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Illusion Conclusion
Jerry Stocking
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Illusion Conclusion — Core (16 Tapes)
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Tape 4 – Side B
Tape 4 – Side B
IC_T04B
44:19
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Transcript
273 utterances · click to jump
00:02
S0
But he doesn't want peace. He wants to make sure that he gets enough of them so that he goes back down after two War. And picks it up. Got it?
00:12
S1
Can't run out.
00:13
S0
So you want no. Can't run out. Oh, I'm down to 1,100 cans of beans. I've gotta go to 1,152 again.
00:26
S0
That's the insurance nature of it. So this is what you're watching for. Now this may seem irrelevant. It defines how he lives his life. It defines his relationship. It defines his practice. It defines how he lives his life. It defines how he got to the course. It defines everything. It can't help it because everything big is made of subtle tiny pieces. And if you influence one of the subtle tiny pieces, it has an effect all the way out. And if you try and affect the big pieces, I don't know, try eating a whole cow at once with one bite.
01:06
S0
You're gonna fail. You're gonna have food all around you, and you're gonna starve to death. Yeah.
01:17
S2
When you say he accesses information by looking down, does he
01:22
S0
That's just where his is.
01:24
S2
So he's trying to see pictures and they're not there, and he's
01:26
S0
He has a particular storehouse that he grabs his data at, and he gets it there over and over and over at the same place in the same way, and that he calls Mark.
01:44
S0
And it isn't Mark. It's a tremendous limitation that has him not have the life he wants.
01:53
S0
It isn't Mark at all.
01:56
S0
But watch because you can watch him play at this, and he starts to grow up just a little bit. It's not Mark. There is no Mark.
02:09
S0
There isn't.
02:11
S0
There can't be.
02:14
S0
There's just a a mass of limitations
02:21
S0
that he worships at about every eight seconds. Forget Mecca. I've for a while. Try Mark. Put him down, please.
02:35
S3
Oh, you alright.
02:37
S0
Now he's seeing pictures. Yeah. When I'm floating. And seeing pictures. I know. Yeah. But you weren't when you were up there.
02:46
S3
Oh, so you don't see them.
02:49
S0
Shame something else. Go.
02:53
S3
If he practices just that physical act of looking up
02:57
S0
Surprising the difference it will produce. All over his life. You can't ever work on anything big. If he shifts one little piece of his seven plus or minus two, his seven plus or minus two is all predictable now.
03:15
S3
That will shift just his sitting looking at the ceiling.
03:18
S0
Shift have any idea how boring he is to himself. Look at him. Anybody
03:26
S0
who tries to be disinteresting to everybody else has gotta be boring to himself, and this will shift that. We're gonna keep doing little tiny things that will shift everything.
03:39
S3
Should he do this every day?
03:41
S4
Go down here?
03:42
S0
For a minute? Sure. Not longer than a minute or two every day.
03:53
S0
Pictures are much too fast to you for you to add your judgments to. Notice that?
04:04
S0
You don't judge in your pictures. Your pictures go by at a 186,000 miles per second. Judgment happens at a thousand feet per second. You can't judge. You just see.
04:19
S0
That's it. What'd you notice?
04:24
S0
Do you think you did a bad job?
04:26
S4
Did I think I did a bad job? Yeah.
04:28
S5
No. I I got feeling really uncomfortable. K. Where specifically?
04:32
S4
In here. Okay. I got you feeling uncomfortable in here.
04:37
S0
Okay. Thanks.
04:40
S2
When I tried to describe the what I was seeing, I almost felt like my eyes were in a just in a state of disconnect or just a state of flux. I couldn't do both at the same time. I couldn't I couldn't keep the dialogue going and see the pictures apparently at the same time. And my eye muscles almost felt like they
05:02
S0
were vibrating. Watch what happens when he does textbook visual. Tell us a little something about something. Put them up.
05:12
S2
Okay. Describe something. Oh. When I'm teaching my class, I'm sitting in front of 50 students, and I'm up in the front and I'm talking. And they're looking at me, and I'm putting the overheads on, and I'm
05:29
S2
answering their questions. And there's traffic noise, which is annoying, and so we close the windows. And
05:37
S0
Any question? He's seeing it?
