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Illusion Conclusion
Jerry Stocking
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Tape 4 – Side A
Tape 4 – Side A
IC_T04A
44:33
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Transcript
264 utterances · click to jump
00:02
S0
So you've got seven plus or minus two bits up here. That's what you've got. That's your ability. That's how many of you work with computers?
00:13
S0
So that's your RAM. That's it. That's all you've got. And you're gonna fill those with some combination of pictures, sounds, and feelings.
00:30
S0
Any of them that don't make this, that don't make it into this, because you've got mass quantities of these. I'm talking trillions at least. Any of them that don't make it into this are free to influence your behaviors because you can't get in the way of them. They're free to influence your behaviors beautifully. They're free to coordinate those 600 muscles in your body to do all the movements you do perfectly and beautifully. You think you're awkward, but consider the difficulty of what it is you're doing. Consider what it takes to walk. Consider what it takes to breathe, let alone think.
01:17
S0
Anything that doesn't make it into your seven plus or minus two is free to do anything guiding your life.
01:29
S0
Anything that does make it into your seven plus or minus two results in stories.
01:39
S0
As a scientist, if you got this small a sample of what there is, you would say the sample is not sufficient. I cannot interpret anything regarding the whole based on this smaller sample. But since this is all you got and it's in your head, you say, I understand. I know it. I got it. Because this is all there is, you say it's all there is,
02:10
S0
And it is all there is for you. But this part, what is the likelihood given the billions over here and the seven here, what is the likelihood that this part has anything to do with your behaviors? Almost nil. So you go around doing whatever you happen to do, and then something falls into you and you make up some stories. What are they if she doesn't see them? They're still pictures. They're still running in her head, and they're directing every aspect of her life. That's what they are. They're still going on. What are they if she doesn't hear the sounds, they're still sounds. Any number of people in this room have constant nagging, nasty conversations in your heads that you don't hear. They don't make it into here. They don't make it into here, but they still influence everything about you all the time. It's not gonna work. That can't get done. For a number of you, it's not even your own voice. It's a parental voice. Not my parents in your head. Your parents in your head.
03:23
S1
So the stuff that you're not conscious of, is that considered your subconscious? Is that
03:29
S0
I don't wanna bring Freud into it. Subconscious was a a Freudian thing. Okay. And there are parts of his model that I would agree with and parts of his model that I wouldn't agree with. To bring subconscious in is to take Freud's model, and I don't wanna play in Freud's model at the point. Let's let's call it unconscious. Okay. Just playing it doesn't make it to consciousness.
03:52
S1
But it's still there.
03:53
S0
And It's still there in influencing. It's free to influence. Mhmm. It doesn't you don't get in the way of it. You don't block it. You don't fiddle with it. You don't do anything. It just goes through and takes and directs you.
04:06
S2
Mhmm. And that's awareness. All those all those sights and sounds that are coming in are what you call awareness, and seven bits are called consciousness.
04:18
S0
Yes.
04:18
S2
Is that what you say?
04:19
S0
Yes. Awareness can sense those.
04:25
S0
So they're awareness. Now to what degree it is picking them up, that's a different thing. Now I'm I'm gonna have to slide on that one just a little bit. And how come I'm gonna have to slide on that one? It's because in this model, even awareness becomes patterned. So that you constantly miss the same stuff so you really don't become aware of it. It's still just as running through. Awareness for a deer is what they see, hear, and feel,
05:00
S0
And yet there's still all kinds of stuff going on in their presence that they don't see or hear or feel. In order to enter your seeing, hearing, or feeling, it has to meet a certain criteria. For deer, it has to meet a certain criteria. They can and what
05:18
S0
was the title of the book? You worked with Fernando a little bit?
05:24
S1
Cave. Thank you.
05:26
S0
No. No.
05:27
S1
The other one?
05:28
S0
No. Not his. Materana's. Oh, yeah. Eye of the frog. Right. They they took apart the frog's eye and discovered very much of the mechanism by which
05:43
S0
the beast stuck its tongue out and went for something that looked like this, but not something that looked like this, and which fly sent it off and which fly didn't send it off. They discovered that things that didn't look enough like a fly didn't even register on the eye. That there was no and and the book's much too deep for me to understand. I don't know. I haven't gone back and tried it in recent years.
06:06
S1
Is that eight years or so?
