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Illusion Conclusion
Jerry Stocking
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Post-IC: Switch / Start / Stop & On 1
Post-IC: Switch / Start / Stop & On 1
IC_PostSW1
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Transcript
587 utterances · click to jump
00:01
S0
There's a little thing. Think of some people in your life who's internally referenced and who's externally referenced
00:10
S0
to where I trained to be a master practitioner of NLP, we had to turn in there was 20 or 30 different sheets with all of the meta programs that they had marked for people. So we had to do these sorts of assessments on 20 or 30 people.
00:35
S0
But if I walk over and I'm more internally referenced than he is, his internal reference bows to mine.
00:46
S0
If you're more externally referenced than they are, far more externally referenced than they are, they're gonna look relatively internally referenced.
01:01
S0
It's kinda like the the meek apologizing to the meek for being meek.
01:08
S1
Are the meta programs that we do here, do they all come from NLP?
01:13
S0
No. About two thirds of them come from NLP, but they aren't done the way that NLP does them here.
01:23
S0
And the other third is from our stuff.
01:28
S0
Next one. And then most of your ICs, we did this one but we'll find out how we do it now. And it comes next because it fits beautifully with this one we just did,
01:41
S0
which is self, selfless, switch, and simultaneous.
01:53
S0
So we're running over it fast here and you'll get it and then you'll learn it as we go. Self is, there's only me.
02:03
S0
There's not me in comparison with them. There's only me. That's it. This is narcissism. Period. Selfless is there's only you.
02:19
S0
You get how this would relate to internal external a little bit. And yet it is not the same.
02:27
S0
And it is not a subset of it. And they can relate very differently, but they do relate. Switch is there's only me and you're me.
02:48
S0
Simultaneous is there's me and there's you.
02:56
S0
There's me and there's you, and that's the way it is. So I understand yours and I understand mine. Switches, I understand mine and yours is just the same as mine.
03:13
S0
Self is me, me, me, me, me, me, me, me, me, me, me.
03:22
S0
And selfless is
03:26
S0
just you. So it's just you, but then if I go like this, then it's just her. You're dead meat. And oh, now those two both died and it's just her.
03:42
S0
So selfless is like a pinball machine. You better be very careful with your surroundings because you are them.
03:52
S0
You're the surroundings.
03:56
S0
Get them? So it's where is
04:03
S0
your attention? Where is the reference? Where does the authority reside?
04:11
S0
Or even nah, it's it's where is existence.
04:18
S0
This is I exists. This is you exists. This is we exist. This is
04:30
S0
I kind of extended exist.
04:35
S0
And the thing that you wanna say with switches, it's
04:39
S0
if you just knew what I know, you would agree with me entirely all the time.
04:46
S0
There are specific challenges to use with these four.
04:51
S0
If somebody runs self, you wanna say to them, what do they think?
04:57
S0
What does so and so think? If Peggy runs self, I would say, Peggy, what what do you think Cynthia thinks?
05:06
S0
So she'd have to get out of herself.
05:13
S0
For selfless, you say, what do you think?
05:19
S0
Well, they'd say, what do you think? No. What do you think? And it's a battle to find out where it's gonna be. For switch,
05:31
S0
you say there's nothing you can do about that.
05:38
S0
There's just nothing you can do about that because that's saying it's outside their realm. But see, they're saying my realm is me and everything else out here too. You're saying there's something outside of it by saying there's nothing you can do about it. And they go, yes, there is.
05:58
S0
And they just show you the pattern.
06:02
S0
Some of you who run switch, if I just say there's nothing you can do about that, you go, well, there must be something I can do about it. There has to be something.
06:14
S0
Simultaneous, what you say to them is you say you can't have it both ways, Cynthia.
06:20
S0
You can't. It has to be one way or the other. Which way do you want it?
06:29
S0
So that's the challenge that you use for those to determine what's going on. Now what do you do?
06:39
S2
This the one that runs
06:40
S0
so Is
06:41
S1
this the one that runs so close to the internal x
06:46
S0
Yes.
06:46
S1
Percent view?
06:47
S0
Yes.
06:50
S0
It is.
06:53
S0
What do you do?
06:56
S0
Self.
07:01
S0
Is that accurate?
07:05
S0
I think there's an awful lot more switch than there is just self.
07:12
S0
And one of the ways we find that out is how often other people are wrong. And then the stories he tells, how often they didn't get it yet.
07:26
S0
And how
07:31
S0
you follow?
07:33
S0
Many of his stories that I've heard are about someone else
07:40
S0
and how there was something wrong in in the way that it worked between him and them. And guess who was right?
07:52
S0
You got any stories where you were really wrong?
07:57
S3
Not today.
08:00
S0
I I mean it, though. Search. Yeah. Tell us one, please.
08:06
S0
Do it with the same enthusiasm you do when you tell those stories about how they're wrong.
08:14
S2
I set up a set
08:14
S3
of stairs one time to the guys to how to lay them out and stuff and went all the way through the thing, got them all set up and was dragging on them the whole time about making sure things were right and got to the point of coming to form, and they were set up wrong. And
08:32
S0
they were set up the way you had told them to set them up?
08:34
S3
Yep. K.
08:40
S0
You get switch? So he holds the whole world at bay out here by knowing himself how it should be. One of the ways I know this is the way you and I connected immediately because if you ran self, you wouldn't even know I was there.
09:00
S0
You knew I was there and decided I was okay.
09:04
S0
A self doesn't do that. A self that it's just not there.
09:14
S0
So self and internal I mean, switch and internal, how does that play together?
09:23
S0
Try it on. What if you switch an internal?
09:31
S0
I I mean, it plays like Terry. I I understand they're they're a dart. But how does it play? Does this work? Any conflicts here?
09:43
S2
I get arrogance when I cut out.
09:45
S0
You would because it bounces against your patterns. So watch out for your patterns in the assessment of this.
