, Barbelo participates in the unfolding of the Pleroma. This is the realm of divine fullness.

The material cosmos, however, is a different matter. The material world is associated with the Demiurge and the consequences of a disruption involving Sophia.

This means Barbelo should not simply be described as the creator of the physical universe in the same way that a conventional creator deity might be understood to have made it.

Her role is more foundational: she belongs to the divine origin from which the higher order emerges, while the material cosmos occupies a more complicated position.

The central question is not only how the world came into existence, but also whether the world as we experience it fully expresses the highest divine reality.

Barbelo represents the primordial divine fullness against which the limitations of the lower cosmos can be understood.

What Barbelo might mean for us today

The Monad reminds us that ultimate reality, if there is such a reality, may exceed the categories through which human beings attempt to comprehend it. Barbelo represents the first expression of that mystery without exhausting it.

As First Thought, Barbelo can symbolise the emergence of awareness, understanding and creative possibility from an underlying unity.

The Mother-Father image offers a way to contemplate a divine reality that transcends rigid divisions and includes complementary principles without being confined to either one.

Barbelo's association with Pronoia connects the primordial divine realm with revelation. Symbolically, this can represent the movement from ignorance towards a deeper understanding of spiritual reality.

Barbelo's uniqueness lies in her position at the threshold between the unknowable and the knowable: the primordial divine presence through which the mystery of the One begins to unfold.

My overall view is that Barbelo occupies a remarkable place in the history of religious thought: a primordial feminine and androgynous divine principle positioned at the very beginning of the unfolding of divine reality.

The Likatier Tribe and the Mountain Called Wank!

Have you ever heard of the Likatier tribe? This little-known German community has a fascinating and controversial history!

Its founder, Wolfgang Wankmiller, was born on 15 March 1957, in Füssen, Bavaria, Germany. He founded the community in 1974, and reports about the group have raised questions about its leadership, beliefs and way of life.

What happens when a community begins to operate almost like a world of its own?

In the Bavarian town of Füssen, Germany, Wolfgang Wankmiller developed a community that attracted controversy over its leadership, its internal hierarchy and its relationship with the outside world.

Wankmiller reportedly believed he was the reincarnation of Jesus Christ, and members addressed him as “Jesus”.

He also claimed to the be the reincarnation of Albert Einstein.  

The group faced years of scrutiny, including serious allegations and a criminal case involving the sexual abuse of minors by one of its members.

Wankmiller died in 2019, but the history of the Likatier community raises difficult questions about authority, loyalty, isolation and the power one individual can hold over a group.

How much influence should one person have over the lives of others?

But here's a geographical coincidence you probably weren't expecting!

Around 37 miles from Füssen stands a real mountain called Wank!

Yes, you heard that right. There is an actual mountain in southern Germany called Wank!

The combination of a man named Wolfgang Wankmiller and a mountain called Wank is certainly memorable!

Have you ever climbed up Wank mountain?

Have you ever heard of the Likatier tribe before? Let me know in the comments, and subscribe for more unusual stories you probably haven't come across before!

The Mystery of 11: The Forbidden Number in Music

There are numbers that seem to appear again and again throughout human culture.

Numbers that acquire meanings far beyond mathematics.

And then there is 11.

In music, 11 occupies a particularly strange position. It appears in harmony, in the natural physics of sound, in unusual tuning systems.

But what makes it so fascinating is where it seems to take us: to the boundary between harmony and dissonance, between the familiar and the uncanny, between the rules of music and the places where those rules begin to break down.

So why has the number 11 acquired such an intriguing reputation?

The Forbidden 11th

To understand the mystery, we first have to enter the world of musical harmony.

A traditional major 11th chord can contain the notes C, E, G, B, D and F.

On paper, this looks perfectly logical. The notes are simply stacked intervals of thirds, extending the ordinary major chord into its 11th.

But listen more closely.

The F - the 11th - sits only a semitone above the E, the major 3rd.

These two notes create an intensely close dissonance known as a minor 9th when considered across the appropriate octave.

The result can be harsh, crowded and unstable.

Check out what happens right here - it’s pretty wild.

The 11th is theoretically part of the chord, yet its natural form can be so problematic that musicians often treat it as an “avoid note” when it clashes directly with the 3rd.

In other words, the 11th is allowed into the chord - but sometimes only under carefully controlled circumstances.

It is almost as though the number has arrived at the edge of the harmonic system and discovered that there is no comfortable place for it.