06:08
S0
It's tough. But they discovered that it doesn't even register. It doesn't even exist for the frog. But in fact, it still exists and has to influence it. I mean, because the frog frog doesn't see your foot, doesn't mean that it doesn't influence it because it does. So we're at a at a tickler point on awareness there. It's not gonna be of great benefit to go
06:28
S2
filter in certain things and filter out most things.
06:30
S0
Yes. And you have two filters in place here. Well, three filters in place here. The patterns, the awareness, and the consciousness. You can't get it as a pattern unless it's happened twice. You can't this does come down to being a numbers game. To be a pattern you have to perceive it has to go on twice. You don't have to perceive it at all. It has to go on twice to be a pattern. In order to become aware of it, now we're back to the bat that we fiddled with a little bit earlier. The thing has to exist in a specific time frame, in a specific location for you to it it has to persevere long enough for it to hit a threshold over here. This is way beyond my expertise. There are people who know about this sort of stuff. I don't know about this sort of stuff. That's not my expertise. And by gosh, if I thought it was valuable, I'd go after it. I go after it in a here I am basis rather than a how do we study it basis. So let's say for the sake of playing with it though, that in order to reach a tolerance level where you could become aware of it, it has to run, oh, I don't know, 500 times. I'm probably being generous. It's probably much higher than that. It has to be there for a certain time with a certain consistency in order for it even to register to your senses,
08:02
S0
which is way off what it takes to exist.
08:07
S0
It takes much less than that to exist. To be recorded
08:15
S0
compared to existing, the vibration is a completely different beast. You follow what I'm saying? Please see patterns, awareness, and consciousness diagram in your booklet.
08:30
S0
To get into consciousness, that sucker has to be so slow and so dead
08:38
S0
that it has to have been there thousands of times. Just guesswork 5,000 times to make it into the seven plus or minus two. In other words, there are a lot of pageants before the final pageant that you finally get to notice. So you've beaten it to death, and then it gains authority over your thinking.
09:03
S0
Oh, this is why I that's why I look at you kinda weird when you say, why did why do you have bare feet? Because I don't have shoes on.
09:14
S0
And in fact, I have stocking feet.
09:22
S0
Yeah.
09:25
S1
So over here in the seven plus two Yep. You say is consciousness.
09:33
S0
I'm defining consciousness as that. Yes. The the number seven plus or minus two is a very strong number.
09:44
S1
So if that's consciousness,
09:49
S1
then where does awareness exist outside of the consciousness?
09:54
S0
Picture sounds and feelings that don't get into here.
09:59
S1
So the awareness is going on, and it's like a it's like a remote control picking up the consciousness out of the awareness.
10:11
S0
Yes. So you walk let's say you walk into here. Can you tell me what kind of trees are over on the side of the thing of the walkway into here?
10:22
S1
I don't know about trees.
10:23
S0
Can you tell me what they look like?
10:25
S1
They had colored leaves.
10:26
S0
Okay. About how tall are the trees?
10:30
S1
I'm not good with heights, but they're taller than me.
10:33
S0
Okay. They are taller than you. So
10:36
S1
I just saw them.
10:37
S0
Yeah. How many flower pots are on the left hand side on the way in? Two. K. And what do they look like?
10:43
S1
I can't tell you.
10:45
S0
Okay. What I'm saying is all of the data of everywhere you are is in here. Everywhere you've ever been, it's all in there. And then what consciousness does is it takes a sample of that,
11:02
S0
and you become conscious of that sample. It's a distortion of the whole set of things.
11:09
S1
Of reality. Yes. And then are you saying that what I do with the consciousness is live my life from it?
11:22
S0
You think you did do when in fact it has nothing to do with the way you live like this. It has everything to do with what you think about how you live because this is the only sample you've got to operate on with your thinking.
11:45
S0
You make the philosophical assertion that if it didn't get into here, it doesn't exist. And given that this is a very, very, very petite sampling of that, you're way off. But then you also make the philosophical assertion, I have to be on, so I must be on. So with a tiny sampling,
12:15
S0
that's all you got. What if you could use this sampling for entertainment instead of trying to prove that you run the whole game and own the whole earth and determine everything? What if in fact you left him because of patterns
12:33
S0
that are way below the level of anything that you ever perceive? The purpose of this course, the main drive in this course is we're gonna get you out of the world where the pieces in here are so big that you can't do anything with them to where they are so small and nowhere near as small as they get, but so small that they provide mass quantities of entertainment all the time.