09:55
S2
I think I run that sometimes.
10:01
S0
You do. I'm not asking how it plays regarding other people necessarily. I'm asking how it plays regarding himself.
10:16
S0
What is the likelihood that there's gonna be a wrench in the works if you run switch, which is there's only me and you're all me, and internal?
10:26
S1
Highly likely. It's nothing.
10:29
S0
No possibility for a wrench in the works because nothing is outside. The horses can't get out because there's no out.
10:38
S2
But he's lying on all his own data.
10:41
S0
That's it.
10:41
S2
To make his judgments.
10:43
S0
That's what I'm saying. So it's internally consistent which now if you wanna look in a much bigger sense is a problem. But within him, it's no problem because the locations, it's all encompassed.
10:57
S2
So it makes no difference that he's working with other people in his office or
11:01
S0
He doesn't care.
11:05
S0
They're all wrong.
11:09
S0
There wasn't a he wasn't even wrong when he told them to put the stairs wrong. Yeah. Did you get that? Yeah. He wasn't even wrong then.
11:21
S1
That's why he doesn't like me
11:24
S2
because I'm switched.
11:25
S0
I don't think that's why. I think it's because you remind him of his old an old girlfriend.
11:31
S1
Right. Or he doesn't like chocolate or something like
11:33
S0
that.
11:34
S2
Yeah.
11:35
S0
Something like that. I don't think he doesn't like you, as a matter of fact. I think this is an awful lot like flirting.
11:43
S0
I think that he is so bowled over by you and so stunned by you that he has to defend more aggressively regarding you?
11:51
S3
I think you had to reevaluate this.
12:00
S0
Who cares what you think?
12:06
S0
Even given the juice I just got out of the story, you would suggest that I reevaluate
12:21
S0
Watch the repercussions are still going on.
12:27
S0
I just I sense the magnetism there.
12:40
S0
See, we're stepping on the switch. The switch is going,
12:46
S0
boy, he's never gonna catch on.
12:52
S0
He really doesn't get it. And then yet, watch because also and this is tough to see. But the the external that's going on because internal and external, remember, they're both going on. A little bit of the external goes, really?
13:10
S0
Did you watch it? Because a little bit of that goes, really?
13:18
S0
You get how you could start having fun with people regarding these programs?
13:24
S0
I promise you in your IC course, I use these against you regularly and with you.
13:33
S2
Yeah. I think you probably answered, but I just it didn't seem to me that it seemed that whether or not he liked her was all in her head because I can't see that he would go outside enough to find somebody that
13:45
S0
He did. Before And that's your evidence. Yes. Absolutely. She got him.
13:53
S2
Okay.
13:53
S0
So She nailed him, and he still has not forgiven her for it.
13:59
S0
She got in past the patterns. He's offended by her.
14:06
S0
And this is she went right in on the external. She wrote her external right in his external that doesn't get monitored by him because that's a pathway that things don't get in on.
14:20
S0
And it got in and he's still pissed. So this is one way that this pattern doesn't work very well, which is he can carry a grudge forever.
14:32
S0
Now it's not a problem for him to carry a grudge forever because so what? I'm just carrying a grudge forever.
14:40
S0
Now it does store in muscles in his body and stuff like that, but I mean, who the heck care? So
14:51
S0
what do you do?
14:57
S0
Self, selfless, switch simultaneous.
15:00
S2
It seems like I'm lately going between self, selfless, and switch. It's in a different in a different situation.
15:11
S0
K. What's she doing right here?
15:14
S2
Switch. Switch. So Self.
15:26
S2
Self.
15:32
S0
Good answer.
15:37
S0
When you get the confusion, go deeper
15:44
S0
because that confusion is on a fairly superficial level. Now again, watch out because watch out how it's hitting yours. And remember that this one does interact with the internal external. She's tricking you on internal external. We got that. Did you think she wouldn't trick you on this one?
16:03
S1
I forgot again.
16:07
S0
She gonna trick you on this one too.
16:15
S0
Margaret says self,
16:19
S0
as you learn your own patterns, you're gonna be able to factor your patterns out so you just see theirs.
16:28
S0
That's good fun. Ever wish you could disappear?
16:36
S0
And and then you could, like, watch people without them knowing you're watching or go anywhere you wanted or do whatever you wanted anytime, anywhere? That's what factoring yourself out allows you to do is to disappear. They won't even see you.
16:52
S0
Can be walking through the grocery store, factor your patterns out, and nobody I mean, they'll they'll stand at the checkout waiting for somebody to come, and you're right there.
17:04
S0
They can't see you. It's the interaction of these that produces the perturbation that has them sense.
17:17
S0
What does she do, ladies and gentlemen? Let's get a consensus here.
17:22
S2
Must be sound cleaners.
17:26
S0
That's what I get. Don't you get? I get self,
17:37
S0
and she used to run a bunch of other on the surface of that. I think she's moved down a layer to where it's there's the self running. Does she care what our opinion is about this?
17:51
S2
No. I guess not.
17:53
S0
I could, she says.
17:58
S0
Self, internal
18:00
S1
We're really not here. That's the two buffers that were not here.
18:03
S0
It's taken care of.
18:08
S0
So that may be a ring that's harder to leave
18:16
S0
because those two aren't gonna bounce you out of it. And yet she still may be ready to leave, that one.
18:29
S0
But it is the exclusion of almost everything.
18:37
S0
Next.
18:54
S2
What
18:57
S0
was it? It sounded like It's all simultaneous. It's here I am, here you are, here I am, here you are. Absolutely not self because she's got her attention way hanging out here.
19:12
S0
Appears to me to still be simultaneous. You care what they say? Yeah. See it?
19:17
S2
I see it. It. I love to like
19:19
S0
But yet
19:20
S2
Come over here and make a run.
19:21
S0
But see, those of you who run other intensely need to learn to do this.