Breaking the Rule

But musicians found a way around the problem.

Instead of playing the natural 11th, they could raise it by a semitone.

The F becomes F♯.

And suddenly, the character of the chord changes.

The troublesome natural 11th has been transformed into the sharp 11.

This seemingly small alteration opens the door to one of the most distinctive sounds in Western music: the Lydian sound.

Lydian harmony has a peculiar brightness to it.

It can sound luminous, magical, suspended and strangely weightless. It does not have quite the same gravitational pull as ordinary major harmony.

It can make music feel as though it has briefly stepped outside the familiar world.

This is one reason the raised fourth - the ♯11 - has become so associated with fantasy, wonder and cinematic mystery.

Its characteristic colour can be heard in film, television, games and popular music, including music associated with E.T., Back to the Future, The Legend of Zelda and The Simpsons.

It is a sound that seems to suggest something extraordinary is about to happen.

The 11th Harmonic

But the most intriguing appearance of 11 comes not from musical theory at all, but from nature itself.

Every musical note is actually far more complicated than it appears.

When a string vibrates, or air resonates inside an instrument, it does not produce only one frequency. Alongside the fundamental tone, it produces a series of additional frequencies known as harmonics.

These frequencies occur in mathematical relationships with the fundamental.

The lower harmonics give us some of the most familiar sounds in music: octaves, fifths and other recognisable intervals.

But as we climb higher through the harmonic series, something strange begins to happen.

The intervals become increasingly unfamiliar to ears trained within the twelve-note system of Western music.

And then we reach the 11th harmonic.

Its frequency relationship is 11:8.

The resulting pitch does not fit neatly into the twelve equally spaced notes of a standard piano. It lies between familiar intervals and has a distinctive, almost alien quality.

To someone accustomed to conventional Western tuning, it can sound subtly “wrong”.

But perhaps “wrong” is the wrong word.

It is simply outside the system we are accustomed to hearing.

This is precisely what makes the 11th harmonic so interesting to composers and musicians working with microtonal and experimental music.

It offers a pitch that exists naturally within the harmonic series, yet does not fit comfortably into our conventional musical grid.

Nature is producing the sound.

The piano simply does not have a key for it.

A Doorway Beyond the Twelve Notes

And that brings us to a captivating mystery.

If the natural harmonic series contains pitches that are not represented by the twelve notes of the Western musical system, how much of the possible musical universe are we actually hearing?

The twelve-note system is an extraordinarily useful musical framework. It allows instruments to be built, tuned and played together with remarkable consistency.

But it is still a system.

The harmonic series itself is not limited to twelve notes.

And the 11th harmonic provides one small glimpse into the enormous territory that exists between the notes we normally recognise.

This is where 11 begins to acquire an almost mystical quality.

It appears at the boundary between mathematical order and human convention.

Turning It Up to 11

And then, strangely enough, music gave the number 11 another meaning entirely.

In the 1984 mockumentary This Is Spinal Tap, guitarist Nigel Tufnel proudly demonstrates an amplifier whose volume controls go beyond the conventional maximum of 10.

They go to 11.

When asked why, he explains that 11 is simply “one louder”.

It is a joke, but it became something much larger.

“Turning it up to 11” entered popular culture as an expression for exceeding the normal limit - pushing something beyond its expected maximum.

And maybe that is why the number feels so appropriate.

Because throughout music, 11 repeatedly appears in places where we encounter the edge of the familiar.

The natural 11th collides with the 3rd.

The ♯11 breaks the expected harmonic pattern and opens the door to the strange brightness of Lydian harmony.

The 11th harmonic exists naturally in the physics of sound, yet falls outside the conventional tuning of the piano.

And in popular culture, 11 became the number that means beyond maximum.

The Number at the Edge

So I guess there is something particularly poetic about 11's place in music.

It isn't simply another number in a sequence.

It repeatedly appears at a boundary.

A boundary between consonance and dissonance.

Between conventional harmony and unusual harmony.

Between the twelve notes we have organised into a musical system and the vast continuum of frequencies that exists beyond it.

Between what sounds familiar...

…and what sounds strangely otherworldly.

Possibly that is why 11 has acquired such a mysterious reputation.

Not because music proves that the number possesses supernatural power.

But because 11 keeps turning up precisely where the ordinary rules begin to become extraordinary.