12:59
S0
That they be your thinking becomes so entertaining to you that you can hardly wait for the next thought, and you don't have to. That's the good news.
13:12
S0
We are gonna give you an opportunity throughout the exercises and the kind of stuff we do in here and the kind of stuff we model out here so that you are seven plus or minus two becomes all you all you generally want your seven plus or minus two to be is sufficiently consistent within itself so that you can say the magical words, I know.
13:39
S0
So you want these to be so consistent
13:44
S0
that you live in an absolutely boring world in which you know.
13:50
S0
And that's what you've done.
13:53
S0
Now strictly by messing with you this afternoon, we are gonna vary the mixture of pictures, sounds, and feelings in your seven plus or minus two. By varying those, your whole world, you're gonna sample differently from the universe. Your relation to everything here and everything anywhere is gonna be very different.
14:15
S1
So that'll change the seven plus two? Yes. Now there's no alternative to the seven plus two.
14:23
S0
Nope. That's what you got.
14:25
S1
Will always occur.
14:26
S0
It's a nature of consciousness.
14:27
S1
But I can impact what's in there.
14:30
S0
Yes.
14:31
S1
That's what you say you can do.
14:32
S0
And I not only that, I'm saying you already do. By And you can consciously. And we can open up
14:39
S1
So I can choose.
14:40
S0
There are a bunch of filters here that determine what gets in from all that there is.
14:46
S1
So we're gonna play with the filters? Oh, yes. Mhmm. We've already begun to play with the filters.
14:51
S0
We have. A lot. And that's part of what I'm modeling out for you is playing with the filters. You somebody in here asked the question, I don't come from some database of what I know already. I don't know if you can tell this. I gotta create the answer from nothing. Right. Every time, I'm dancing with this. Right. So we're gonna play with a few of the filters.
15:13
S0
Because if we play with too many of them, that's advanced work. It was so disorient you that you can't even find the door.
15:20
S0
There's no you that can find the door. And I know you think you're a macho tough one, but it's still too much.
15:26
S1
No. I just assume you're gonna be responsible. I am.
15:29
S3
And one of the reasons that Jerry shouldn't do this the way he does and not have to know the answer in advance is because he keeps recycling the information through those seven plus or minus two bits. So he doesn't have to hold on. Most of us in the room are holding on to probably three to five of them consistently from moment to moment.
15:47
S1
Okay. So Let me
15:49
S0
let me explain what he just said in a little bit different words. Okay. You've got a database of everything that has ever been in your seven plus or minus two. That is now your database to pull on. It's it's called the world of I know. Mhmm. I don't pull on that one.
16:12
S0
I know it's what you were asking earlier. I know.
16:16
S0
I don't pull on that one. I pull on the big one.
16:19
S1
You pull on what?
16:20
S0
The big one. Oh. The big database. And all it takes to do that, and I can tell you this and it won't even hurt,
16:31
S0
is the patience to wait.
16:42
S0
But wait a second. We're gonna do specific exercises tomorrow afternoon that have the patience to wait not be another form of control, but be a very easy thing to do.
16:56
S0
If you have to go, I'm gonna now wait. You've already not waited.
17:00
S1
That's not where I went.
17:01
S0
I I I know that.
17:05
S2
Yeah. Once things come into seven plus or minus two and then leave them and you replace them with other focused things
17:14
S1
Yeah.
17:15
S2
Then where do they go? In in the memory somewhere?
17:19
S0
Into your little goofy database.
17:21
S2
Okay. So so what you what you do
17:24
S0
I mean, of the world as you know it.
17:25
S2
Alright. You're not gonna change the world of focus on you and change the process of focusing.
17:31
S0
Yes.
17:33
S0
So doing And we're gonna do a little bit of what you're focusing on too, but that's the least important part. And really, it's the process of focusing that we're interested in. If you replace all of your seven plus or minus two with the next dose of seven plus or minus two, if you replace if it's all new the next time, you get a profound revelation. If you replace just a little tiny bit of it, you get business as usual. The more of it you shift, the more interesting and entertaining your thinking becomes.
18:08
S1
Can you shift all seven all the time?
18:11
S0
I
18:11
S2
do. Do you always have seven?
18:16
S1
Plus or minus two.
