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Illusion Conclusion
Jerry Stocking
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Illusion Conclusion — Core (16 Tapes)
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Tape 3 – Side B
Tape 3 – Side B
IC_T03B
44:20
47 nuggets
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Transcript
269 utterances · click to jump
00:04
S0
Try swearing just in your own head and never out loud. How's that work? Can you swear in there?
00:11
S1
Am I directing it towards somebody?
00:13
S0
No. I don't care.
00:14
S1
Well, I'm directing it towards somebody.
00:19
S0
I don't care where you're directing it as long as it stays in there.
00:22
S1
Okay. Why am I was I swearing at him by
00:25
S0
the story now?
00:27
S1
No. I want an an answer to my question.
00:29
S0
Well, then you'd have to put the mic there.
00:31
S1
Was I swearing at him?
00:33
S0
Is there something in your attitude that's a perpetual swear? Yes.
00:37
S1
Really?
00:47
S0
Let me think.
00:51
S0
Yes. Really?
00:52
S1
What's your opinion?
00:56
S0
That's another one. I'm not picking on you.
01:00
S1
I don't I don't feel picked on. Okay.
01:03
S0
It is my opinion, but there's another problem there. I'm right. Try on I'm right always for one week. I dare you.
01:14
S1
That Jerry Stalking is right always. Okay.
01:17
S0
For a week.
01:17
S1
I'll do
01:18
S0
it. And then do anything you want with it. That's what I'm saying.
01:21
S1
I am swearing.
01:22
S0
In a baby.
01:31
S0
For a week. See, because you say that's my opinion. That's your way of saying I'm wrong. Do you understand that?
01:42
S1
Yes.
01:42
S0
And you get to be right once again. The only thing is you don't like to be right. You like to fight for being right, but you don't like to be right because once you're right, you you got nothing more than you. Right. You don't end up with anything more than you. And you're the only reason you try to be right is to end up with something more, and it never turns out. It doesn't. You know why I want you to make me right for a week other than that you'll get your money's worth?
02:13
S1
Yes. Well, obviously, for my benefit.
02:16
S0
Yeah. I forgot. I had one other one, but I don't remember what it was. It was awfully important too.
02:24
S0
There's something humorous about having somebody who's this forgetful be right all the time, isn't there?
02:33
S0
Oh, you're so good at remembering things, are you? No.
02:40
S0
You heard their response. Right? They heard you're swearing when you weren't swearing. I'm telling you they did. Okay. So it's substantiated in them. One of the major things you get to do here is you get to use this the rest of this group as a shit detector for yourself because they saw it.
03:02
S1
They saw it with my question as why he it's important to him, why you don't wear his shoes. Yes. Did anybody see that?
03:11
S0
Look around.
03:13
S1
I think they're just agreeing with you. I don't think
03:17
S0
I want you to think whatever has you grow the least.
03:24
S1
Think whatever
03:25
S0
I may as well go in the direction we're going. Why go against it? Right. Honey,
03:34
S0
what if we're all right?
03:37
S0
What if she's right? And what if she's right? What if we're all right? What if it doesn't matter who's right? What if it doesn't have anything to do with anything who's right?
03:54
S0
But I
03:54
S1
don't I don't think that matters to me who's right and who's wrong or if I'm right or if I'm wrong.
03:58
S0
You're arguing with me about it right now
04:03
S0
as though it matters to you.
04:06
S0
And I want you to notice there's an integrity in what she's doing here. Do you see it? She's going for it past the point that's comfortable for her. You see the emotions, right, all over the place. So you're in the right place. Thanks for coming.
04:28
S1
Thank you. Yeah.
04:32
S0
And, again, you look at the difference in dimensions. See the difference when she goes three-dimensional?
04:39
S2
I felt so.
04:41
S0
Yep. Not only can you feel it over there, but you can also see it over here and see it over here and see it over here. You guys are all doing this for everybody.
