(excerpt from The
Journey of Your Soul)
One week I had two different clients who called
frantically before their appointments, having lost my address. They reached my
answering machine, but somehow figured out where I live and arrived early,
thinking they were late. Amusingly, both were artisans. When an artisan friend
of mine told me that he was marrying another artisan, I joked, “What? You’ll
never find your keys!”
Artisans have a reputation for
the charming flakiness that sometimes accompanies high creativity. One reason is
artisans have five “inputs” or simultaneous “psychic (as in psyche)
receivers.” Artisans operate on five levels or “tracks” at the same time—they
can receive and process five impressions from the outer world, either
consciously or unconsciously—whereas warriors, for instance, operate on one.
This facilitates the widest possible awareness of “what’s out there,”
which aids creativity, because new creations are new combinations of already
existing elements, and the artwork of artisans tends to have many levels.
However, having five inputs can also be disorienting if artisans aren’t well
grounded, and can make concentration difficult. Artisans can seem not fully “there”
when one is talking to them, whereas
warriors are usually totally “there” or
are not “there” at all. Sages have three inputs, with similar but lesser
abilities and challenges in that regard. Sometimes artisans and
by being highly organized—with so many inputs, they have found that they need
to be in order to keep track of everything “coming in” and all the projects
they may be juggling at once. I am an example of this: I have a compulsion to
write everything down and keep things in their place; otherwise, I don’t feel
that I have a handle on my life. (People sometimes think that I’m a Virgo, but
there are not any Virgo influences in my astrology chart. Nonetheless, I have
always been highly organized as well as detail-oriented.) On the other hand,
warriors, who have only one input and are the most focused of the roles, tend to
be naturally organized, but they can also sometimes live in a mess and still
feel that they can function effectively—being so focused, their sense of
organization may be more internal. Also, warriors are normally “one thing at a
time” people and artisans usually have several projects going at once, but
sometimes the opposite is true.
Some artisans like to do
things “one at a time” because it is too disorienting for them otherwise.
It helps them feel in control. On the other hand, there are warriors who,
because they are only dealing with one input, can keep several balls in the
air at once, so to speak, like jugglers.
Michael student Ed Hamerstrom
suggested that the five inputs of artisans relate to 1) current reality, 2) the
state of the work in progress, 3) the muse or vision of what he wants to create,
4) random unconscious stimulation that allows creativity, and 5) the application
of that imagination, as in “What would happen if I try this here?” He
suggested that the three inputs of sages relate to 1) current reality (the
setting or basic situation), 2) what is being expressed, and 3) the audience.
Michael said that that is a valid way of looking at their inputs.
The inputs are “slots”
that can be filled in various ways or, at least, described in widely varying
Scholars, kings, and warriors—the
“solid” roles—have one input. Let’s make an analogy here. Until
recently, all television sets could display only one channel at a time. This
is like having one input. Now there are televisions that can play a football
game in the corner of the screen while the rest of the screen is taken up with
Dallas reruns, or
whatever. A person watching such a screen can receive two broadcasts at once.
That is like having two inputs. The advantage of this is that two different
sources can be integrated in some way. A person watching Dallas and a
football game at the same time may see similarities and connections between
the two that someone watching one show probably would not. He might, for
instance, perceive Dallas characters and football players maneuvering
toward their goals in similar ways. He may then try in some way to integrate
the two shows, such as making a sculpture that illustrates the relationship
between Dallas and a football game.
On the other hand, a person
with a television set that plays only one image might be seen as a specialist
in what was being viewed, either Dallas
or the football game. If you are watching Dallas, you can explore
everything about Dallas in full detail, noticing what all the
characters are doing, wearing, and so on. This is of particular interest if,
for instance, you are a scholar specializing in soap operas.
With a one-image set, you can
change channels, either quickly or slowly, but you are not as well equipped to
integrate the two programs in your consciousness as someone watching them
simultaneously. You might also tune your set between two stations, but you
would just get static.
The four roles with more than
one input approach integration in different ways. Priests and servers each
have two inputs. Priests are concerned with integrating their vision of what
is higher or of greater ultimate importance into the immediate circumstance.
Their “television screen,” rather than having a second smaller image in
the corner, has a horizontal line dividing it into higher and lower images.
They view these two images simultaneously at all times. It is so natural to
them that they take it for granted. The “screen” of servers is split with
a vertical line, holding an image of the common good next to that of the
Sages have three inputs.
Their screen is divided by two vertical lines into three side-by-side images
that are more or less equal in size. Sages can use these three inputs to
integrate the three other axes: inspiration, action, and assimilation. Sages
are communicators and mediators. They interpret between warriors and priests,
scholars and artisans, and so forth. They express what the other axes need to
hear. Sages can also use these three inputs to integrate love, truth, and pure
energy. By reconciling them, by sensing what is not only the most loving
action, but simultaneously the most truthful and healing, you discover wisdom.
Sages seek wisdom in the same way that warriors seek challenge and artisans
Artisans have five inputs to
help them in their quest. Their “screen” is divided into five sections
similar to a pie divided into five pieces. These divisions, however, are not
necessarily equal in size, and they can change. Images enter from the
periphery of the screen toward the middle. What comes in through the piece of
the pie labeled “A” might go back out in a different form through the
piece “C.” The images are constantly moving and changing. This allows
artisans to arrange and rearrange realities, creating new ones as a result.