18:17
S0
K. Seven plus or minus two. That's what you got.
18:19
S2
Can you have one or two? Sometimes if you're
18:22
S0
Well, you can fill them with question marks. Okay.
18:29
S0
So you've got this little tiny sample rate, which just makes you absolutely cute as a button.
18:40
S0
But since you think that's all there is, it makes you always behind, which makes you an ass.
18:50
S0
I'm not even sure
18:50
S4
what to ask, but are
18:52
S0
we Are you sure? Sure about that. Okay. We've got a point of certainty to die from here. He's not sure what to ask. We got this this RAM here, and
19:04
S4
we got these filters. And then we have this vast
19:09
S0
Unwasteland. Vast wasteland. Unwasteland. Unwasteland. And can we live in the wasteland? You do. That's what you're saying. We do anyway, but we're not No. You live in the wasteland all the time. And and this whole thing over here is what drives the wasteland?
19:27
S1
Or
19:27
S0
No. No. No. This over here is a joke.
19:31
S0
This over here is just a tiny little joke. We can be aware of stuff that's not in our RAM. No? No. Oh, yes. Yes. You can. This is conscious. Okay. Okay. Yes. You can. And is is what you do as opposed to what I do is is that you you have this RAM, which is entertaining,
19:53
S4
and then you have the big picture as well, and you kinda see the stuff flowing in and out in a different way.
19:59
S0
It's flowing so fast that there's nothing I can ever hold on to. It's flowing at at least a 186,000 miles per second.
20:14
S0
And that's impossible to do by trying to do it.
20:22
S0
And you're doing it anyway, but you just have so much in the way of perceiving it.
20:29
S0
Yeah. You have a look on like you've like you get that it's a miracle. Yeah. And Yeah. It is.
20:37
S4
The more I try to grasp it,
20:38
S0
it just keeps spinning away from me. That's it.
20:42
S0
What he's doing is he's replacing his seven plus or minus two at a rate that he can't control. Yes. Fun. Now redefine that as fun. Or confusion.
20:57
S0
Call it confusion, but call it fun and go for fun. It's a little disoriented. Look. Hope so.
21:08
S0
We do lots of specific exercises to provide sufficient disorientation because that's the one thing that most people are lacking.
21:19
S0
You need much more disorientation. So now let's fiddle around with pictures, sounds, and feelings so that we fiddle around with what gets in here so that the very least as a first step, your stories get much more interesting.
21:36
S0
One of your big problems in life is that growing up, you weren't told enough stories. You were told a few, and then you started to think they were true. And probably the first person telling you them thought they were true.
21:50
S0
You need billions and billions of possible stories.
21:58
S0
And then this starts to get entertaining. If where you normally would get a little chunk of sound in there, you get a picture instead. Think of how you sped up the whole system. The beautiful part of only having seven plus or minus two is just fiddling with a little bit differently. Think of how that shifts the whole game. If you were talking billions, a little shift wouldn't do much. We're not talking ecological disaster here. We're talking rebellion.
22:32
S0
And this is measured as is quality of life by the simple measure
22:40
S0
of multiple illusionary perspectives per second.
22:46
S0
The more illusionary perspectives you can have per second, the more entertaining and the better the quality of your life. So the more the faster we can shift this over and the more we can shift it from pictures, sounds, feelings, not that pictures are better than sounds, not that feelings are better, not that any of that. It's just that whatever you're used to running has become the status quo for you, and it blocks the same stuff all the time, and you trip over the same thing all the time. Over and over, you trip over the same thing and then you go on, you can't see what you're tripping on. What if you could? What if something showed up in your seven plus or minus two that you never ever saw before? You go, ah. And really, you're saying what a wonderful world this is.
23:38
S0
And then what if that started to happen regularly? Remember, it's not gonna terribly influence how you operate because that doesn't this doesn't do that. This does that. This whole huge reservoir does that. Not this. This is just for fun. This is just for fun.
24:02
S0
That's all it's for. It's for your fun and entertainment. You were taught it was to control. And one of the major ways that we taught you that is we told you you have free choice.
24:14
S0
So this had to control.
24:22
S0
You haven't done anything on purpose in your whole life.
24:29
S0
Patterns have dictated every single bit of it in your whole life. Patterns dictate where you work. Patterns dictate who you relate to. Patterns dictate everything, and they may continue to. But what if you could derive incredible entertainment by their doing so instead of having to beat yourself one more time? I can't believe it. I picked another abusive person to be with. I can't believe it. I did it again.