04:54
S0
You're not just doing it for you, you're doing it for everybody. If you shut down, it's a contribution toward everybody on the planet shutting down. If you open up, it's a contribution toward everybody on the planet opening up. It can't be otherwise. You parade this out beautifully and obviously. It's gorgeous. They can't miss it. Within a couple of days, you aren't going to be the demonstration of this anymore. So we're going to take advantage of it while it's here. One of the things that I know for sure is anyone tremendously protected has to have some incredible stuff under there because they had to do all of that just to cover it up.
05:43
S0
The people I'm worried about is the people who don't do anything to cover it up because chances are pretty good there's very little in there worth bothering with.
05:55
S3
Have two questions. Mark,
05:57
S0
wake up. Watch.
06:00
S2
The first question is, is it designed to be cold in this room?
06:08
S2
Is the coldness by design? Or could we warm the temperature up?
06:15
S0
We could. Would could We won't. So it's by December. Bring extra clothes tomorrow.
06:20
S1
Yes. I'm gonna get a blanket.
06:21
S0
How many of you got a letter telling you to bring clothes that it would probably be cold? Didn't you get a letter telling you this? It will be. Yes. It's by design.
06:31
S2
Thank you.
06:33
S0
There are other courses that we used to do up north that we made sure the people dipped, whether it was November, December, whatever. We find the cold does incredible things for human beings. What? Wakes them up. You take any one of you out here and submerge yourself in this water and I'm not a Baptist and you'll discover that you have a period of time in which you are elated and thrilled and raring to go and the warmth doesn't have the same effect. When you've done everything, when you've pushed yourself at the end of the day today and you've really pushed yourself because you will, all day long, go home and get in a hot bath or if you have a hot tub, get in that and get all warm and cozy and cuddle down between warm sheets and go to sleep. But I don't want you going to sleep here And it's absolutely intentional. And that too we've done ever since we started having courses.
07:45
S0
And sometimes in I mean, we had a course in August in Atlanta this I mean, in Houston this year in August. This was a double duty air conditioner to keep it cold enough.
07:59
S0
Second question? No second question.
08:03
S0
Pennies, please?
08:07
S0
So over lunch,
08:10
S0
please make certain that you eat lunch with somebody that you don't know or didn't know before the course. Okay? Take one penny for here's the game over lunch. Take your dominant hand, balance the penny like so, and please make certain that you keep the penny on your dominant thumb without dropping it all over lunch. Oh, Jesus. I
08:41
S0
promise you a more awake lunch than usual.
08:47
S0
And you can realign it if you need to. So please hold on the dominant thumb over lunch. I don't want you to mess up your hands, so figure out a way to put it so you can rest it and stuff.
09:01
S4
I don't want you overwork here. Please see the penny exercise in your booklet.
09:09
S0
I'm coming up with a new way of exercising that has different things like this, and you have to go through an obstacle course doing it and it requires different muscles. You get it? So you don't ever know that you're exercising and the little things that you have to do with a certain part of your body have the whole rest of it do exactly what you need to do in order to get the point across. So your lunches are on the back table. Please gripe about your lunch. Okay.
09:42
S0
And then alternately, talk about how incredible it is. Make sure that you keep company with somebody who you don't know well, and we'll meet back here in about an hour and ten minutes or so. Tomorrow, please bring your own lunch. Bring some lunch that you can eat here.
10:10
S0
If you have dropped your penny?
10:14
S0
K. What's the simple solution to this game? Yeah.
10:19
S0
That's the simple solution to the game. I never said don't do that. No. You just go like this. You don't have to worry about it anymore. It's not going anywhere. You say balance? Balance.
10:31
S3
This is more that's a balance.
10:32
S0
It's a balance. It's a balance with an assist. Oh.
10:37
S1
That's actually how I was.
10:41
S1
So, basically, we can make up our own rules?