05:40
S0
He's seeing it and seeing it and seeing it and seeing it. This is a guy who's not used to seeing it there.
05:53
S0
You're you're used to doing your pictures down here when you do them Right. And getting much less data from them. You now are going up there, and your seven plus or minus two is overwhelmed with pictures.
06:08
S2
Yeah. Yeah.
06:09
S0
And your auditory drops to about maybe one, one and a half.
06:13
S2
There's nothing running the auditory. Yeah.
06:16
S0
Oh, what if life is that easy?
06:21
S0
You're saying it's a problem.
06:24
S0
Where's the problem? There's no problem. You just very drastically shifted the ratio of what goes on in your seven plus or minus two, and the whole world is a different place. But then you instantly label it, that's bad. You didn't say bad, but you used some other words to mean that.
06:48
S2
Uncomfortable or whatever.
06:51
S0
No. It's just a shift. It is not business as usual for you. What the two people who are paying attention to you and your group observe is you being more confident, more available, grabbing more of their attention, and not being some skinny little sick guy.
07:12
S0
Weird. Is that accurate for the two? Yeah. Yeah. He gets interesting, and you're engaged, and you're going, who is this guy? Was he in the group all the time? Because I didn't see him before. I saw him only within his constant pattern of seven plus or minus two, which he's already completely devastated so that it's not interesting to anybody.
07:41
S0
And as soon as he changes it, look at him. It shifts at a cellular level. It shifts stuff all over him. You notice he doesn't look as thin?
07:54
S0
See it?
07:59
S0
You change the seven plus or minus two when you change your world. If your world has been thought of as the whole world, then you choose you change the whole world.
08:13
S0
What if little tiny things that didn't seem like anything at all shift everything?
08:21
S0
I assert that they do,
08:25
S0
and that's all that ever shifts everything.
08:31
S0
You don't need heavy equipment to work on this
08:37
S0
at all.
08:40
S0
Look at him.
08:47
S2
K? Yeah.
08:49
S0
Hey. You're welcome. What else? What'd you notice?
08:58
S4
It seemed that when I went up to tell him the story that I lost them completely.
09:10
S4
Like, all of sudden when you tapped me, it was like I came back.
09:18
S4
So is that where I always that's where I always operate out of.
09:21
S0
As much as he doesn't do that, you do that.
09:24
S4
That's what I thought because it's like as soon as I went up.
09:27
S0
Come on up. Look at him and tell him a little bit doing visual.
09:32
S4
Oh.
09:36
S0
Where'd you guys go? You understand what she's reporting on? You guys no longer exist for her. Mhmm. Meaning, that probably your o seven plus or minus two is entirely on what she happens to be seeing at the moment. What would happen if she maintained one or two of those on you guys?
10:00
S0
Try it.
10:04
S0
It'll take some practice.
10:09
S0
You need a balance of internal and external as well as a balance of pictures, sounds, and feelings. Otherwise, she's got a hiding place that she goes to the way Mark was going to his.
10:23
S0
She goes, I can kill all of you off. Goodbye.
10:29
S0
I am Molly. I am the only one, the original one, the special. Oh, yuck. Okay.
10:39
S0
Yeah. That's the way you kill them all off,
10:44
S0
and it's probably not the first time.
10:49
S0
So work on that. Work on maintaining at least two
10:55
S0
on them. We're talking a splitting of attention now. Attention is defined as the focus of consciousness,
11:04
S0
And we're talking her splitting her attention. She's splitting it already, but she's found out that if she goes there and only there, that she can have her own little hiding place.
11:16
S3
Are these seven constantly changing?
11:19
S0
Let me see. Hopefully.
11:22
S3
That's what we're after anyway is to keep new information coming in all the time.
11:26
S0
We're in for massive variation not only in content, but also in the balance of pictures, sounds, and feelings.
11:37
S0
And then we'll add in some other filters that we're looking for a balance in also. And pretty soon, you can't help but be entertained all the time and never threatened.
