The vibrations of the word «Avatar» most accurately correspond to what we mean by the physical body. Therefore, the author of the website decided to propose a similar variant of the name for the molecular body to the reader.

Perception is always super-sensory. The five senses are merely means of tuning attention.

Avessalom Podvodny, "Selected Aphorisms".

Keywords: muscles, bones, skin; movement, anatomy; anatomical features..

We now turn to the consideration of the lower body of the dense shell. It is intimately connected with the lower body of the subtle shell, that is, the causal body. This connection is expressed, for example, in the difficulty we have in considering an event that does not find its reflection on the physical plane, and a significant portion of the efforts of individuals and collectives is dedicated to working through ritual symbolism that materializes the causal plane.

An ordinary person practically does not feel their body; rather, they feel themselves in it like in an uncomfortable spacesuit with a limited number of jointed connections: a pair in the feet, a pair in the knees, a pair in the hips; the spine is rigidly fixed in a rounded position; and it pains the author to even write about the unfortunate neck; instead, he invites all interested parties to verify the lamentable state of it.

The physical absolute is the source of physical space-time; a hint of it can be caught in modern physical concepts of the zero energy of the vacuum and its ability to "give birth" to particles. A person who has a connection with the physical absolute can, for example, create various objects from "nothing" (in fairy tales, this ability is symbolized by a magic tablecloth) to the extent that it does not contradict the karma of physical space. However, this requires a very fine sense of the physical plane at the level of the ability to directly perceive bodies and masses located in all areas of space.

Sit comfortably in a chair and relax, but do not close your eyes (if they close by themselves and you fall into a deep sleep, then sleep, for you will need freshness of perception). Are you truly comfortable? Most likely, your posture is not well aligned with the arrangement of the furniture. To eliminate this annoying discrepancy, let’s try to merge your body with the room, literally becoming it. To do this, first, you need to distribute your limbs and organs according to the furniture, and it is easiest to do this geographically.

So, you become the room; more precisely, your physical (not etheric!) body comes into alignment with it. In other words, now it is not you who sits in the chair, but the room that arranges you in it, doing so piece by piece. Is there a lamp with a lampshade hanging above your head? Wonderful. That will be your head, and the fringe will be your hair. Behind the back of the chair stands a bookshelf. That will be your back, and the books will be your ribs and vertebrae. You will immediately feel them, and you may want to adjust the position of your back, or perhaps rearrange the books in the shelf or slightly move the shelf itself. On the shelf to the right is a record player: the shelf becomes your forearm, the record player your hand, the tonearm your thumb, and the needle its nail. Your hand will slightly change its position on the armrest, perhaps the wrist will relax a bit and lie more confidently. To the left, on the windowsill, there is a vase with flowers — a beautiful ear. Your head will turn slightly, and the sounds of the street will flood into your consciousness: the distant barking of a dog, the shouts of children, the clattering of a bulldozer. In front of you to the left, a couch with cushions will become your thigh, while the pouf and chair next to it will be your knee and calf, and the rug will be your foot. At this point, a peculiar deep sensation will arise in your leg, and it will somehow turn in space, as if finding its place within it. In this manner, you should relate all the main objects in the room to parts of your body and internal organs. Your abdomen will become the television, your buttocks the chair you are sitting on, and so on. At some point, you will feel a qualitative change in your well-being. You will stop distinguishing yourself from the room; that is, you will physically merge with it, experiencing an extraordinarily strong soft comfort and a sort of substantial density of the surrounding space, which will embrace you like warm bathwater, but much softer and deeper.

However, difficulties may arise, as you may not always be able to turn as you would like: the limitations of stiff ligaments and the awkward arrangement of furniture will make it difficult for your body to adapt. But you will feel where you need to stretch a little and what rearrangement of furniture would be desirable.

It is astonishing how little people see and feel their physical body, and they almost do not understand the effect it has on space and those around them. This is due, among other things, to the sharp differences between bodies. For example, one can have a coarse and unruly astral body while having a quiet, modest, and repressed physical body. Conversely, it can be the other way around. But, as a rule, a person identifies themselves precisely with the astral body, thus having a completely distorted view of the physical.

To understand what this means, imagine that you need to draw a portrait of a person in their most typical pose or characteristic movement. In what style will you depict it? What is the most characteristic line: a thin stroke, a thick one, a long one, a short one, straight, slanted; oval; triangle; rectangle... what will appear in all areas of the portrait and its overall outline? What painting or drawing technique will you use: watercolor, gouache, pastel, tempera, oil; pencil, charcoal, pen? What will be the main colors of the portrait and the background? People who are used to answering such questions do not necessarily become artists (although they are certainly artists internally, that is, for their karmic egregore). However, if a person cannot answer them, they cannot claim to see and feel the surrounding forms satisfactorily and possess spatial culture.

Physical culture is generally understood as the art of moving and taking certain poses — regardless of where the person is located. In other words, a dancer, track athlete, acrobat, or hatha yoga practitioner needs a flat surface to demonstrate their skills, and it is not particularly important what surrounds it: a forest, the walls of a concrete building, or a stadium with spectators. Sometimes additional objects are introduced into the configuration space, but they are typically very simple shapes and in small quantities: a ribbon, a hoop, a horizontal bar, or at most parallel bars.