19:29
S0
Keep the reference in here and have the reference out here. So you've just added another reference to it.
19:38
S0
I I think you think there's something wrong with that.
19:40
S2
I do. I I guess I I'm not.
19:42
S0
Well, that would provide you hours of entertainment. To think that what you're doing is wrong. Hey. Not only can I not help doing this,
19:56
S0
but it's wrong?
20:03
S0
What was the what's in big man on campus? The line, the guy likes depression because it it's an inexpensive way of showing yourself a bad time.
20:16
S0
Is that about fit for it? There's nothing wrong with simultaneous. As a matter of fact, if I were you, I'd use that rascal. In your occupation, that should be a tremendous asset. Because they're gonna all get suckered into whatever you wanna propose.
20:35
S0
But you got I
20:36
S2
got scared after the last IC course because you said that people that run simultaneous will lose it all.
20:42
S0
Oh, yeah. But that's just a little thing.
20:48
S0
I would not sweat the details if I were you. I would sweat the details.
20:56
S0
It doesn't mean that you're gonna ride the roller coaster all the way down.
21:01
S2
Well, I think it's more fun than life.
21:03
S0
It
21:06
S0
depends upon your definition of fun, I believe.
21:13
S0
And I'm not sure you're riding it. I think you might be it.
21:20
S3
Okay?
21:23
S0
It doesn't matter. And the moment you resist it, it absolutely guarantees that it will keep running. And if you observe it instead and observe it and observe it and observe it, it will not be long before you add alternatives to it. And today, and I don't think we did much of that in your IC if any, you're gonna get to practice doing the different ones which will set up some alternatives in there. Okay?
21:58
S1
So how does being switch and external
22:03
S1
you you referenced earlier talking to me about the like that kind of
22:07
S0
Okay. How does switch an external work together? Try it on. Remember, this is called chinking it down. Switch meaning, I know and you will catch on that this is the right answer.
22:22
S1
Won't you?
22:23
S0
And there's only you. Yeah. I know and you'll catch on, won't you?
22:30
S1
So that makes it a softer switch.
22:32
S0
So the yes. And the question you wanna ask in the process there is how long do you have to be detached?
22:42
S2
That's the external part.
22:44
S0
In other word, yes. Well, no. The two That's that's the movement between the two. You have to move between the two because in switch, there's no room for external. So you have to move between the two. The question with any of these VIPs is how many shifts of attention do they demand by their very existence? And we've now got two
23:14
S0
and one shift of attention required. You follow? With Terry, we've got two and no shifts of attention required. So that's more economical.
23:29
S1
Okay. Yeah.
23:30
S0
Now more economical doesn't necessarily mean better. It might be mean, it makes it more difficult to break up because there's not an open space between the two.
23:42
S1
But being you see, there's so tell me the difference. Being not not attached to something. The way you describe those two patterns in conjunction sounds similar to not being attached. But not being attached
24:01
S1
isn't that
24:02
S0
You're you're missing something very important here again, and I'm gonna say it again.
24:06
S2
Okay.
24:08
S0
If you're forced to not be attached,
24:15
S0
it doesn't count.
24:16
S1
I'm doing this for everybody else's benefit.
24:19
S0
Once again.
24:23
S2
That that'll be the last
24:24
S0
Did you notice that that term is a little peculiar? Once again.
24:30
S0
Twice Twice again. Three times again.
24:38
S0
If you're forced to not be attached, you're removed.
24:47
S0
Are She's gonna do it again.
24:49
S1
I wanna ask you. One more time. So you're
24:51
S2
suggesting that I become
24:52
S0
Do love her active
24:53
S2
or what?
24:53
S1
Becoming really attached to something? Become attached to things.
24:57
S0
Absolutely. If you're removed.
25:01
S0
If you're forced into non attachment, you need
25:04
S2
attached
25:04
S0
to it? Yes.
25:08
S2
Who else? Not such a deep switch anymore.
25:21
S0
Compared to what? I I I think she's playing your reactions. You
25:30
S0
didn't pick that reaction,
25:34
S0
And I think you're misreading.
25:39
S0
She said what she just said and you had to react.
25:47
S0
Was that reaction a contribution there?
25:51
S0
Or was it one more reinforcement of reaction in the universe?
25:59
S0
That wasn't funny. It did contain data. And if you took your first reaction which a number of you did, you missed it.
26:11
S0
In any of this stuff, you do not get judged by where you are. You do not get judged by the programs you run. You get judged by the programs you run relation to the ones that you ran yesterday, last week, last month, last year. Progress is a relative thing and it's only relative to you.
26:40
S0
It's relative to you a year ago. It's not relative to you to somebody else that's mixing apples and oranges. That doesn't work.
26:51
S0
Relative to what Peggy used to run, I don't know that many people who have made that much progress.
27:03
S0
And if you run your reaction to it, you miss that. She
27:10
S0
could still be switching you and switching you so much less.
27:17
S0
When I look at Peggy when she did the IC course and I look at Peggy now, there's an argument for that this is not the same species.
27:29
S0
Yes?
27:32
S0
And it moves me to tears.
27:33
S2
Are you a troublemaker on the tape? So
27:39
S0
watch out for your own reactions. She's got you nailed
27:45
S0
because she can just say a few words and you have to react.
27:50
S2
So I am running as deep a switch?
27:52
S0
I don't think so.
27:53
S2
I
27:53
S0
I don't think anywhere near as deep a switch. As a matter of fact, I wouldn't be surprised if over and over and over again, you're crossing over in the simultaneous.
28:06
S0
As problematic as that may be for you physically,
28:12
S0
Do watch the physical go on with it just then?
28:18
S1
I thought she got some air in there, though.
28:21
S0
She did.
28:23
S0
I mean, physically, like she might have a body. It
28:32
S0
So if I were you, I'd start thinking simultaneously.