And as I have talked about before, 11 is the magick number. When doing life path numbers is the only number that is not reduced.

And there is more...

The 11-Chakra System and the Language of Sound

In esoteric sound-healing traditions specific musical tones and frequencies correspond to the eleven-chakra system. In these traditions, the chakra system is understood as extending beyond the physical body into higher or transpersonal levels of consciousness. Sound is therefore used as a symbolic or meditative tool for moving through these different energetic centres.

The familiar seven-chakra system is sometimes associated with the seven basic notes of the Western musical scale - C, D, E, F, G, A and B. When the system is expanded to eleven chakras, practitioners extend the musical sequence beyond these seven notes, using higher octaves and additional intervals to represent the centres that exist above the physical body.

Two musical systems are particularly common within these practices: the Western musical scale and the Solfeggio frequency system.

The Western Musical Scale

One approach begins with the familiar seven notes of the C major scale. The seven physical chakras are assigned to the seven natural notes, while the additional transpersonal chakras continue upwards into the next octave.

The proposed correspondence is as follows.

The Seven Physical Chakras

1. Root Chakra - Muladhara: C

Associated with grounding, physical existence, security and survival.

2. Sacral Chakra -Svadhisthana: D

Associated with creativity, emotion, sensuality and the flow of life.

3. Solar Plexus Chakra - Manipura: E

Associated with willpower, confidence, personal identity and transformation.

4. Heart Chakra - Anahata: F

Associated with love, compassion, connection and emotional balance.

5. Throat Chakra - Vishuddha: G

Associated with communication, truth, expression and the spoken word.

6. Third Eye Chakra - Ajna: A

Associated with intuition, perception, imagination and inner vision.

7. Crown Chakra - Sahasrara: B

Associated with spiritual awareness, transcendence and connection with the divine.

The sequence then continues beyond the physical body.

The Four Transpersonal Chakras

8. Soul Star Chakra - C, one octave higher

Positioned above the crown, a gateway to higher consciousness. It is associated with the soul, spiritual awareness and the connection between the individual and the greater energetic field.

9. Spirit Chakra - D

Further above the physical body, this centre is associated with spiritual purpose, higher wisdom and karmic or soul-level information.

10. Universal Chakra - E

This chakra connects the individual energy field with universal or collective consciousness.

11. Galactic or Stellar Gateway - F

The Galactic or Stellar Gateway is a doorway into the highest levels of spiritual consciousness - beyond the individual self and into the universal or divine.

This creates an intriguing numerical progression: the first seven notes represent the familiar physical chakra system, while the additional four notes extend beyond the original octave into increasingly abstract and transpersonal territory.

The 11th chakra and the 11th musical interval can be viewed as symbolic boundary points - places where an established system reaches its limit and something beyond it begins.

The Extended Solfeggio Frequencies

Another approach uses specific frequencies measured in hertz (Hz) rather than simply assigning chakras to musical notes.

The Solfeggio frequencies are a group of tones used in some modern sound-healing and spiritual practices. Various systems associate particular frequencies with qualities such as healing, transformation, emotional release, spiritual awareness and consciousness.

Different practitioners use different sets of frequencies, and there is no single universally agreed eleven-frequency Solfeggio system.

Some modern sound-healing frameworks expand the better-known Solfeggio frequencies by introducing additional lower or higher frequencies. These extended systems are then sometimes mapped onto the eleven-chakra model, with the lower frequencies representing the more physical centres and progressively higher frequencies representing the transpersonal chakras.

Frequency becomes a symbolic ladder of consciousness.

The lower end represents grounding and embodiment.

The middle frequencies correspond to the emotional, psychological and relational aspects of human experience.

The higher frequencies are then associated with intuition, spiritual awareness and increasingly abstract states of consciousness.

And this brings us back to the mysterious role of 11.

The number appears once again at the edge of the familiar seven-note system, extending the musical sequence into a higher octave and into realms beyond the physical body.

In this way, the eleven-chakra model creates a bridge between music and esoteric cosmology - using the language of notes, intervals and frequencies to represent a journey from the physical world towards increasingly subtle and transcendent states of consciousness.

How to use these musical correspondences

You can use tools like singing bowls or tuning forks designed specifically for the transpersonal stack. In meditation, humming or focusing on a sharp 11th interval or utilizing ultra-high hertz tones draws the attention out of the physical capsule (chackras 1-7) and pull the centre of consciousness up into the floating astral layers.

11 is the key.