However, a person's meditation in free space or in a space with just one simple object is extremely artificial. A person is created to live and move in a world filled with diverse complex objects, often movable ones. True physical culture means, above all, the ability to adapt to the surrounding reality, harmoniously fitting into it.

What does this mean? When a person walks through a forest, they understand that it is better to follow the path than to push through the bushes, ravines, dead wood, and windfalls, risking breaking their leg or falling into a ditch.

A person who does not physically feel the forest perceives their configuration space within it as sharply narrowed: they are afraid to step aside; they constantly look around, fearing getting lost; they cannot distinguish one clearing from another; and they emerge from the forest with great relief, as if leaving the walls of a prison. In a certain sense, this is indeed the case. In both cases, their configuration space is sharply increased.

Plants, and especially animals, possess a far richer and more complex configuration space than minerals, which is why establishing a cultural relationship with them is much more complicated. However, if successful, the resulting meditation yields enormous results.

Vegetable and animal forms are extraordinarily energetic. By interacting with them, a person comprehends both their body and its hidden possibilities. Where does the physical culture of a child begin? At one year old, they learn to walk (and, if lucky with their parents, to swim) and begin to master rough terrain, climbing trees, and playing with animals. These activities cannot be replaced by anything. It is these activities, rather than physical strength and "correct" body proportions, that primarily determine a child's physical culture. Can they climb a tree, spend an hour there without getting bored, and return unscathed? Can they pick up a dog in such a way that both enjoy it? Can they distinguish a hoopoe from a parrot by voice and appearance, and a bunting from a leaf warbler, and so on?

Even in a mundane situation, such as when a cat enters the room of a stranger's apartment where a person is present, one can react in completely different ways. Only a completely physically unrefined brute can completely ignore what has happened and behave as if no animal is in the room. In any case, the newcomer should be greeted warmly and the person should slightly shrink their configuration space, making room for it. Then the cat will begin to perform various maneuvers: for example, it may jump onto the windowsill, arch its back, twitch its tail, meow, jump onto the couch, and then hide under the table, where it will rustle something and remain silent for a while. All these movements are accompanied by a whole avalanche of spatial changes, to which a person must listen and adapt as much as possible. If their body is sufficiently cultured, they will feel the echoes of the cat's movements in the room: suddenly, a muscle in their leg will contract and quickly relax, their right hand will twitch slightly, their shoulders will hunch a bit, their lips will curl slightly, their head will tilt, and so on. If the adaptation to the new spatial conditions is successful, a person will eventually feel a deep comfort in the room with the cat, qualitatively different from their previous existence in the room without the cat. If their paired spatial meditation with the animal is particularly strong, the cat, instinctively obeying the spatial will, will emerge from under the table, jump onto the chair, and settle on their lap for a while. When the meditation weakens, it will return to its own affairs. However, the room will then take on a completely different, much softer, and friendlier appearance for the person. Their configuration space in it will become significantly wider. For example, they will gain permission to approach the sideboard closely and examine its contents through the glass.

Thus, supporting the home as a complex material form is a crucial task. Upon closer examination, it turns out to be quite delicate. First of all, the home is alive: the building ages, furniture and household items wear out, gradually being replaced by new ones; finally, family members are born, grow up, and die. Therefore, the configuration space of the home is constantly changing, and the arrangement of furniture and household members in rooms that was convenient a year ago may no longer be satisfactory. At that point, a good housekeeper stops feeling the usual pleasure during cleaning.

When a person enters a room and moves about it, they sharply change its spatial properties. Possessing a vast spatial potential as a higher being compared to furniture and walls, a person can crudely and barbarically disrupt all the spatial energy of the room, which it will experience as aggression and humiliation. They can use it for personal purposes, or they can delicately fit into the interior, finding the place that the room offers them.

The theme of spatial behavior is closely related to the theme of what might be called the physical loneliness of a person. Moral loneliness can exist among friends and in a large family — this is a problem of the buddhial body, solved by overcoming selfishness as a life position and expanding essential consciousness to include other people and their lives.

For example, when talking to a person, one must find the most suitable places for both them and oneself in the room, and first and foremost, seat them at the right distance from oneself: not too close, to protect their configuration space from oneself, but not too far, otherwise a tangible spatial meditation will not arise.

For instance, if they become engrossed in self-expression, gesticulating, activating their facial expressions, and literally intruding into your configuration space, making you want to move away, you need to shrink in size and become a respectful observer — small, but still distinctly felt — so that your partner does not get the impression that you have completely left, and they are indulging in a monologue in solitude.

Conversely, if you see that your partner is sitting expressionlessly and practically motionless, clearly waiting for you to take the spatial stage, you need to do just that, filling the vacuum between you: smile, make a neat gesture through the air, or simply sit more comfortably, but do so without encroaching on your partner and leaving them space for their own spatial existence and expression. But, of course, the foundation of spatial meditation lies in similarities: forms, gestures, and finally, types of spatial existence.