28:35
S2
Okay. Because I have thought it was selfless.
28:40
S0
Is that okay with you? Yeah.
28:44
S0
Did you just watch her do it several times here? Run the simultaneous? That was that.
28:58
S2
Softless with a big switch on me.
29:01
S0
Big switch.
29:07
S0
That is welcome to come out anytime it wants. And it is not a blatant switch.
29:15
S0
It it is a covert sneaky nasty switch. And that doesn't mean that's all the way down. That's just something that she has to observe sufficiently to get underneath that one.
29:34
S0
But if she keeps on going out to selfless,
29:39
S0
she won't observe the switch often enough to move through it. You don't change these necessarily, although we're gonna play exercises of playing around changing them. But you notice it, and you notice it, and you notice it. And what's under the switch? Now there's a question.
30:04
S0
She won't know yet
30:08
S0
because the switch has not revealed itself sufficiently.
30:13
S0
The switch not only needs to reveal itself but it needs to get less covert.
30:21
S0
And that's why the day was fairly liberating for a month or two ago when we gave her a bad day.
30:31
S0
Remember the bad day? What did bad stand for?
30:36
S2
Blatant advice day.
30:38
S0
Blatant advice day. I assigned her a bad day. She was to give blatant advice to every human being she met. That was to bring the switch out front.
30:55
S0
And she switched them, didn't you? And it gave her more energy. Look at it. Because that's the further you go in, the more energy you get and the less constricted it is. So she moves in and there it is.
31:15
S0
So switch has to express itself tremendously and then it needs to get down on its knees and beg for forgiveness.
31:25
S0
That's the way through that one.
31:30
S0
But not necessarily right close together. It may have to
31:35
S0
beat up a lot of things first. Who would you ask and forgive us for?
31:41
S0
The last person in the world who you want to. The absolutely last one.
31:48
S2
Me.
31:50
S0
I don't think you're quite that high on the list, but I think you're working toward it. Today,
31:59
S0
I think you got it. The absolute last person. This starts to make sense, Doesn't it? Mhmm. This comes back to my line
32:11
S0
that the aliens are all over out there and they're gonna come down and land and spend some time with us. They're just hovering out there, by the way. They're gonna come spend some time with us when you love the person on the planet who you could never love.
32:28
S0
Because once we've resolved it with ourselves, then we'll be ready for somebody truly peculiar to come and join us so we can learn how to resolve it with them.
32:40
S0
Okay. So explore the switch.
32:52
S0
Yeah. Some famous.
32:59
S0
He sent that up to the flagpole to find out if anyone would salute.
33:06
S0
Anybody
33:12
S0
get the simultaneous?
33:15
S0
That's one of those in your dreams things.
33:20
S0
Simultaneous sounds pretty good though, doesn't it?
33:24
S0
I mean, what else would a nice guy be?
33:28
S2
In prison.
33:35
S0
And we reserve the prisons for the innocent ones.
33:40
S0
You get self or not?
33:43
S1
I know that he used to
33:44
S2
be real selfish. Mean, used to be selfish.
33:53
S2
I could switch all the time with
33:56
S0
It it's possible that it's your own program in the way
34:02
S0
given what I just heard from you.
34:10
S0
And now I'm not pulling many exceptions here. I'm pulling a little exception here, just a tiny one because I perceive that he's in transit
34:20
S0
between two rings. What's he in transit from and what's he in transit to, Karen?
34:32
S2
From himself. Self to other is
34:36
S1
what I
34:36
S2
Yep.
34:37
S0
It's self to other.
34:42
S0
And that being in transit between self to other can look like simultaneous. You get how that could be the case?
34:53
S0
He's going from self to other and he's a bit pissed off about it. And
35:01
S0
the other is where you look stupid. So you've gotta look stupid because underneath the other, don't worry, there's something completely different than either of those lurking, I promise.
35:20
S0
So any resistance to looking stupid is being in your own way. I'm not saying yeah. I am.
35:31
S0
I was gonna say I'm not saying
35:34
S0
don't try to look stupid because I am saying try to look stupid. But you have to discover that you're not stupid
35:43
S0
by not trying to prove that you're not stupid. Because trying to prove that you're not stupid is a very stupid thing to do and only stupid people do it.
35:56
S0
So I see you in migration between self which you used to run and other. And then there's another, don't worry, migration after that. Do you know what the one after that is?
36:10
S2
The left hand.
36:12
S0
No. It's the big s.
36:15
S0
The big s is what he's been playing with. That's what got you all last night.
36:19
S2
Small
36:22
S0
s is there's only me. Big s is it's all here and it's all me. That's s is salvation, s is savior. That's what I think is underneath it. And it would look like switch a little bit given where he is and what's going on, but I think it's the big ass. And then Jeff's gonna go, hi.
36:52
S0
And he currently is using you guys to bring that part of him out. That's what he did while he was talking to you last night.
37:02
S0
And if you noticed that he included you, that's that. He didn't include you as other people. He included you as himself.
37:11
S0
But attempts to get to a big ass
37:16
S0
with a lot of insecurity in there gets results in switch.
37:25
S0
And what he's been doing for the last few weeks is confronting insecurity massively, which will lead him through other to a a big s.
37:38
S0
I I thought you already went. Go ahead.
37:41
S2
I wanted to ask the question. I know. When you talk
37:44
S0
about moving from a ring,
37:45
S2
are you talking about that meta program moving from one ring to another, or will that influence other meta programs so that they'll kind of
37:52
S0
There's a set on a ring and there's a different set on a different ring. Some may change, some may not change. But there is that set and that set is set because that's the grouping that defines that ring for you. And so if you move
38:16
S2
if you just change one metaprogram and no others, you're still moving in a ring. You're just dragging down some some of the same meta programs with you.
38:25
S0
No. Okay. If you move from one ring to the other, you get whatever grouping is at that other ring.