10:43
S0
Basically, you always do. And
10:48
S0
then if you don't like the rules that you made up, you blame somebody else for them.
10:54
S0
And you say they did it to you.
10:58
S0
Oh, you make up your own. Hopefully. I would hope for that. What'd you notice over lunch?
11:07
S0
Little more attention than lunch normally would have had. Oh, yeah. Maybe a lot more of attention than lunch normally would have had. The
11:17
S3
conversations in my head weren't as much, nearly.
11:21
S0
These things take years to come up with. Judson and I came up to this cuddling in bed yesterday.
11:28
S0
K. What else did you notice over lunch? Did you watch anybody thinking
11:35
S0
even though you may not know what you're looking for?
11:40
S1
My eyes up.
11:44
S0
It's a very visual group compared to standard cut of the population, which makes it a very easy group to sit in front of because you guys aren't just going.
12:01
S0
You're looking around.
12:05
S0
Standard cut in the population that puts you in about 15% group with percent or so predominantly auditory.
12:17
S0
Oh, yes. And the auditory ones all have a harder time than the rest of you because they're always chewing off their own faces. Get a mic.
12:28
S1
Which way are you looking when it's auditory?
12:32
S0
We'll get into that this afternoon, but it's over into the right, over into the left, or down. It's like Okay. Down that way. Not down that way.
12:41
S1
Down.
12:41
S0
Yeah. Down to your left. Anything else you noticed over lunch?
12:51
S0
Wanna start noticing the difference between the grounded and ungrounded. There's nothing wrong with ungrounded unless you don't know that it's ungrounded.
13:01
S0
And then you instantaneously think that the world that you've made is one that you found
13:09
S0
and that presents all kinds of weird, weird stuff. And it instantly puts you at the effect of everything. You don't get to be the stimulus, you get to be the response.
13:22
S5
Do you mean that your opinion then becomes a fact?
13:25
S0
For you, yes. For the person having it, yes. It instantly becomes a fact. And then I mean, you can't change the facts. You're
13:38
S0
and the facts sit on you rather than you sitting on them.
13:43
S0
And given that you'll make up whatever kind of defensive posture serves you in the moment, it may not serve you in the next moment, it may not serve you in the next month and if it's become a fact, you now have to cart it around with you. And you have to defend it against everybody who doesn't have that particular thing as a fact.
14:05
S0
Then you become an evangelist for your facts system.
14:11
S0
You also, not so obviously, open up a franchise that's in competition with the universe, which is a pretty nice thing to attack, but I I don't want something that big to fight with.
14:27
S0
What else did you notice over lunch? What did you notice about somebody you had lunch with?
14:34
S0
Grounded or ungrounded?
14:40
S0
You're up.
14:44
S3
So we've got two worlds. You've got the world out here, right? I mean, you've got all this stuff out here that we're attending to. And then we've got the world in here. So by necessity, the world in here is going to be a representation of the world out there. It can't be the world in out that's in here. Right? But it can be a representation of that. And the way we represent the world out here in here is with three things. We call them pictures, sounds, and feelings. Or like we've been talking about so far today, we call them visual, right, auditory, and kinesthetic.
15:33
S3
So that's the three components that you're gonna use to make up all the aspects of everything in your head comes They're deeper than you. You want me to go deeper? Okay.
15:44
S0
They're deeper than you. Okay. You're bringing them out
15:47
S3
I'm gonna talk to Okay. I thought that's what you wanted. I'll go in deeper. No. I wouldn't. Okay. So we've got these three
15:53
S0
talk to where they are. Okay.
15:56
S3
So we've got these three elements here. Okay? You got the pictures that you're making up in your head. You've got the sounds of the conversations that you're having with yourself in your head, and you've got physical sensations, kinesthetic.
16:10
S3
What we do then is we break these down into internal and external. So the pictures, you've got visual created in which you put your eyes up to the right and you create a picture that you've never seen before. So put your eyes up to the right, everyone, right now, and just see something that you haven't seen before.