25:02
S0
Yikes. Where's the next one? Have you ever beaten anyone? Okay. We've got I love to be beat.
25:12
S2
Yeah. What controls your emotions would seem to control my life?
25:18
S0
We're gonna get to emotions a little bit later this afternoon.
25:21
S2
Does that mix in with this? Don't
25:25
S2
it seems like my emotions control what I do with my conscious decision. It's I do what I feel like doing.
25:34
S0
It's easily understandable that it seems that way, and we've got some stuff to play with which will have this make a lot more sense to you. Okay. Are emotions more relevant than anything that you think? Absolutely.
25:48
S0
For sure. Why? Because they're closer to reality.
25:53
S0
And we'll get to that when we get to kinesthetic.
25:58
S0
Other questions?
26:01
S1
Are you saying that emotions and feelings are the same?
26:05
S0
No. Alright.
26:06
S1
So the last statement that you the last statement you just made was
26:12
S0
That we're gonna get to that when we get to feelings.
26:15
S1
Before that one.
26:18
S0
Any questions? Before that one. Now you're starting to test me here.
26:26
S1
I I
26:26
S0
don't know.
26:27
S1
Thought I heard you say in response to him
26:32
S1
that
26:38
S0
and and I'm sure I just made some great point for you, but I don't know what it is. Tell me.
26:45
S1
And we and it has something to do with feelings. That's what made me ask the question. Just a second.
26:50
S0
We're waiting for it to cycle around.
26:54
S1
Yeah. Yeah.
27:02
S1
You said that that's exactly what? The emotions?
27:06
S0
Yeah. I don't wanna get in the way of your own little world. Go ahead. There's just
27:12
S1
there's just a lot happening all at once. So it's
27:20
S0
That's another way of saying Mark's earlier one, isn't it? K.
27:24
S1
Oh, I relate it totally to what he's talking about, to that comment.
27:32
S1
If emotions are not feelings, if they're different, there's a distinction between emotions and feelings.
27:39
S0
That's useful.
27:42
S1
That's useful?
27:44
S0
The distinction between emotions and feelings is useful, which is our criteria for bothering with a distinction.
27:53
S1
He was talking about his emotions having an impact on what he did.
28:00
S0
Yes. That he Having more of an impact on what he did than his thinking was his point. Correct. And I said yes because they're closer to it.
28:11
S1
Then I thought I under heard you say that we would get to that later, but they were not the same as feelings.
28:19
S0
Right.
28:24
S1
So where do emotions fit with picture sound and feeling?
28:29
S0
It's we'd get them.
28:30
S1
Okay. Great.
28:34
S1
I'm sorry.
28:35
S0
I don't have a problem with it. If more of the people in the course spent time where she just was Mhmm. It it won't hurt the course. Do you get it? She's going, I don't I don't know what That was processed. That's a pretty that's all processed. Do you get it? She's not getting stuck on the stuff. She's not getting stuff in the holes, but she's dancing between the two. That's it.
29:03
S3
And look at her.
29:03
S0
This has nothing to do with I don't know or I know. It's just pure pursuit.
29:11
S1
But there's not many people who do that with you in life. So you end up doing what you do. I end up doing what I do.
29:18
S0
Take take the mic, please.
29:20
S1
Okay.
29:23
S0
She loves this. And you guys do when you do this too.
29:30
S0
So, dear heart, look at me for a moment. Mhmm.
29:35
S0
That's what we're doing is we're creating hundreds and soon thousands of people who we can play this way with. That would be cool. We have them that's what we have. Would they come to our house? We've bought two houses in the last six months other than our house because we won't have them live live there anymore or sleep there anymore. We're particular about that. We now have two houses in town that we bought within the last six months that are that are already filled with people. We have to buy more houses.
30:08
S0
People want this. They wanna play like this. Mhmm. And some of them I don't see, but every two or three weeks. And I I send out a stimulus and they wrestle with it for a month.
30:22
S0
And then I know when they're done wrestling with it. And then they come back that this is this is what we do. K. Great. I can't imagine why anybody would bother to do anything else.
30:33
S1
I don't either.
30:34
S0
No. It makes no sense to me. And from the very first day we began this work, which was about fourteen years ago, I said, I wanna make enough money doing this so that we can pay people around to be around and do nothing.