38:35
S0
But now if you just what I'm saying is he's gonna get a whole different set of meta programs. Not all different necessarily, but he's gonna get the set that's there. When you move rings, you get the set that's on that ring. You don't bring stuff from that other ring there.
38:53
S2
But they might be the same. I mean, they might
38:55
S0
Some of them may be the same.
38:56
S2
Okay. As you move from rings, are you also changing the size of rocks? Because that's what I feel like is going on
39:02
S0
with this is that
39:02
S2
the rock is getting smaller.
39:04
S0
Well, you're changing streams.
39:08
S2
Different set of rocks.
39:09
S0
Okay. A different set of rocks.
39:14
S2
So does that mean if you change if if I change from, say, simultaneous to self or something, then I go in in another ring, and then all the meta programs have a possibility of changing, like, just
39:27
S0
I'm saying you cannot
39:32
S0
change it without changing all of
39:34
S2
it. Okay.
39:37
S0
Now you can work on it and practice changing it and practice changing it and still underneath will crawl out the automatic one that you do and you'll be operating on top of that.
39:52
S0
And if you continue to practice and play around practicing with different ones, at some point, there you go. Okay?
40:02
S0
So it's a unit movement and yet it's playing around with the individual pieces that then allows the unit movement. And the unit movement is sufficiently extreme that it made you wanna go on with life in spite of the fact that you had made it horrendous.
40:24
S0
And that laid out a trail for you that you don't wanna go back over and that's exactly what you must do. Not surprisingly.
40:35
S0
It's like a yo yo. You throw it down and you think, well, it's gone. Woah.
40:44
S0
Until you switch units.
40:49
S0
And given a a tremendously immature culture, people don't switch layers very often. They'd rather keep it in place, and they get married to keep it in place. And they keep the same job to keep it in place. And they do all of this stuff to keep it in place. And they don't even know that's how come they're doing it, but that's the game.
41:15
S2
I do other, and I think I run Switch also.
41:20
S0
Yep.
41:22
S0
Pat and Margaret are friends.
41:29
S0
Other, other, other, other and switch underneath it. But I think there are two layers with other on it.
41:40
S0
And I think that one of the
41:44
S0
large differences between these two come on up, Margaret and Pat,
41:49
S0
And watch. This will just demonstrate it, I think, fairly rapidly. And stand next to each other.
42:06
S0
Notice any difference between the two in what you get from them?
42:17
S0
The difference you can readily observe is the difference between the internal and external. Which one's internal?
42:29
S0
The other way around even though it's small. So what's happened is that Margaret is doing you a great service.
42:40
S0
You don't ever have to beat Margaret
42:44
S0
because you will never beat her harder than she's beating herself. Pat is beating you.
42:53
S0
You get it? Mhmm.
42:58
S0
You would. Pat is beating you. That's the external with that switch right underneath the surface. And Margaret is beating herself. That's the internal.
43:15
S0
See it? Where does your attention go looking at these two?
43:20
S0
Margaret. Goes right to Margaret because you aren't gonna get hit there.
43:26
S0
Now it's no fun to watch her hit herself. Well, it kind of is fun to watch her hit herself. Ain't it?
43:35
S0
Do you get it? Pat's hitting you and you go, I don't wanna get hit. Well, let's find somebody who hits herself. Okay. There she is. She's doing it.
43:49
S0
This is one of the things to watch for if you're gonna watch a movie, don't just watch a movie. Watch a movie. If the camera's on two people, where does your attention go? Which of the two?
44:06
S0
Where does your attention go here? How much effort does it take for you to put your attention on Pat
44:16
S0
when these two are there and you could look at either one?
44:21
S0
A lot. Doesn't it? So the question is how hard do you want your life to be? You you got do I have to?
44:35
S0
So we've flipped on the TV yesterday and being deprived of TV, living that kind of horrible life, it's kinda unique to put it on. And here were some actors being interviewed about some movie that they've just come out with and it was
44:53
S0
Matt Damon. I mean, lightweights, Tom Hanks,
45:00
S0
Tom Sizemore, and I forget who the other one was.
45:05
S2
Edgar. Edgar.
45:06
S0
Probably. Edgar. Okay. Who's the heavyweight of the crew?
45:12
S2
Tom
45:12
S0
Hanks.
45:15
S0
Not. Tom Hanks is sitting there running simultaneous and ain't nobody buying it. Damon. Matt Damon. Matt Damon is sitting there running self and that's it. So
45:32
S0
where's your attention gonna go? If you're culturally based, your attention has to go to Tom Hanks because you know he's a different creature than than the others as far as what he's produced and all of this stuff.
45:46
S2
Yeah.
45:46
S0
More famous. And you've seen him in a lot and you've seen him grow,
45:53
S0
allegedly.
45:56
S0
No wanna know where attention went?
46:00
S0
Tom Sizemore. That was it. All of it. Right there. The other ones didn't even appear on the screen. He just disappeared them.
46:09
S1
I I noticed he was so lit lit up. He was
46:12
S0
He abs well, he always is. He absolutely disappeared them. They didn't appear on the screen.
46:19
S0
We're talking about the dynamics of the pattern here. It's not by disturbance that he did that because not only did you look at him but you wanted to and when you did you were more you than before. And every role I've ever seen him in is this way. And it's just
46:41
S0
he was thinking in public. He's sitting there waiting, and he's gonna deal with what goes on. These other ones are already prepared. Matt Damon is totally scripted. Everything he's gonna say is entirely predictable. You could write it down before he ever says it. Watch them and figure out what they're doing. Robert De Niro originally was a fairly interesting actor until I realized he runs the same patterns no matter which character he is. And then you go, okay. It's him again.
47:18
S0
Dustin Hoffman does not run the same patterns. Rust Dustin Hoffman takes on completely different patterns depending on who he's playing. That sends goosebumps up and down.