16:30
S3
And then we've got visual remembered up into your left, which is remembering something that you've seen before. So put your eyes up into the left and see a picture of something that you've seen before in your life.
16:45
S3
And then we've got the kinesthetic. If you put your eyes down to the right, it's body sensations. And put your eyes down there and just feel something in your body.
16:56
S3
Just make a connection. That's it. How many of you notice pictures running when you put your eyes down to the right? A few of you. There are some others too. Dave, do you see them? All kinds of pictures are running. So you get what you get. This is practice, your eyes in the positions that they're you're wired for the specific things. So when you put your eyes down to the right, the wiring that you came here with has you connect the physical sensation. If you don't have the sensation, if you get pictures or if you get sounds, conversations in that mode, it's just an indication that the systems aren't filed properly, that you've had some practice filing things where they don't belong.
17:40
S3
So when you put your eyes down to the right, want to begin to attend, bringing your attention to your body, and that's how you practice filing things where they do belong.
17:52
S3
And then we've got the auditory, which most of us here are pretty well practiced at already. So if you put your eyes down to the left, just kind of have a conversation in your head about anything at all. Just notice that you're talking to yourself in your head. And then there are two other elements to auditory, which is straight to the right or straight to the left. So if you put your eyes straight to the right,
18:15
S3
it's about making up a conversation or a sound that you've never heard before in your head.
18:20
S0
Okay. So a few things. Okay.
18:22
S3
Can you
18:23
S0
tell that he's talking down to you? Mhmm. Okay. You're talking down to him. Okay. Well, why are your hands like that?
18:29
S3
No. No.
18:30
S0
Okay. But they stay like that. Right?
18:32
S3
You mean when I'm speaking? Yeah. Okay.
18:34
S0
Okay.
18:35
S3
I did. Yeah.
18:36
S0
Yeah. And you say, okay. How often?
18:38
S3
Still doing that a lot? Yeah.
18:43
S0
We discovered that on his tape yesterday, the okays. Okay. Okay. Okay.
18:48
S3
Gosh.
18:48
S0
Okay. Okay.
18:51
S0
Just connect with them. Okay. Did you do that when you
18:54
S3
Hang on. Just say that again.
18:57
S0
Did you do that when you came up here? Uh-uh. No. You looked at the information instead of them. Look at them. They're in much better shape than they should ever be at this stage of the workshop. Aren't they? Yeah. So you need to be there.
19:10
S3
Okay. Okay.
19:15
S0
So how would you tell them about visual auditory kinesthetic if it wasn't a demonstration, if you were just really teaching it to them as a friend?
19:27
S0
Do that. You guys don't mind this, do you?
19:29
S3
Go right ahead. Thanks.
19:33
S0
You take on a I'm a presenter posture. Oh, wow.
19:40
S0
He's got years of martial arts, but he takes on a presenter presenter thing anyway.
19:47
S2
He's always helpful with this.
19:49
S0
Yeah. He does rather than being with you. Yeah. Hi. Hi. Was I with you this morning? Absolutely. I forget. I think so.
19:56
S3
Can I sit? Is it okay or no?
19:58
S0
Should be able to do it from any location. Would hope. I think.
20:04
S3
So what we do
20:06
S0
So where in your body are you sticking it? Right in here. Right there.
20:14
S0
It out.
20:16
S0
You're scanning over their heads again. You
20:27
S0
guys, we're all funny. Do you get it? I can bring any of you up front, and you will do your thing. It amplifies your thing to bring you up front.
20:46
S0
Okay. Go ahead. Work with a moment. So
20:56
S3
we have these three modes of communication, and it's auditory and visual and kinesthetic. And every thought that you've ever had in your life is going to be made up in some combination of those three elements.
21:15
S3
Is that me?
21:18
S0
No. You're leaning back again. Okay. And you're acting superior to them,
21:24
S0
down in the trenches.
