For instance, today we're finding the big problems in parts per million and parts per billion, like this pthylates thing in the news now. Researchers are finding that certain chemicals added to plastics that make them flexible are wreaking havoc with people's reproductive organs. There are two-year old girls with breasts now in some third world country which uses these plastics a lot. Six-month old girls start developing breasts because of these pthylates that are mimicking estrogen. These compounds are found in Tupperware. So the flex in Tupperware is because of a certain addition, and those compounds that are in there mimic estrogen and testosterone. They are active in parts per billion. Parts per billion! Dew. Dew!

So we're right in the middle of this crazy thing and the old alchemists were saying this, and people are going, those alchemists were crazy. They didn't know what they were talking about. Dew. What do you mean dew? What's so special about that, it's just water. It's just H2O. That's right, the most precious thing in the whole universe. When I'm speaking to you about organs and imaginations, it's really something like this. The imagination behind visible forms is really an analog of the process in nature by which the dew is formed. To an alchemist this process is the process of becoming. From this perspective a physical organ is a condensate of its process of becoming, and its secretions are analogs or pictures of that activity, that will force, of that motif, of that movement. An endocrine secretion is a movement pattern that has become a substance. You know flight or fight, or migrate or protect your territory. So our secretions are present in the soul as motifs of movements that we access as images of motives in the will.

[Student:] Say that again.

[Dennis:] There are motifs of movements that we have in our will that we call motive. It's why you do something. It's an imagination. And in the will at the level of the ego, motive is a kind of movement in the will, and it's a motif of a becoming. And it has its fear side and its creative side -- its coagula side and its solve side, its gravity side and its levity side. You could even say its moon side and its sun side, if we want to get even further into alchemy, which we will. This is all the same language. And so when we say organ we need to be clearer on whether we're talking about this piece of meat here or this process. To an alchemist the great question is how the process becomes the meat. An even deeper question is how did it become meat in you at a particular time in your biography? That question determines whether or not the meat it has become is a medicine for you or not. Some parts of your organs are just blissfully unaware and they're just doing their thing because nobody's messed with them. But it may be that at a particular time in your development, you were being messed with in your head. And your soul formed a way of working with that motif of stress that is now an imagination in that organ which is perceived as a given condition in that organ. And it may be that the impulse of the forming of the organ was more on the gravity side of the balance.

So when you need that organ as part of your life process, the images that come with it come with the mood of that motif, which has a little too much gravity or fear in it. A kind of soul cramping results from the fear in the organ. So whenever you need the forces of that organ, like when you want to breathe or something, or more often when there's a change needed in your breathing -- that's where the real crisis happens. The conditions change and the organ associated with a particular type of fear must deal with the results of the psychic cramping of the organ.

Where there's a change that happens around you in the sympathetic or antipathetic mood of the psychic atmosphere in which you are living, then the heart gets that one. When there is a shift in the anxiety level in your life, the kidneys get that one. A shift in diet or stress around the digestive processes, the liver gets that one. And the self-image level, the lung gets that. What the lung is afraid of is very specific things like heights or small spaces. The lung obsesses on things like, not being able to explain something, or not being able to come back with a quick answer. That is what the lung is afraid of, because the lung has connected to it a very deep sense of earth. This analog is created by the process of the lung getting rid of carbon (earth) into the atmosphere. To do this the lung needs constantly discriminate between the carbon in the blood and the atmosphere. That's the levity state of the lung. And when it's getting rid of carbon and putting it into the atmosphere, it feels very fine, thank you. But when the lung is on the fear side, then the lung gets afraid in a gravity or contraction state of very specific things, because that's it's function to say this is not that. This carbon in the blood does not belong here and I must come to a decision about this.

I can look at these two colors and say that this green here is not that red. Right, Jessica? Right. We agree on that. Our lungs just helped us make that discrimination. My soul was seeing both green and red. But then in order to communicate to Jessica, I needed to discriminate between green and red. Okay, red is not green says my soul and my lung helps in the process of discrimination because it is a specialist at discrimination. We could say the soul uses the forces of the imagination of discrimination which the hierarchies have built into the structure and function of the lung. But if I were color blind, I would experience that the red and the green were very similar. They would be shades of gray or something like that. I can see that one's lighter than the other. But I don't really know for sure. I can't really discriminate. That's then a little bit of a gravity state in that perception process of the lung. The lung could not discriminate and it does not have an answer. Over time this pattern may get fixed in the lung as the feeling of not being able to control what cannot be discriminated. The lack of control gets extended to the experience in the soul whenever the person comes into proximity of what is not controllable.

When this happens, the lung has as a picture of the gravity side of its dew process. This is what is known to psychologist as phobia. It's a fear of not being able to control specific things: water, dark rooms, heights, cats, air, you know, whatever. Specific things. The lung knows exactly what it's afraid of because it's so good at discriminating. It obsesses on what it's afraid of, because that's what the lung is very good at doing, discriminating and controlling, in a word, obsessing. It says in - out, in - out, in - out, in - out, in ---- no, not out, in. In, not out, in. Thank you. In - out. And if it doesn't get its way, you're going to know about it, because it will obsess you into oblivion. It will drive you nuts. If you're living with a lung that is in a gravity state, you definitely can identify with what I'm talking about, because it's just right there at the surface of things all of the time. And that's where phobia and control issues come from. The lung says I have to control everything, because if something's not in place, somebody's going to think I'm stupid. So that comma you have in the wrong place, I'm going to keep nagging you about it until you change that, because that's not right. And it's true. It's probably not right because a lung person caught in a gravity wave really checks out the facts. A lung person will really check, and they'll make sure that when they're telling you that something's not right, they're really sure that that's not right. When a lung person gets going with this you're gonna eventually have to cave to their discrimination. For you it's a comma in the wrong place, for them it's life itself hanging in the balance. The absolute worst thing that can happen to them is that they find out that there's a typo in their own manuscript. They'll obsess on that. For three weeks they'll have fear coming out of their lung that somebody's going to know that they had a typo in their manuscript that was printed and put out in front of everyone.

That's the gravity state of the lung. That's when the dew can't be creative, and the physical manifestation of that is things like asthma and a tendency towards pneumonia. Just too much on the lung, and the lung says I can't handle this so I'm going to just totally clog with stuff and you're going to have to lay down. And then you have to work to heal and bring the lung back into movement again, into more of a levity condition. So what I'm trying to do is show you that the fear of the organ is a picture of its process and that the obsessiveness is a kind of gravity condition in what could be a creative and very useful activity for the editor. We need the editors because they usually have spent the time so that they won't look stupid. If they're telling you it's wrong, they're pretty sure it's wrong. That's what they spend all their time doing, so we need them. But it can eventually work on them in a wrong way. Too much gravity, and then they have to come back around and take a chance and maybe do some poetry or something to try to get the flow going back again. So that's the lung. That's what we could call earth. When the dew falls all the way down that's ice, then. We just had an ice storm in the lung instead of dew. There was too much cold. Alchemically cold is the element of earth. When the lung is out of balance the temperamental disposition is towards melancholia. The soul feels the weight of the earth too much. It is unable to relate to the air.