Hello and welcome. It's a fascinating thing, the extraordinary depth and accuracy of the Human Design BodyGraph. The way in which this matrix allows us to see with such detail and with such accuracy, the basic mechanics of a human being and what's possible for them. That is, out of that mechanics to develop tools—Strategy and Authority, as an example—to be able to refine the process, to be able to live the life that is correct.

And yet for me, one of the most fascinating things is that Human Design was not given to me as Human Design. That is, it was given to me as a component of the Design of Forms. And our journey here is for me to take you through these various forms and to begin to understand the implications of the value of this mechanical knowledge that we now possess. And that ultimately, in the future, as we move forward with the advances in the understanding and acceptance of Human Design as deeply valid and scientific knowledge, that we will begin to explore the potential that's there in these other forms.

I think it was the English astrologer, Liz Green, who said, "it is odd that the design, the astrological chart of a human and that of a chicken are the same." It is one of the things to grasp about differentiation, which is at the very core of Human Design, is that that differentiation goes beyond just the unique values that are attached to it in Human Design, but to see very clearly that the way in which programming operates on this plane is differentiated as well. And this is the Design of Forms: the various forms that exist on this plane, and the way each of these forms are designed to interact with the program and designed to interact with each other.

Let's begin with magic. And the magic that we begin with is the inanimate—the in-animate. What an extraordinary thing. It is the totality in so many ways. The vast totality that we live in, the bi-verse, is fundamentally made up of what we refer to as in-animate objects. It is perhaps one of the most extraordinary things to understand that even the inanimate object has a fundamental Design.

It has a potential, and only a potential, that resides in the 25th Gate of the G Center. This is an extraordinary gate. It is a gateway to, well, the totality itself. The 25th Gate, the Gate of Innocence, is the Gate of universal love. It is the Gate of the priest and the priestess. It is the Gate of the idols and the idol maker. It is the deep, magical key of initiation. And in this 25th Gate lies the potential of any inanimate object. That potential to be shocked from the other side, from the 51, that through shock transformation can take place, that life can be imbued into form. It is the very magic of the beginning of it-ness. It is the magic of the inanimate and it is sitting there with its 25th Gate and waiting for that cosmic shock, that great initiating force.

If you're somebody that has the 51/25, the Channel of Initiation, or you have the 51st Gate, you have this potential magical connection to the inanimate world, to objects, to imbuing those objects with character and personality. It's quite a thing. The inanimate everything that you can imagine. Everything that you can imagine has a design.

Ra Uru Hu was the Human Design System’s founder and messenger. Ra dedicated 25 years of his life to the development and teaching of the System around the world until he passed away in 2011.