Suppose that at this moment,
an artisan has Dallas on
input “A,” football on input “B,” “Tom and Jerry” cartoons on
input “C,” and so forth. He is likely to change some of or all the
channels before the programs are finished. He senses when he has what he needs
to create something new, and then moves on, seeking more raw material.
There are inherent challenges
in each way of inputting, and no way is better than another. The roles with
one input have the advantage of greater stability. They can change channels
but they still have just one image. Generally, those with one input wait for
to be over before tuning in to the news, or whatever. Also, being more
focused, they tend to plan what they are going to “watch” ahead of time.
The solid roles are basically
dealing with what is. The inspirational roles want to add something higher or
greater to what is. To do this, they have to simultaneously see what is as
well as “that something more.” The expression roles, with three or five
inputs, want to change what is. In a sense, they have more “on their plates”
than the other roles. Life may not seem so simple to them. However, they are
designed to be this way, so seeing various realities simultaneously isn’t
foreign to them.
especially, and sages focus on creativity, all the roles can be creative in
their own ways. The essential creativity of artisans and sages is to see new
possibilities through combining diverse realities. The creativity of warriors,
for example, is more straightforward. It is more likely to spring from an
intimate knowledge of one reality than from drawing from more than one. If a
warrior does draw from more than one, he does so deliberately rather than as
an expression of his customary way of being, and he would tend to quickly
refocus on one image.
You can learn to recognize
inputs at work, but it isn’t as simple as saying that sages and artisans are
more “spacy” because they have more inputs, although that is sometimes the
case. “Spaciness” is disorientation stemming from not being able to handle
whatever is on the screen, whether it is one image or five. However, five
images can be especially disorienting if they are not being integrated.
Having multiple inputs brings
diverse stimuli into one’s thinking and feeling. This is not the same as
having an excessively busy mind, which, by the way, is more common with those
who are intellectually centered, because they tend to use their minds a great
deal. Thinking tends to be more orderly and efficient when the mind is
centered and serene. Nonetheless, when sages’ minds, for instance, are
centered, they are still receiving through their three inputs, and sages can
shift their dominant attention among them. When scholars, who have one input,
have busy minds, their content is likely to be on a single track or subject,
rather than sages’ three. Priests, when their minds are busy, tend to
conduct a debate between “higher” and “lower” points of view.
Incidentally, this can engender feelings of guilt if they judge themselves as
not measuring up to their vision of higher function.
Thinking itself is output,
not input, and output is on one track; in other words, you can only
consciously think (or do) one thing at a time. If you seem to be thinking more
than one thing at a time, you are actually rapidly switching your focus back
and forth. If you have multiple inputs, you might be integrating the multiple
“tracks” “playing” in the background into your thinking. This can
occur whether or not you are consciously engaging with them; much integration
occurs unconsciously. It is this integration that is the foundation of
artisans’ and sages’ creativity.
More material about Inputs,
compiled from the Michael list
Michael has said that inputs are like modular
slots into which
various kinds of perceptions can be plugged. One input is usually concerned
with current reality, the more-or-less concrete, objective facts of
circumstance. The three roles with just one input focus there, making them
more solid, practical types. However,
scholars are the least so of the three:
they can become "absent minded professors" when they focus their one input on
some train of thought.
priest, adding another "slot" that they can use for holding a
perception of the higher good allows them both to be visionary and to bring
their vision into practice. It is similar with servers, except their vision is
"wide" rather than "tall," a vision of what would be good for the whole on a
practical, earth-plane level.
It's more complex with sages and artisans. In Yarbro, Michael talks about how
the three sage inputs makes performing energizing, whereas it can be
enervating for, say, warriors. Sage actors on stage can pay attention to the
audience, the other actors, and their lines at the same time. In other
circumstances, they could use their inputs for other things. Two could also be
temporarily dormant, such as when concentrating, which is not so natural for
sages and artisans--this is partly why we are more easily bored and
An artisan creating a piece of art may be simultaneously aware of many
different ideas he/she wants to put into it, making it easier to weave them
together seamlessly, than, say, for a king artist, who has to go back and
forth among those ideas. I've noticed that scholar artists can create complex,
detailed art with a lot of concepts in it, but I think that's different.
Artisan art tends to be more surprising and inventive, maybe more right-brained, with more layers that the artist may not even be aware of; scholar
art tends to be more calculated. Five inputs make it easier to make the kinds
of connections between disparate elements that we also make in the dream
state; artisans tend to daydream a lot and in general be thought of as
BTW, I've noticed that artisans and priests, the two high-frequency roles,
tend to have the most interesting, vivid nighttime dreams, as well as being
the most visionary people (in different ways).
Action axis artists, such as Picasso and O'Keefe, tend to create bold,
striking pieces. A lot of visionary, new age art is by priests (as well as
artisans), I would imagine. I can see servers creating warm, perhaps
decorative art such as still lifes that would help create a homey environment.
Of course, essence twin role and casting, overleaves, astrology, training, and
everything else also have an impact.
-- Shepherd Hoodwin
Shepherd is a professional
Michael channel and author of The Journey of Your Soul--A Channel Explores
Channeling and the Michael Teachings and Loving from Your Soul--Creating
Powerful Relationships. He does channeling sessions and intuitive readings
via telephone, mail, and e-mail. Audio cassettes are available from his site. Visit
his website at
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