11:49
S0
Never threatened. You can't be threatened if anything that shows up in your seven plus or minus two, you're now used to so little variation that the slightest thing out of place and you go, ah, it's horrible. I can't stand it until we get used to this again and make it part of what I'm always used to and then you're not interested, they're not interested, and, yeah, here we are comfortable.
12:13
S3
You should divide them up between the three good equally then. For now?
12:18
S0
Not when you're doing the exercise. When you're doing the exercise, I want you purely visual and then find out what happens with it. Congruity is balancing between the three.
12:32
S0
Revelations are just replacing the whole batch.
12:37
S0
Enlightenment is having whatever shows up in that batch show up in that batch any old time independent of anything you do.
12:46
S0
And it just shows up and it shows up and it shows up. And the moment you get in the way, enlightenment disappears from you again. If you have any preference for what shows up, any of you like carrots? If you like carrots, that's one you wanna keep constant in there and it keeps constant and the carrots get in the way of your perception of enlightenment and you're done. Pretty soon you have to be a carrot farmer because what if there was a shortage?
13:17
S0
The right kind of carrots, though. What
13:22
S0
else? What'd you notice?
13:26
S6
With my eyes up, I noticed I heard I could hear my stories, but I don't but I got to a point where I realized I wasn't seeing pictures, and I was just telling stories.
13:39
S6
And I was
13:40
S0
telling Kinesthetic started to seep in. Mhmm. Physical sensations. Yeah. Watch what happens when he goes up. Okay. Do a little talk for us.
13:49
S6
As I tell stories
13:52
S0
Watch what happens as soon as he puts his eyes up. Where does your attention go?
13:58
S6
As I start
13:59
S0
Down to his body. The kinesthetic starts to show up instantly. It doesn't stuff is all patterned. I'm feeling as I look up, I
14:08
S6
got everything feel. I feel everything down through here.
14:11
S0
That's it. And you direct their attention down to there. They can't help it.
14:16
S6
Really?
14:16
S0
You have no idea how good you guys are at all this. You guys are so good at all this. If you just could gain a slight appreciation for how good at all that this you are, you could trust yourself to unwind it without losing anything. Yeah. The moment you do that, their attention goes down onto your body as does yours, and you're the one directing their attention down.
14:43
S0
You're demanding that they shift their attention down. How often does this happen? Every single time that you go like this. Watch. Do it again.
14:52
S6
Well, when I was
14:53
S0
talking goes your attention downward under the body.
14:58
S0
How many more are there like this about you that are this automated, that are this connected to everybody else? Every one of them.
15:08
S6
Maybe we'll get to them this weekend.
15:11
S0
We're gonna begin the process of playing with them, which you'll the incubation period on this course is about ten years. So then you get to go out into the world, and this will continue. And you'll listen to your tapes over and over again and it will deepen it. And pretty soon, you'll be able to do this and either go kinesthetic or not, and pretty soon you'll be able to relate to absolutely anyone in any situation without fear or any sort of problems and you will become a center for entertainment in the universe.
15:51
S0
It's not that bad to be that.
15:55
S0
You're either a center for fear in the universe or a center for entertainment
16:01
S0
and it doesn't get to instantly be up to you which one.
16:06
S0
It'll take some practice because you've practiced one a lot more than the other.
16:12
S0
Thanks.
16:16
S0
Who else?
16:19
S7
I noticed that when I started to speak and describe my pictures that
16:28
S7
I saw the pictures, and this isn't really wanted what I wanted to talk about, but I just wanted to include everyone.
16:39
S7
When I saw when they were speaking, the other two part my other two partners, I could see what they were speaking about. I had visual pictures in my head. And I guess my question would be was, are the pictures being created by me, which it didn't really feel like, or are they actually coming from the person speaking?
17:05
S0
Would it matter?
17:11
S0
I don't
17:11
S7
know. I guess it would in a sense that I wouldn't be as isolated if they weren't being if they weren't
17:19
S0
being Isolation is always an illusion.
17:23
S0
You aren't isolated at all.
17:28
S0
You have to go to great lengths and do all kinds of weird stuff to convince yourself that you're isolated.
17:38
S0
Isolation is not possible. It's not what you're here for, and it's not something you can do. Earth, I mean.