47:30
S2
Tom Cruise always seems like the same person.
47:33
S0
Always the same person. Costner, the same thing. Christian Slater, not the same thing at all.
47:46
S0
He takes on the different patterns.
47:50
S0
And who gets the screen is the one who you don't know what in the world they're gonna do next. That's who gets the who pulls you.
48:02
S0
Who else? What do you do? Get that mic to
48:07
S2
okay. Simultaneous. I'm trying to be less tolerant of others and make more of me.
48:18
S0
Woah. That's that's something to shoot for.
48:32
S0
Gosh. I I seldom know.
48:44
S0
Is that accurate? What is he running?
48:49
S2
That was simultaneous.
48:51
S0
I think it's simultaneous. I think it's big time simultaneous and he's trying to change it over to switch.
48:59
S2
Probably go for sale.
49:00
S0
Okay.
49:02
S2
I'm trying this. I'm getting more.
49:05
S0
So don't forget that it's about practicing all of them. Because if you practice all of them and become fluent enough in all of them,
49:17
S0
then you'll find out what level's next. If you decide what level should be next,
49:25
S0
then you're resisting which is forcing which is problematic again.
49:31
S2
That's about to a problem child.
49:33
S0
No.
49:37
S0
Okay?
49:40
S0
Alright. Next.
49:47
S2
I think I do self, and I don't know what the next level is. I just have to wait and see. K.
49:57
S0
What did she do? Now
50:01
S0
watch out because you're getting into problematic terrain here.
50:07
S0
That's the throw off. I think what you have here is self and external. Try that one on.
50:19
S2
Reduce anxiety.
50:22
S0
On a good day.
50:23
S2
Pretty sure. Anxiety. On
50:26
S0
a very good day, it would only produce anxiety. But see, it's you don't live anywhere because the only reference you really have is out here and you won't you're the only one who exists. In this case, it produced response after response after response because she's trying to bridge the gap between the two. So she's trying to meet it part way as quickly as she can and cover up that. So this constantly, every single time this gets referenced and that's the longest eighteen seconds and typically sooner than that, she has to have a shift of attention. So she's thrown off more than she's thrown on. Remember what we did where you're focused on the space between the words? She's forced into focusing on the space in between the words. So she's constantly grabbing at any firm ground she can find or anything that seems like firm ground. That's what those programs force you into. And it doesn't mean for long.
51:32
S0
Now it doesn't mean for long. It meant a life sentence prior to you coming and playing here most likely. And now we'll find out.
51:47
S0
That's what self and other I mean, self and external does.
51:54
S0
Wham. Wham. Wham. Wham. It's a very difficult thing. It's it's impossible to mediate because the two can't there's no overlap between the two. By definition, there can't be any overlap between the two.
52:14
S2
Your other and some self.
52:20
S0
Where's the self? Did you say it yet?
52:23
S2
I didn't say it. I thought it was over here when you said
52:26
S0
it. K.
52:29
S0
It's like
52:32
S0
he and Zoe are mirror images
52:39
S0
internal and other. I've run into almost no internal others that I know of in my life, but it that may be because one can't find them.
52:51
S2
That's a
52:54
S0
distinct possibility.
52:56
S2
It's not so obvious on Margaret because our internal
52:58
S1
is like
52:59
S2
this and his
52:59
S4
internal is like
53:00
S0
His internal is huge. If you wanna learn a big internal, he's a great guy to learn an internal from with the other. Because Steve's there, except that all he really cares about is over there.
53:20
S0
So it's the mirror image of self and external. And if you look stand up
53:27
S2
here. Together.
53:33
S0
Where does your attention go?
53:36
S2
Back and forth.
53:37
S0
It has to.
53:47
S0
Doesn't have to? Because you can't I mean, how could you go to one or the other? They're equally fucked up.
54:00
S0
I mean, beautiful. That's what I meant. They're equally beautiful. So here's should people like Here's a test for you and this is the kind of thing you miss and you really gotta learn about people. Here's the one the only question you need to ask about these two.
54:19
S0
There's only one question that you need to ask about these two. Just one question and it'll answer the whole thing for you and it will teach you a whole lot about these patterns. Look at them. This is the only question you need. How old are they?
54:46
S0
Not that old quite. It's a little girl and a little boy. And you all are sitting here and Karen's sitting against the wall like this going.
55:01
S0
And you all regressed age wise just having the little girl and the little boy go in front of the room. You get it? Mhmm. And you probably didn't even notice that you regressed but now that I pointed out, you go, obviously. It's a little baby boy and a little baby girl. Five maybe,
55:25
S0
Maybe six. It gets a lot more complicated by the time they get to nine or 10. More complicated than this.
55:33
S2
Look at
55:34
S0
All the way in the last couple of years. But you see him? You
55:46
S0
should never again in your lifetime get bored as long as you or anybody else is around. Is this a little girl and a little boy?
55:57
S0
Well, check out. Isn't that the kind of thing you're running at four or five years of age?
56:07
S0
Here I am except God's out here,
56:11
S0
self and external.
56:17
S0
Wouldn't it? You play around with that at this age, they arrested their development back then and here it is
56:30
S0
right there in front of you. And the only way that Zoe can mature or Steve can look older is by having problems. Watch because she just started worrying.
56:43
S1
Mhmm.
56:44
S0
And did you see her age when she worried?
56:47
S2
10 years.
56:47
S0
Yes. As soon as she started worrying, she aged.
56:51
S2
I don't wanna mature.
56:52
S0
That's not really the way to mature.
56:56
S0
Not that that isn't the way most people mature. How about moving through the patterns instead?
57:05
S0
Now see, he doesn't do it by worry because he goes internal.
57:14
S0
He goes, I'm just here and here's the playground and here we are. I'm not gonna play more than I should. K.
57:27
S0
So
57:31
S0
internal and other produces a fairly flat line existence.