The higher the evolutionary level of an object, the more subtle operations with space it can perform.

Imagine that a man you have known for a long time and have a friendly relationship with comes to visit you. The usual ritual of your meeting includes a smile and, at most, a light handshake, but today his face expresses unusual joy, and he extends his arms toward you to embrace you in a close, obviously masculine hug. There is no time for reflection, and your physical body acts on its own. Your reaction:

1. You instantly jump aside and slap the rude man.
2. You forcefully break free from the embrace.
3. You remain in the embrace but completely stiffen, crossing your arms over your chest.
4. You calmly stand, smiling, with your hands down.
5. You hug the man by the shoulders, lean slightly against him, and kiss him on the cheek.

The essence of the test is as follows: surrounding men, who feel the physical plane, do not need to embrace you to understand your reaction, as your body reveals it with every movement, and their bodies perfectly sense your mood and intentions.

Physical sexual education does not begin when a child is explained the "mystery" of conception and birth. A girl comfortably nestled in the fork of a tree will be able, as she matures, to sit on the lap of her beloved man without putting any pressure on him, and when he picks her up, she will not feel like a poorly tied sack of potatoes. A boy who knows how to stroke a cat and scratch behind its ears so that it purrs will not grab his girlfriend like a tram handle and drag her to bed like a bundle of hay.

Sexual organs do not exist separately from the rest of the body, and without its overall cooperation, sexual intercourse (it is more accurate to say dance) is altogether impossible. However, this dance is led by a paired egregore, and partners must listen to it very attentively. Otherwise, movements contradict the music, and instead of a waltz, chaos ensues.

The coordination of physical bodies necessary for the sexual dance begins at a distance when future partners simply look at each other a little more attentively and at a slightly closer distance than in ordinary social contact. At this moment, their physical bodies already feel each other well and give their owners unmistakable signals. In a positive scenario, they may sound like this: «What a pleasant face this young man has and what a bold smile».

Having learned to be close at a short distance, the partners' bodies, following the instructions of the paired egregore, at some point will try to transition to direct tactile contact, first through clothing and then through bare skin. Here it is crucial to follow not social clichés, especially those offered in erotic films, but the movements of the etheric bodies and the will of the paired egregore as a whole. The sanction for any touch is an etheric meditation that is so intense that the sensations at the moment of physical contact are almost the same as during the preceding movement in a dense etheric cloud. The etheric body as a whole enters a highly excited state. Slow waves begin to flow through it, simultaneously or alternately activating the lips, hands, knees, and all other body parts, indicating to the person the areas of skin ready for sexual contact. They seem to reach out to the corresponding places on their partner. Gradually, the etheric meditation deepens, and sexual interaction involves not only the skin but also the subcutaneous fat, ligaments, and superficial muscles, then deeper ones, sometimes even internal organs and bones. Accordingly, the nature of physical interactions changes. Light, gentle caresses are replaced by deeply penetrating but equally gentle squeezes, pressures, and so on. At some point, partners cease to distinguish their bodies. Until this time, it is better not to initiate sexual intercourse in the narrow sense, that is, focused mutual manipulation of sexual organs. However, the paired egregore sometimes holds a different opinion, and it is essential to listen to it rather than the author of these lines.

The natural end of the physical sexual dance is determined by the conclusion of the etheric meditation, which occurs when the paired egregore is satisfied with the informational and energetic exchange that has taken place between the partners (as well as the exchange between themselves and the partners). Sometimes this conclusion is marked by a joint orgasm of the partners, sometimes by one of them, and sometimes it does not manifest on the physical plane in any way, except that the partners suddenly feel the urge to distance themselves from each other or to cease mutual movements and freeze in stillness.

The criterion for the correctness of conducting a sexual act (as well as any other meditation) is the state and relationships of the partners afterward. And, of course, the primary assessment comes from the paired egregore: whether it is satisfied or not. Partners usually easily sense this, both directly and through the new warm thread of mutual trust that arises between them or, conversely, a wall of cold alienation. For the paired egregore, it is extremely important that physical actions cease immediately after the etheric meditation, which sometimes, to the bewilderment or even dissatisfaction of the partners, comes to an end much earlier than they intend. That is, strictly speaking, sexual meditation can end at any time, and asymmetrically for the partners. But if this is provided for by the paired egregore, it will not cause them any (including physical) discomfort, which, however, is inevitable if one tries to continue the sexual act without etheric support.

Let us finally free ourselves from dogmas: a woman is not obliged to "finish," and a man is not obliged to achieve an erection. The true source of sexual incompatibility is a deep, albeit unconscious, atheism!

The main cause of women's diseases is a lack of love for men. The main cause of male impotence is the rigid programming of one's own sexual behavior by the man himself or his partners.

In conclusion, it can be said that the spectrum of movements for which our body is designed is infinitely wide. It is impossible to predict in advance which specific sports exercise, pose, or gesture will be needed to recreate the vibration necessary for the etheric body today. The natural universal recipe lies in the constant striving to move in accordance with the spatial energy of the surrounding landscape and the internal needs of the physical and etheric bodies, which does not exclude any particular health complex, but which, however, is better not to be rigid.