17:48
S0
You you can't do it.
17:52
S0
And you can think you're isolated all you want. You could even think that repetitiously running an auditory loop that said you're isolated.
18:04
S0
You could even try and behave in such a way and dress in such a way and sit in such a way so that you kept other people away as much as possible to verify the loop that you're running. Yeah. That's different. Couldn't you? Totally.
18:22
S0
You can even do a handstand in front of the group, and everybody would be sufficiently embarrassed by you. But you wanna embarrass get anywhere near you. For you, embarrassment would be sitting doing nothing.
18:36
S0
Embarrassment for her might be doing a handstand.
18:39
S7
That's true.
18:42
S0
It is?
18:44
S0
Shucks. I hit on the truth by accident once, folks.
18:49
S6
Thanks.
18:50
S0
Yep. Anything else?
18:52
S1
Jerry,
18:54
S1
I'm Vicky. I have a question. From having the my eyes up, I can still feel the sensation in my I guess it's in the muscles of the eyes Mhmm. Where they were up before even after this period of time. Is that because I don't use it use that?
19:14
S0
Typically, yes. And you just need to practice for a minute or two a day. Minute in the morning, minute in the evening would be fine. And it won't take too long. You probably held them up for longer than they needed to be up. Put them down then. You don't need to
19:33
S0
this isn't like okay. Up.
19:38
S0
Up. I'm keeping them up. This isn't like that.
19:43
S0
Little bit here, little bit there. That's all it'll take and they'll get used to it. And then what'll happen is you'll get in a situation where tough stuff hits the wall and you would normally have to react in some certain way and you'll do some access, fill your seven plus or minus two with something that it normally wasn't and you'll do something completely different than you would normally do and you'll be surprised by the result.
20:15
S0
Very surprised by the result.
20:18
S0
And that now is an occurrence under pressure that just plain didn't go the way that it usually does, and that chalks one up for that. And then somewhat later on another one will go there. And pretty soon life becomes very unpredictable and quite interesting. And it's worth then staying tuned to what's going on rather than just keeping on trying to make up what's going on because what's going on out here becomes sufficiently interesting that you don't need to make up something contrived to try and have it be.
20:52
S0
You you go for interesting instead of defendant. The two are often related, though they have nothing to do with each other.
21:04
S0
So a minute in the morning, minute in the evening, that's fine to start. Okay. Anything else? Yep. Mike?
21:13
S8
Okay. I'm trying to think of what my question was now. What I realized
21:18
S0
So watch what she just did access wise.
21:21
S8
What I realized when my eyes were up is that I could see the pictures very clearly, but I was having a hard time describing them to the I I felt like I couldn't find the words to describe the pictures. And Molly said that my eyes were going from side to side, and I was curious as to what that would reveal about.
21:44
S0
Just visually remembered, visually created, visually remembered, visually created. You're making them up and seeing ones you've seen before. Mhmm. Not so different than what Pat was doing as far as you typically don't go up and stay up. You typically go up and grab something and then come back down. If you go up and stay up instead of that, you have interrupted your cycle.
22:10
S0
And the very interruption of your cycle is sufficient to alter this so you can't, in a comfortable way, report on it. Okay. You've stirred up the system. That's all.
22:22
S8
So it's a matter of going up and staying up and practicing going up and staying up?
22:25
S0
Yeah. And those of you who go up and stay up, try going up really fast and coming back down.
22:34
S0
Watch her. See, she's not used to that.
22:38
S0
She's not ready to come back down yet.
22:42
S0
There's so many parameters to vary this on that everywhere in the universe is entertainment but where you are.
22:52
S0
And if you start varying it, you'll be the entertainment too.
22:58
S0
Entertainment may seem like a trivial word, but I'll tell you, it isn't.
23:05
S0
What do people pay for entertainment? They
23:11
S0
only call it work because it's not sufficiently entertaining.
23:20
S0
It it'll vary it, and you go, who am I? And that's what I want you saying is who in the world am I?
23:32
S0
Close your eyes, please.
23:40
S0
Okay. Open them.
23:44
S0
What's different up here?