57:39
S0
An external and self produces the wildness And there are some other programs in here that are influencing it. But you get the point. There's the demonstration of that little.
57:53
S0
Who else?
57:56
S2
I have Switch, a little bit of simultaneous.
58:06
S0
Boy, that sure seemed like selfless, didn't it?
58:14
S0
What do you like best about your girlfriend?
58:20
S2
Best thing I about my girlfriend. Best thing I like about my girlfriend?
58:32
S0
You see I'm asking for him to go inside and get something from in there. Uh-oh. Where is it? Where is it? It's not in there. I like the way she looks to others.
58:50
S0
Was that in there, or did I misread that? That's good. I
58:59
S0
thought I heard that in there.
59:02
S2
And that
59:06
S2
yeah. It's sad. So
59:11
S0
you also can very easily start predicting people's thoughts because you're hearing them or seeing them as long as you get your own programs out of the way.
59:25
S0
So I perceive it as other and and lots or selfless, lots of selfless.
59:34
S0
Only you
59:39
S0
can make my dreams disappear.
59:44
S0
Or here's another song we sing for that. Ready? Getting to know you, forgetting all about me.
59:57
S0
Getting to know you, forgetting I exist.
1:00:05
S0
Like that.
1:00:12
S0
Now watch. Look at him. You see what's going on?
1:00:20
S0
Tremendously upset and he doesn't know to what degree because he's still monitoring out here. So one of the things you miss is the data from your upsets.
1:00:33
S0
You gotta be able to be flexible in these things. You gotta be able to dance around in these things. Otherwise, you'll get stuck in an upset
1:00:44
S0
or not learn everything you can from an upset. If you don't learn everything that you can from something, guess what happens? You repeat it. And then if you don't learn everything that you can from the next time, you repeat it again. And if you decide that it's happened too often and you don't like it or it's too boring, then you don't learn that time and it repeats again.
1:01:13
S0
You need to go in there and explore the upset. And you've taken on a lot because you're the boss and running selfless.
1:01:24
S0
So it's time for some flexibility in these and it'll make it an awful lot more fun. You get it? So practice like a wild man when you get in your groups to practice this one. K?
1:01:39
S0
Who else?
1:01:45
S0
And yet you've got other and external
1:01:50
S0
or selfless and external
1:01:54
S0
that fits in the same location.
1:02:00
S0
We'll buy the house. We just won't live in it.
1:02:06
S4
I've been playing with these a lot, and yet I'm not sure where I flip and land or where I am at the moment.
1:02:16
S4
It's like I I'll see myself doing selfless
1:02:23
S4
if I can you know, if you can do that. And
1:02:34
S4
and then I'll notice the switch. Sometimes the switch is a lot more apparent to me than the other. And I noticed the other
1:02:44
S0
So she's gotten to the point and she's been practicing these a lot for over a year now. Yeah. This I think is the main one that you two practice. Is that accurate? The
1:02:58
S4
main one that shows up a lot.
1:02:59
S0
And I've really practiced it a lot. And my suspicion is that what you're doing here is you're dominating this one with the internal external. So I think you need to practice the mathematically possible permutations and connections between the two rather than just doing this one. Because right now as you're talking, you're making it virtually impossible for us to tell which one you're doing because it's all sheathed and internal.
1:03:32
S0
So we can't get through the internal to find out which one's going on there.
1:03:36
S2
Is that why it gets self?
1:03:38
S0
Probably. I
1:03:41
S0
do. I get self, and I think it's because it's
1:03:44
S4
maybe doing self. Maybe. Uh-huh.
1:03:47
S0
You're not. Okay. I mean, you may be doing some of that, but It's more. It's covered with the internal.
1:03:53
S4
So are these just not as big, or
1:03:58
S2
or are these
1:03:59
S0
I don't get that they're smaller. I just get that they're being dominated currently by another one. Like, one rock is behind a big and they may be even the same size, but it's still right behind it. Backed up against it.
1:04:15
S4
So play with these, but with the internal, external along with it?
1:04:21
S0
Yes. Well, you showed your complete inability to do external. Yeah. So develop the ability to do external. So don't even play with it. With it, just learn to do external.
1:04:33
S4
External and something will happen with this.
1:04:35
S0
Yes. I promise.
1:04:40
S2
I think I've also been playing with these.
1:04:43
S0
You know it, don't you?
1:04:44
S2
Yeah. It's it's funny when we're both doing switch.
1:04:47
S0
When Joe came to his first IC course, it was all other. Wasn't it? Mhmm. Or selfless. Just total selfless.
1:05:00
S0
Incredible. I mean, like, the the picture in the dictionary of selfless. Boy, we've gone through some places from there, haven't you?
1:05:10
S2
Six months later, it was well, it was the first VIP course. That was all self.
1:05:16
S0
All self. And now he can switch with the best of them.
1:05:22
S0
Look out. High volume switch.
1:05:26
S4
Lot switch.
1:05:27
S0
Lot of switch.
1:05:30
S2
And some simultaneous.
1:05:32
S0
Yep. The least. I I don't ever see you switch my kids.
1:05:39
S0
No. I do occasionally, but not often.
1:05:43
S0
See, one of the neat things is the kids will bring these out even if they'll usually bring out the layer underneath. And then you go, god, I hate that kid.
1:05:57
S2
Learned too much from your kids.
1:05:58
S0
Yeah. You should hear Joe working up there doing plumbing or whatever working with Judson.
1:06:05
S2
Best helper I've ever got.
1:06:06
S0
It's a treat. Yeah. It is well, and vice versa.
1:06:10
S2
Six years old. Just turned six.
1:06:12
S0
Yeah. And you guys are incredible together, but he gets it too. I mean, he just brings out what he needs. They're pondering whether they have kids or not. Probably not.
1:06:27
S0
I mean, growing up and learning all that stuff about oneself.
1:06:34
S0
Why would you want that?