21:28
S3
Wow.
21:28
S0
Because in about eight months, we're going have Fred leading these, first person ever to lead these. But there's a little way to go. Yeah, apparently. Here they are.
21:38
S3
Love them. That's
21:40
S0
probably it. They haven't put on weight. They get uglier.
21:46
S3
If there was a formula, we would have had it by now, I think. Thanks.
21:53
S0
So you keep thinking there's something to teach them.
21:55
S3
Uh-huh. Don't know what I
21:57
S0
would And that's say if the I thing nothing to there's teach something to yeah, to find out. Yeah. Hi.
22:05
S3
What I want to tell you is as I'm speaking, there are these pictures just running so fast in my head, and I can't even see them because it's gone by, like, almost knocking me over. It's no surprise that I'm leaning backwards.
22:19
S0
Now he's got you just a little bit. Right? Yeah. Okay.
22:25
S3
And I'm wondering, I'm kind of curious as to what they're doing in there, but they're just so fast and it's almost overwhelming to me to have them doing that. And it's not typical, I don't think, for that to be running that way. So it has me be up here and be very interested.
22:42
S5
You're drowning in pictures that aren't there yet.
22:49
S0
I'm drowning in pictures that I don't see.
22:55
S3
Thank God. That was a demonstration of auditory describing visual for me.
23:03
S3
And I have to really consciously attend. If I don't attend to my body, I find myself Now
23:06
S0
they're tired of them revealing special things about me.
23:12
S0
Now it's time for you have to give them a little tidbit about them.
23:15
S3
This is when I ask the questions.
23:20
S0
Need help.
23:25
S6
I have a question.
23:26
S3
Yeah. Thanks.
23:30
S0
There's typically at least one helper in a group of 22 people.
23:34
S3
And and bless you for being that one.
23:37
S6
I had trouble putting my eyes down into the left when you were having us go into different places. What does that indicate? Just that I'm not used to doing it very often? When they were closed, was really hard that they weren't going well that way.
23:51
S3
Okay. So where does your attention go when you guys look at Kathy?
23:59
S1
My eyes. I
24:00
S0
can't see it.
24:03
S0
I bet. And
24:05
S3
speaking for myself, where my attention almost always goes is right to her eyes. Anyone else notice that? And
24:12
S3
both. And now, I mean she smiles a lot and that kind of brightens her face up I think. But there's a strong element of what we call visual external, which means she's looking a lot at the world out here.
24:27
S3
You attend a lot to what you see out here, more than I think most of you guys in the room. And while there are conversations that are going on in your head, don't think that you're what we call congruent, means you're not always putting your eyes down to the left when you're having the conversations. So you file the conversations. A lot of them are going on while you're still making pictures. They kind of get mixed in there.
24:52
S6
Piling them in the
24:53
S1
wrong place
24:53
S3
Yeah. What you're saying. Uh-huh.
24:54
S6
Like I do with my Rolodex and names.
24:57
S3
Yeah. It's like if you put people's names, you know, or by their hobbies or by their what they do. Yeah. So just like any muscle, you're not used to moving the eyes in that position, so when you practice doing a movement that you're not familiar with, you begin to have just the sensations of using muscles or moving them in directions that you're not used to moving them in.
25:19
S5
When Yeah. You move your eyes from one of these directions, when you move your eyes, how far do you have to move them? Is the amount of movement, does that matter or is it just a little bit?
25:32
S3
The answer is going to be relative to the person, and in your case it would be useful, I think, to move them a lot, to really go down.
25:39
S5
Perfect. It gets uncomfortable to move them up in the
25:41
S3
Well, within your comfort zone. Sure. I mean, don't have it be where you're going to be sore because these could get sore like any muscle. So don't have it be too much, but work on moving them in the direction. You'll find that you'll also gain flexibility so that you can gain more.
25:54
S5
Thanks. Okay.