23:47
S0
Bottle's been moved.
23:54
S0
It's a chair. No.
24:00
S0
Table? Nope. Good try.
24:06
S0
Fireplace? Mic's been moved. She got the bottle and the mic. One more. This
24:16
S0
was like this, and now it's like this. All of that data was in you,
24:24
S0
and you didn't have access to it.
24:27
S0
What else don't you have access to? Because it's in there. I promise you it's in there.
24:36
S0
You need to attend to visual internal and visual external. You need to balance between the two. You need to see her and you need to see an image of her.
24:53
S0
Now if I see her and I'm thinking, gosh, you know, be nice to ask her out. And let's say I'm not very confident. I see her then I go, you know, it'd nice to ask her out. To what degree is the picture in my head gonna match what she looks like out here?
25:18
S0
What you do is you spin it. Not spin the picture, but you add something to it. Chances are quite good. You will do whatever you need to do to the picture to make her sufficiently intimidating so that you don't have to ask her out.
25:38
S0
In the translation between out there, there she is, and in here,
25:46
S0
you translate it to justify
25:50
S0
not putting yourself on the line. Can you guys notice how you might do this from time to time? How often do you suppose?
26:01
S0
So what happens in the translation between what you see out here and what you see in here?
26:10
S0
That's where your personality, your insecurities, where your identity, where all of that has its way with it
26:21
S0
and messes it up. So that in here, you can come up with stories for why you would do this and you wouldn't do that and you could do this and you couldn't do that.
26:33
S0
What if you could take the image from out here and put it in exactly how it is? There she is. Oops. All of a sudden, I'd be able to ask her out or not, wouldn't I?
26:46
S0
Almost everything in your head is spun. You've altered it in the translation from out there to in here, and you've done so using a bunch of filters, and you've also done so in order to see, the picture of her in here doesn't get in here until it is past muster, which is it has to be compatible and fit with everything else I've got in here.
27:13
S0
It's gotta become not threatening to the illusion that I'm currently holding in place or I won't let it in.
27:23
S0
This means that you perform all kinds of magical nastiness on it to get it in. You convert gold to lead.
27:37
S0
It's called anti alchemy.
27:42
S0
She really wasn't as cute as I think she had a huge mole. Yes. A gigantic mole.
27:51
S5
So if you have no illusions, do you let everybody in?
27:57
S0
Yes.
27:58
S4
Okay.
28:00
S0
There's no danger in letting everybody in.
28:05
S0
And this seems with an illusion like there's danger in letting anyone in.
28:11
S5
Right.
28:12
S0
There's no danger in letting everyone in.
28:14
S5
But would you still want to let everybody in?
28:17
S0
It doesn't matter what you want. In the world of illusion, it matters what you want. Outside the world of illusion, it makes no difference what you want.
28:27
S0
What you want disappears.
28:33
S0
But let's get to a more important question, much more important, who would I hang out around?
28:41
S0
Would I hang around around anyone? No. I would be tremendously selective who I would hang out around.
28:50
S5
But then you're putting up those?
28:52
S0
No. I don't put anything up.
28:54
S5
But aren't you filtering out the ones you don't want then?
28:57
S0
No. I'm just not being around them.
29:00
S0
That's different. It doesn't have my head have to do the work. It has my body do the work. They're there, and I'm there. The ones those. But see, you are around them. How many of you work with people you don't like? Raise your hands. You have to filter them out in your head. Those of you who didn't raise your hands either don't work with anybody or pretend you like them.
29:28
S0
See, I don't I don't be around them so I don't have to filter them out in my head. But also another major thing happens here, which is I don't resist any of you and so you come in and you go out.
29:42
S0
You resist them and they come in and stay in. You've all heard the old story of the monk. Two monks walking and the woman's waiting, standing by the creek.
29:54
S0
And the monk says, you know, do you wanna get across? And the woman says, yes. I do. And he grabs her on his back and hauls her across the creek. And the other monk is tremendously offended, horribly upset, can't believe given their vows and given everything like this that that he would do this. And much later when they're back at the abbey or whatever it is, he says, how would you dare do that? And the other guy says, well, I carried her just for a short distance across the creek, and you're still carrying her. It's your resistance that has them be a problem for you.