30:51
S0
Because this is what you get when you bother to do nothing for long enough. And if everybody spent a good deal of time doing nothing, this is what comes up. It has to come up. This that's that's so that's what we do. We've been doing it for no money for about twelve years somehow.
31:12
S1
There's so many people that would pay you millions for this.
31:16
S0
But I'd have to spin it so that they could perceive how it would really work for them, which I can do too.
31:22
S1
I'd spin well for you.
31:24
S0
So I'm in the process right now of training people who will train trainers to work in companies with this. I don't even want to talk to the trainers. I want to train the trainers because the trainers are not grown up enough in this to talk to. And that'll happen within the next year. And they're going to go into companies and the company is never going to have any clue what we're up to and they're going to get massive benefit all over. We now have something called a Respect Day. It is a one day training which the repercussions will go out for years in the company toward everybody working better together. And they will never know the real game we're up to. That's what we do. And this is what Fernando does. I know. Yeah. Okay. So let's play around with your picture sounds and feelings and what comes in. What the heck? Trios, please.
32:27
S0
Please see the visual exercise in your booklet.
32:33
S1
Okay.
32:38
S0
One of you goes first, which is easier than all of you going first,
32:45
S0
I think.
32:47
S0
So that one of you, you do what it is to access pictures fully. We've talked about the eyes some here. The eyes are irrelevant. The eyes generally mislead you. And yet, there's something worth attending to because they're the easiest thing to attend to. But what I want you to do is I want you to go into the world of pictures as fully as you possibly can, which will take going like this and you talk fairly rapidly and you keep your eyes up and you point at the pictures and you have your voice fairly high up because pictures move fast. Away they go. And our I'm walking down the hill in front of our house the other day. I looked up at the house and there's this gray long house on the hillside, and I can sort of see the mountains in the distance a little bit and some of the fall colors. There's yellow there and there's red and a little bit of green around, and we walk down to where this fabulous thing sits.
33:52
S0
It's it it might just look like a tree to you, but this is a tree that last year we missed and this year we didn't. It's about 30 no. Maybe 40 feet high and about nine inches around. Looks like standard bark.
34:10
S0
And it's a persimmon tree.
34:14
S0
And we got to walk down by this, which is down by our pond, and look up and see the tree just covered with these persimmons. Just thick with them in all different stages of development. Got it? Mhmm. Off in the pictures. I want your hands up talking fairly high up. The people who are assisting here are gonna be wandering around helping you. I want the other ones watching because after seven plus or minus two, after they've exhausted their supply, they're probably gonna do something else to fill up their data again. I want you to watch it. I want you to watch them. And if they do something like that, then you can perceive it, say, do you know what you did?
35:04
S0
And if they say no, you show them. You don't tell them. You do it yourself to show him what he did. Now you don't keep showing him the same one. Once you've showed him a couple times, you just assume that one's gonna go on.
35:18
S0
I want you in the pictures. I want you either up into the right, up into the left, or just straight up. Up up into the center is typically auditory I mean, visually remembered, but it could be either.
35:34
S0
Some of you are very practiced at making your pictures straight ahead defocused. I want you up instead.
35:44
S0
Straight ahead defocused is generally really fast pictures that you don't see any of.
35:51
S0
A little pretend fact that I'll give you. She talks. He listens. Yes? Yes.
36:02
S0
There's a little illusion here that what is being exchanged is sound waves. Sound waves are coming over and they're hitting your ear and that's that. All of her pictures come over here too.
36:17
S0
They just come fast. She projects pictures into your head constantly. All of them. Can you get her pictures? When she starts talking about where she lives, can you see it? Because it's in here. What would happen if you started getting access to her pictures? Well, given that pictures are worth at least a thousand words, think of how much less talking would have to go on and how much more understanding would go on if you got the pictures instead or the pictures with it.
36:57
S0
I mean, you guys are renting videos and all you're getting is the subtitles, not even the pictures. But the pictures are there.
37:09
S0
So one of the things you can then do if you start getting your pictures is you can really disturb your own little pathetic world because you not only can fill your seven plus or minus two with your pictures in conversations,
37:26
S0
but you can also put her pictures in there. Wouldn't that be entertaining? All of a sudden, where's the chance for being bored ever in this lifetime? It disappears.
37:38
S0
There they are. Can I see yours? Yes. I can see more of your pictures than you can see
37:48
S0
because you don't see very many of your pictures in comparison with how much of the auditory you hear.