25:55
S0
She needs to move less in the others and more in the one that she has a problem with. She needs to move much further in that one Yeah. And much less in these because she's more than willing to go. Yeah. She's got that. She puts her eyes way up.
26:15
S0
I mean, it's like she needs an adjustment here after she does it. But down here, she needs to accentuate it and go way down.
26:23
S3
So it's way overbalanced in in Kathy's case towards the visual. Okay. Mic back there.
26:31
S2
I'm getting from what you're saying that there is a correct way for all this to connect.
26:38
S0
Make a joke.
26:40
S3
Yeah. It's exactly the way you're doing it right now.
26:45
S3
That's what I could do on short notice. Fine.
26:49
S0
It wouldn't have occurred to me to tell her that she was right. I would have said that mine were right.
26:53
S3
Oh, yeah. And she just makes tons of pictures. You see her doing it? She's like the poster child for making pictures and she sees a lot of them compared to some people. You see a lot of the pictures that you make. Yeah. A higher percentage than most people. Not all of them. Did I hear that you just say you saw all of them?
27:14
S0
You're nearing 3%.
27:16
S3
Yeah. Yeah.
27:18
S0
You Which is so much above everybody else. Doesn't everybody?
27:24
S3
No. No.
27:25
S5
If you can't see them, how are these pictures?
27:28
S3
They're running at a level beneath the level of consciousness that you can attend to. So you've got consciousness, which is what you can be what you can become aware of. I'm sorry. Did I say that wrong? You've got awareness, which is what you become aware of, and then you've just got what's running underneath that.
27:42
S0
And you're saying that I see Stick around. Let's both go after them. Okay? Okay. Stick around. Keep going. Okay. So very simply, you've got patterns, awareness, and consciousness. Please see patterns, awareness, and consciousness diagram in your booklet.
28:06
S0
Patterns is anything that happens twice. Awareness is sensory input, and consciousness is a completely different beast. Consciousness is what you make up, which is what your point was getting to. Almost no one makes a distinguish distinguishes between awareness and consciousness. Almost nobody does. You read all the books, they don't distinguish. They're missing an evolutionary step which is absolutely vital for human beings because we're the only critter with consciousness. We're the only one and we're not the only one with awareness. And when we confuse these two, what we do is we use thinking which is about consciousness and override everything with it. We line these up and when you line these three up, what happens is your thinking becomes patterned. And if your thinking becomes patterned, it cannot be entertaining to you. You got the young kids. They say something, you go, oh, isn't that interesting? And they got your attention and you laugh a little or whatever, then they say it again, and you're a little less. By the fifth time they're saying that you wanna cuff them one and shut them up.
29:33
S0
Same thing in your head.
29:36
S0
Same exact thing in your head. You say it once, twice, three times, pretty soon you're saying nothing but that, and you're not a very interesting character. And then you gotta start doing things and buying things and all of the stuff in order to try and be an interesting character or find somebody crazy to date or whatever. You gotta find something to make you interesting. These are evolutionary stages, all of which exist in you. If you don't know the difference between these two, you start seeing your thoughts out here
30:15
S0
instead of finding out that they're in here. You confuse external and internal. And pretty soon, you just live in your head, and you don't live in the world anymore. You live out in space. Air is very thin out there. Even breathing is a problem because you're taking something you're sampling something from the outside. You shouldn't know how to do that. Just close-up the loop. It's awful, isn't it?
30:42
S0
So very simply, how this works you can have a seat if you want, and you can talk anytime you want. Okay. Thanks. And please do.
30:52
S0
Look around out here. You see, if you look deeply out here, you see really deeply. We're gonna get technical now for a moment. You see stuff and holes.
31:09
S0
That's what you see out here. You see stuff and holes. If you had an electron microscope, you'd see a very little amount of stuff and a whole lot of holes and that's the BlueJeans.
31:22
S4
Please see the stuff and holes diagram in your booklet.