30:34
S9
Well, that person, I like the way they looked, way they said this or that. You're just playing it over and over and building up resistance, and and and that's what
30:42
S0
you do. You're making it important
30:45
S9
Yeah. Yeah.
30:45
S0
And you're making it a fact. And to tell you to stop it doesn't work.
30:51
S9
Yeah. It won't.
30:53
S0
What works is to play with these little tiny exercises that we're doing here that seem like nothing at all and to play with them like your life depends upon it even though you can't understand how they would help or do anything.
31:07
S9
I'm just saying just
31:08
S0
to release. What? We just
31:10
S9
have to release and just have an open mind.
31:14
S0
Okay. Everyone, release and have an open mind. We're talking about the technology to do such a thing. Yeah. That's what we're talking about.
31:26
S9
And that's
31:26
S0
what it leads to. Yes. But you have to stick with it past the point because while you're practicing and playing with this stuff, you're gonna go, it's not working. It's not working. I'm gonna go do something else. It's not happening. That's what you're reminding me. If this wasn't longer than your attention span, you'd already have it. So then it forces you to have to trust in between the I mean, Fred comes up to me and he says, what is it with this Judy girl? This one here.
32:01
S0
He's not ever seen anyone who worked with us for years. He's now worked with us for years, but he hasn't gained the perspective on what he's gotten. There's a cybernetic principle which is that you cannot perceive in a reality until you behave in that reality. He's been so close to us for so long that he doesn't know what's going on with him,
32:28
S0
But he's been around thousands of people now playing with us, watching them that when he sees her, he sees something completely different than anything he's seen in any of these other people. And she didn't start out that way. I don't think so. I don't think so. Now how long have you been away? Four years. Four years. And the repercussions keep going on and on and on and on. And my suspicion is she's been practicing too and will practice from now on out, and it's worth it.
33:06
S4
I'm back.
33:06
S0
And she's almost unpatterned, And you won't run into very many people in the world who are almost unpatterned, even actors. You know? So some of them like what's his name? De Niro. Same patterns every part. Same exact patterns every part. They get interesting if they don't run the same patterns every part.
33:32
S0
But if you're all patterns, you probably like it when they run the same patterns every part. Yeah. So I'm saying you've gotta keep practicing even when you go, it's not working. It's not happening. It's not well, it is. It can't not.
33:51
S0
Take ten minutes. Come on back, we'll get into auditory.
34:07
S6
So
34:08
S0
if there's gonna be a problem, it's gonna be in your auditory. It's gonna be in those marvelous conversations that guide no part of your life and have opinions about every single part of your life.
34:23
S0
And the more of your seven plus or minus two those fill, the more trouble you're gonna have.
34:34
S0
Because among other things, auditory, and there's nothing wrong with it. It just happens to be consistently the problem. It doesn't need to be the problem at all,
34:47
S0
but it does happen to be, and part of that is words. Remember the blah thing? How much fun it gets to be as soon as you're blahing instead of words? It's that easy to have fun with it.
35:02
S0
But auditory is sequential,
35:06
S0
incredibly slow.
35:11
S0
So it can be fun,
35:14
S0
but it usually isn't.
35:20
S0
One of the easiest cures for auditory is to make it external instead of internal.
35:31
S0
So here's an external auditory test. K?
35:37
S0
I want you to
35:41
S0
please hear all the words.
35:46
S0
Should we start out hard, easy, or in between?
35:51
S0
We'll start easy and then go a little harder. Every word.
35:57
S10
Jerry plays a song with a lot of words. Please see the music list in the back of your booklet.
36:31
S0
Raise your hand if you don't know what it's about.
36:38
S0
That's it? I'm not sure. Not sure what it's about. Not sure what it's about. What's your guess? Losing weight. Losing weight. I think society programming is whatever they I love the Cliff Notes version. Okay.
36:59
S0
They're thighs. Somebody tell them what it's about. Liposuction. Liposuction. The whole thing's about liposuction.