1:06:38
S0
Yeah. Along with a couple other things too.
1:06:44
S0
So this is the result of a lot of practice in it. And when I say a lot, I mean a lot of practice because this almost never changed for people.
1:06:58
S0
Yes. Well,
1:07:00
S2
I'm simultaneous on the surface, obviously. And something else is coming through, and I'm not sure if it's self or switch.
1:07:09
S0
What is it? Switch.
1:07:13
S2
Selfish. Yeah.
1:07:18
S2
I never would have thought.
1:07:22
S2
But it probably crossed your mind. No. It didn't actually.
1:07:26
S0
You get it?
1:07:27
S2
Didn't you?
1:07:28
S0
Yeah. It's selfless.
1:07:33
S0
And that's the good one.
1:07:41
S2
That's coming through. You
1:07:45
S0
get it just like having a moon and something. Okay.
1:07:52
S0
It's what what this is like is it's like astrology with people. That's what this is. We use people instead of planets. So we just bring them a little closer to home.
1:08:24
S0
Don't leave it.
1:08:31
S2
That makes it really serious. It makes it
1:08:33
S3
tough for
1:08:34
S2
me to
1:08:34
S0
play. Good.
1:08:45
S0
Do you guys get what you just got a demonstration of? What?
1:08:54
S1
You were able to make her laugh.
1:08:56
S0
I just had her in an instant, I had her motivated to leave what she just had said she didn't wanna leave for anything. And if I tried to get her to leave it, she would resist the dickens out of it and wouldn't want any part of it. And I said, there's a game out here. And she said, I know.
1:09:21
S0
I don't want you to lose it. I want you to keep it. I want a lot of other people to learn this, and I want you to add alternatives so that at any point in time, you can do any of them. That's it. Please don't lose it.
1:09:39
S0
At some point,
1:09:42
S0
and this is about tier three if I'm not mistaken, you pick which layer you wanna go to.
1:09:54
S0
There are eight tiers and about by the time you get down to three,
1:09:59
S0
you can go to whichever level you want. You can play self and internal. You can just go between them. Any any patterns you've had, you can have those anytime you want.
1:10:15
S2
In this moment, I don't want anything.
1:10:18
S0
Yeah. I understand. That makes sense because why have any of them back that you don't have right now?
1:10:28
S0
And in some other moment I mean, wouldn't that be terrible if you wanted just exactly what you had? Yeah.
1:10:41
S0
You'd just stay in the same spot. No. You wouldn't. You'd have a specific destination to leave from.
1:10:51
S2
And home to go to.
1:10:52
S0
Yeah. How many homes do you want?
1:11:00
S0
How big do you want it to be? Okay.
1:11:05
S0
I give you that.
1:11:09
S0
Not that you needed it from me.
1:11:14
S0
Is anybody else getting hungry, or is that just Mhmm.
1:11:21
S0
20.
1:11:25
S2
Okay. Question? Yeah. When Steve and Zoe were standing at the front of the room, we said they were about five or six. Mhmm.
1:11:33
S0
Four or five, five or six?
1:11:35
S2
Yeah. And you made the statement. At that age, they arrested their development. Mhmm. The word you used. How how does that work exactly? A four year old arresting their own development? Everything
1:11:51
S0
out here becomes sufficiently problematic that one would rather go on whatever hiding place one has found.
1:12:01
S0
So they stay there.
1:12:02
S2
So by that time They
1:12:03
S0
say, I'm I'm gonna maintain this little world that I built in here so that I can always go back there.
1:12:12
S0
And it works
1:12:15
S0
I I mean, it's done regularly. We live in a culture where almost no one ever attains the age of 13. As far as I can tell, anything older than 13 is a completely different human being,
1:12:30
S0
and almost nobody gets there.
1:12:35
S0
And that's it it here's my story due to the quantity of abuse that goes on and misunderstanding being abused and all this.
1:12:47
S2
If they're aggressive, their development, four or five, does that mean they don't have very many rings underneath them? That they're not at very many rings?
1:12:54
S0
Yes.
1:12:54
S2
And does progress for them mean just turning around and going back in or do they go out a whole
1:12:59
S0
Chances are very good they go out.
1:13:02
S0
These two have to really
1:13:07
S0
grow and master the world out there. You until you get way out, it's not time to turn around and go in. Most people have further to go out, but that doesn't mean we can't play around with them going in and out and in and out and in and out. That's why you need all the programs so that you can go out when it's time to go out and go in when it's time to go in.
1:13:35
S0
You've kept it as small as you could and still you could live there. And I'm suggesting that you make it smaller and bigger both.
1:13:46
S0
Something about the inhale and the exhale. It's they they work together so well.
1:13:53
S0
And either one without the other one for any extended period of time just really presents problems.
1:14:01
S0
I think I'm just gonna practice my exhale today.
1:14:17
S0
And then pretty soon there are no patterns left.
1:14:20
S2
So that's one way
1:14:21
S0
to do it.
1:14:23
S0
Sometimes that's the easiest way.
1:14:26
S2
Some days it seems like.
1:14:27
S0
It does. Especially in Houston when the wind's coming from the wrong way and the dust is coming in and the
1:14:35
S0
that was last time I was here. They were saying nobody's allowed on the playgrounds. Nobody's
1:14:42
S0
a hefty.
1:14:46
S0
So over lunch,
1:14:49
S0
I want you to play with varying these four. I want you to do selfless and do self. I want you to do simultaneous and switch. Stick with one long enough until two or three people have identified that that's what you're doing and then go to a different one.
1:15:10
S0
Check home occasionally doing the one that you usually do. Find out what the other people are doing
1:15:19
S0
and just play with these till you can do them. By the time you get back from the end of lunch, I wanna be able to pick any person in the room and you come up front and you do
1:15:30
S0
one of these and everybody knows which one you're doing because you're really doing it. Okay?