31:29
S0
On that, you'd see a bunch more stuff and still a whole lot of holes. True? That's what you perceive. You send out and you get back and you see stuff and holes out here, but you can't see stuff and holes out here, so you make it into something. It's Linda. That that particular combination of stuff and holes, I'll call Linda. So
32:00
S0
you give it a name, but it's stuff and holes. Does that make sense? And there's a third element that that doesn't include.
32:09
S0
Process, which is the interaction between the stuff and the holes. Because if you've got stuff and holes by the way, way, way more holes than stuff
32:25
S0
in everything. Way more holes than stuff.
32:29
S3
And even the stuff turns out to be holes.
32:31
S0
Yeah. It does. But we're gonna pretend for now that it's not. Some little stuff got I mean, some little hole got really important and said, I'm not gonna be like the others anymore, and that's the birth of stuff. This gets pretty technical here. Process is the point at which it is not holes, but not yet stuff either. It's the interaction point.
32:59
S0
How much of that you figure there is? More than either of the others. Far more than either of the others. So where you want to attend in life is process.
33:14
S0
Since there's more of it, you may as well attend to what there's more of. What the heck? Well, pictures, sounds, and feelings sounds like process to me. Where are pictures?
33:30
S0
They're really there, are they?
33:33
S0
Make a picture in your head of your mother. Where is she?
33:38
S0
I mean, she may be somewhere in the world, but she's not there just because you see her there,
33:44
S0
which leads us directly to what consciousness is. Consciousness is the filling of imaginary holes with imaginary stuff in your head.
33:58
S0
It's made up. So what consciousness allows you to do like no other species can possibly do is it allows you to walk through the meadow and see your mother there even if she's not there.
34:13
S0
Can't you? How many of you can see your mother standing up here? Can't you? There she is. But is she really there?
34:25
S0
I don't know. How can you tell? If you see her too many times up here, you're gonna think she's really there. And you're gonna tell somebody later, yeah, my mother my mother materialized in the workshop, and there she was standing right in front of the fireplace like when I was a kid and there she was. Consciousness allows you to get involved with what isn't. And it also allows you to not attend to what is. If the deer is walking through the meadow or if some deer are walking through the meadow or deers? How many species? A deer is walking through the meadow. It's attending to what's there.
35:12
S0
It doesn't see its mother unless its mother is there. It doesn't see a really nice car.
35:22
S0
There's something that just drove by, but it doesn't see drive either. Weird looking deer. Fenders on that deer. But it doesn't mistake it for it, it just knows it's not it and that's all. So what consciousness does is it shows up and allows you to make up all kinds of things that aren't here. If you don't know the difference between that and what you're seeing here, you've got a problem.
35:56
S0
Therapy may not be sufficient and that's losing the difference between grounded, which has to do with awareness, and ungrounded, which has to do with consciousness. It is not terribly surprising that you play around a lot with ungrounded. Of course, you play around a lot with ungrounded. You play around a lot with ungrounded because if you were a kid and you've got a new toy, are you gonna play with a new toy? Absolutely. That's consciousness for you. It's a new toy. We're trying to figure out if as a species, it's a benefit to us. And we're playing with it all over the place.
36:45
S0
Playing with it and playing with it and playing with it to find out, is it useful for me to see you as my last girlfriend? There are her ears. Oh my god. And then I start to yeah. Is it useful for me to think that you hate me? Because I could think that, couldn't I?
37:07
S0
Easily. How much do you make up a day? You make up almost everything. And occasionally when you're absolutely forced to, you deal with what's here.
37:19
S0
So you make up pictures and you make up sounds and you even make up feelings
37:27
S0
busily. But if these are in alignment, you do so in a patterned way and your world becomes uninteresting to you because you make up the same thing over and over again. My boss is oppressive.