37:10
S0
Stick the
37:11
S1
Needle
37:15
S0
suet thighs. Sure. Then fill the jelly jar full of lipids.
37:24
S0
Stick a needle in its hello, sailor.
37:27
S6
And the means of how you're perfect and
37:33
S0
They're fast. They're really fast. Now we'll give you easy.
37:40
S0
Here,
37:41
S10
Jerry plays more music for the participants to listen to the words closely.
37:47
S0
If you can get your attention off of your internal auditory for a little bit, you can hear something outside. How many conversations did you have about problems during that? Now it takes pretty much a year seven plus or minus two, doesn't it? What if you were talking to a loved one loved one and you didn't need to defend, which is internal auditory, you could just listen to them. And you didn't even need to respond in advance of them finishing the sentence.
38:21
S0
And you didn't even know what you're how how often have you spoken to somebody you loved and you knew what you were gonna answer to what they were saying before they got done? How many of you have ever not had that experience? Raise your hand.
38:36
S0
That's an auditory quandary I just put you in. So
38:42
S0
during this exercise, I want you in threes, please, again.
38:48
S8
Remember
38:53
S0
that it is the ones that you don't attend to that dominate your life.
39:00
S0
It is the systems as far as visual, auditory, kinesthetic, or whatever doesn't make it into the seven plus or minus two that dominates your life. The part that makes it into your seven plus or minus two makes up your little stories, not your life. So now let's play around with it. Auditory appears something like this. Down into your left, let's do auditory digital first here, and you go kind of monotone from fairly middle of your chest and you drone on like a congressperson. You forget about the pictures and you will pay very close attention to the words that you're speaking because it turns out that the words are all important and they are really what determines what's happening. Do you understand what I'm saying? Yes. Mhmm. Yes. So hands somewhere around the mouth, you can do this. This is a very standard auditory thing. Some kind of repetitious beat that you're creating for yourself in your head.
40:17
S0
Eyes stay down into the left. Ever talk to someone like this?
40:26
S0
This? You ever marry someone And they want you to know everything, don't they? You wish they'd shut up for just a little bit, but they won't, or you even wish they would go up in their tone of voice, but they don't. They stay right somewhere around there. And everything is sequential, and everything is slow, and everything is delivered through the auditory. So that's what I want you to do this time. The other two people, if you notice them doing some if you notice them doing something else, point out what they're doing by doing it yourself saying this is what you're doing. We're gonna have a number of people in the room who go like this.
41:10
S0
And now I'm really going pretty auditory.
41:18
S0
See what's happening? It's pictures. It's pictures. It's pictures, pictures, pictures, pictures, pictures, and I'm not really hearing much of anything. Try making it as auditory as you possibly can. Just the sounds, use words like listen to and hear and sounds to me like go.
41:44
S10
Please listen into the auditory exercise in your booklet. You have
41:51
S0
your own incongruity that you have to find somebody whose incongruity happens to fit with yours. Then it's a tremendous numbers game. You gotta sort through until you get somebody who fits with yours. Now that doesn't mean fits with yours and it works. If your self esteem is such so that it has to fit with yours and not work, that's what you'll find.
42:16
S0
It's your incongruity. He goes down there and it's all pictures, tons of pictures. I suggest that he talk much more slowly. He talks more slowly and it's all kinesthetic. Where are the conversations?
42:30
S0
I will find out.
42:33
S0
Where are the conversations? I can tell you one place they are. In his wife.
42:43
S0
Because she does auditory auditory auditory auditory auditory auditory auditory auditory auditory. Imagine the repercussions of this silly little game.
42:53
S0
We got one god arguing for auditory. We got another god arguing for a strange mix of visual and kinesthetic. What do the kids do? They go, I can't please them both. It's like one says, you go to your room, the other one says, you go to the kitchen.
43:14
S0
And the kids go, I don't know what to do. Because he's saying, take on these patterns, and she's saying, take on these patterns, and they're different patterns. Can you understand the relevance of this? Put the young child in a double bind
43:33
S0
because they're demanding that the child do something that fits with their patterns,
43:38
S0
and they don't fit together very well. I mean, they're still together, but but there are lots of misses Mhmm. In this dance.