37:55
S0
How fascinating can everybody be for you?
38:01
S0
The only time that anyone could be useful for you is if they run a sample rate of your own data
38:13
S0
that's greater than their sample rate of their own data. Because that way, when they're in interacting with you, they will find out more about themselves than they could otherwise. You follow this? No. He has to sample her data more than she samples her data so that she finds out about herself by being around him. Now you've given some genuine benefit rather than just try to get him to do something you wanted him to do. There's some benefit there.
38:51
S0
He was the greatest sample rate or she was the greatest sample rate runs the game.
38:58
S0
If you don't want a sample because you don't like you don't have a correlation with what's you got a problem. Pretty soon you're gonna reach a sample rate of one.
39:11
S0
One way.
39:13
S0
No fun.
39:17
S0
So hands up, eyes up, in pictures, describing them, sending your pictures over to the other people, let it rip.
39:30
S0
Thank you. That
39:32
S2
was very soft.
39:33
S0
Down he goes. Did you watch him just go? Down he went. Down he went again. I'm bouncing. Down he went again. Come on. Stay up. Don't blink.
39:44
S0
Tell us tell us about what you're saying. No. Down he went.
39:49
S0
See, now he's a smart guy. I don't know if you know this, but he's a smart guy. But watch. He can't help but put his eyes down. It's the only place he's got data. Tell us about it, please.
39:59
S2
Oh, okay. So she's in my room, and I'm and I'm in her room.
40:04
S0
And I can't stop. I'll do that every time he does his access to the other place.
40:16
S0
Oh, long one. That was like a vacation.
40:21
S2
I'm actually starting to feel Except
40:23
S3
the eyes up is the real vacation.
40:25
S0
Yeah. Well Well.
40:29
S0
I'm not doing anything. Yes. You are. You're going down and grabbing data at a different location. Hands up. Okay. A blink doesn't have to put his eyes down, but he puts his eyes down on the blink. He can keep them up and still blink as much as he wants, but that's not what he's doing. This is called automation. It's patterns. He's gonna he wants to come back down. Now you don't but look at him. You like him better. Why? Because there's more of you there. I like you. Look at it.
41:18
S0
This is what you came for, isn't it?
41:19
S2
Oh, I think so. Yeah.
41:23
S0
Ouch. Yes. Ouch.
41:25
S2
You explain away the money now.
41:32
S2
Ceiling work.
41:39
S0
Unknown terrain, and it keeps coming back to
41:44
S0
Straight up. Had a woman who's in Houston who crossed her legs and doubled them around. You know, the wrap thing? And I said, just just leave them uncrossed for a while. Six seconds later, wham.
42:01
S0
Probably, I had people uncrossing them four in the course. In an average day, it was maybe 70 or 80 times.
42:09
S4
At least.
42:09
S0
At least. Back they come.
42:14
S0
This is how we check how patterned your consciousness is. Because he's trying to hold them up, and they keep going down about every eight seconds. He can't hold them up. How automated is the rest of his life? This is not an isolated event.
42:36
S0
But you see, he becomes more available and funny, doesn't he? Yeah. This is not planned humor.
42:41
S2
No. Look at an ocular rodeo.
42:45
S0
That was planned humor.
42:48
S1
Ocular rodeo? Yeah.
42:50
S2
Staying on the horse here.
42:53
S0
And the first optometrist today on the big bowl
42:57
S2
Yeah. Right?
42:59
S2
Because getting dizzy count. Because staying up, I mean, with the eyes because I'm starting the the ceiling's starting to get
43:06
S0
You get the point? That's what you're watching for. You're watching for how quickly they access the seven plus or minus two. This is also telling us something highly relevant here.
43:18
S0
What it's telling us is he doesn't even deliver the seven plus or minus two. He delivers about two of it and accesses again. This is the basis of an insurance man.
43:32
S0
In other words, compared to how big he could play, he's playing much smaller than he could play.
43:37
S1
So the longer you stay up in a position If
43:39
S0
you get
43:40
S1
more in more of those you're accessing?
43:42
S0
If typically. Okay. But I'm also aware of how much he's using of it, which is not which is beyond what we're doing here. But if he goes up there and delivers all seven plus or minus two,
43:56
S0
then he has nothing. He's just run out. He's just had a moment of nothing. You get enough moments of nothing, and those accumulate, and that's peace.