37:44
S0
My boss is oppressive. My boss is oppressive. I don't have enough money. I don't have enough money. I mean, you guys wouldn't say that to yourself once, would you? Why would you bother? If you wanna really be right and strong in the universe, you'd make it up over and over and over in the same way.
38:07
S0
And you tell anybody who disagrees with you that's your opinion. You're welcome to it.
38:13
S0
Go ahead. Stick that opinion somewhere.
38:19
S0
Don't you? How much do you like it when somebody disagrees with you? Well, you don't have a problem with their disagreement if you're disagreeing about something grounded primarily because then you can bring forth evidence. But if they're doing it about something ungrounded, something you made up, you got a problem. You don't have any evidence. So you have to start manufacturing stories. How many of you have asked for why today or yesterday or the day before? Why is a request for a story? Make up a story for me, would you? Which then I could take on and be saddled with. What's the likelihood that I'm gonna tell you a true story? True story means that it's running my head over and over and over again so much that it has become a physical limitation for me.
39:14
S0
Alright.
39:16
S0
If you repeat it often enough in your head, it it looks as real to you as anything out here.
39:24
S5
Is that enlightenment? We don't have stories?
39:27
S0
No. That's not sufficient.
39:31
S0
That's a step on the way. It's not to have any stories that you don't perceive are stories. If you perceive them as stories, they become entertaining. If you think they're true, they become oppressive.
39:45
S0
You have to knock these out of line. Please see patterns, awareness, and consciousness diagram in your booklet,
39:56
S0
which then is as long as you're going for the big question over and over and over and over and over and over and over over over again, we know how that's gonna turn out.
40:09
S0
Enlightenment is having sufficient glimpses of the universe that you don't have time in between them to put your model back together. You're welcome.
40:29
S3
He's having repetitive What
40:30
S0
I'm stuff saying is you think I just gave you something of benefit and that sticks you again. Do you understand?
40:40
S3
Uh-uh.
40:41
S0
You're assessing you're assessing that what I just said is more important than what I said before that.
40:51
S0
And by putting weight on that rather than weight on something else, you're getting something stuck in here. It's just that simple. Every phrase I say is as relevant as every other phrase I say. And if it isn't to you, that's only that it struck something in there and got stuck. That that's all it is. I'm giving you at least that good a definition all the time.
41:18
S0
Now the trick about glimpses of the universe is that it never ever ever looks even similar one glimpse to the other.
41:31
S0
So it always does complete damage to your illusion. And if you're looking for a pattern in it, it is not patterned. So if you're looking for some sort of enlightenment that gives you peace, forget about it. It's the opposite.
41:49
S0
It's such constant disturbance
41:55
S0
until you let go of your illusion that you can't stand it.
42:01
S0
Now you get a glimpse of the universe and you say, I gotta fix myself. I gotta put myself together. This isn't comfortable. This doesn't work. This isn't the way it ought to be. When all you need is a whole lot of those and then it'll be fine.
42:15
S0
But if you're so busy putting it back together after one, you don't get you don't notice the next one because those are always closer than what you put back together.
42:25
S0
So you've got what you're aware of and what conscious of. Now let's take it into picture, sounds, and feelings. We say that Judy
42:37
S0
is conscious of about 3% of her pictures,
42:44
S0
somewhere around 3%. Sounds like very little. And it's more than almost any of the rest of you in the room. And it sounds like very little. She's aware of somewhere near zero percent of her feelings and maybe around three quarters of a percent of the sounds that are going on. So needless to say, given that these numbers are so small, they aren't useful. We'd have to invent something like scientific notation. They aren't useful. We don't wanna deal with numbers that small, do we? I mean, we're gonna think we're lower less. We're gonna think we're not important. We're gonna think we're we might even think that we really aren't getting all of the perfect data all of the time, which wouldn't that be a terrible thing to think. So let's not attend to those numbers. Okay? Instead, let's look at what we got. What you got is seven plus or minus two bits of information that you can attend to at any point in time.