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Illusion Conclusion
Jerry Stocking
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Illusion Conclusion — Core (16 Tapes)
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Tape 7 – Side B
Tape 7 – Side B
IC_T07B
44:56
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Transcript
264 utterances · click to jump
00:02
S0
It's all in there. You zip into here with some stimulus and out comes Zip. A response.
00:13
S0
Lake. Cold water. K. Anybody get a picture of a lake? Mhmm. What's the name of the lake that you saw a picture of if it has a name? Minnetonka? Kittatinny.
00:30
S0
Okay? Michigan. Oh. Michigan? The one
00:32
S1
right out here.
00:33
S0
The one right out here. Who else? What's the name of the lake if it has a name? Candlewood. Candlewood. Champlain. Champlain.
00:44
S0
What's the likelihood any of you saw the same lake?
00:49
S0
So much for human communication. That's one word.
00:55
S0
Stove.
00:57
S0
Any of you see a picture of a stove? Did you pick what stove you saw? Absolutely not. And then you might have done something with it afterwards, and it shows up first.
01:13
S0
What's your stove like? Raise your hand if you saw a wood stove. Look around. Okay. Thanks. Raise your hand if it was a more recent stove. Thanks. Raise your hand if it was a stove that you currently own. K. Raise your hand if it was a stove that you once burned yourself on. No. We haven't got that. All different stoves. You aren't ready to speak in sentences yet because one word sends you on a search of your files and you come up with a response. How fast? Really fast. Really, really fast. The only chance we have as human beings is to get between the stimulus and the response. It's the only shot we've got. Primarily because lizards are better at stimulus and response than we are. So are dogs, plus they eat better. Cats, all of these critters are better at stimulus response than we are. We gotta figure out how to get in the way of that.
02:22
S0
Bugs, much better at stimulus response than we are. Not even close. It happens so fast for them
02:34
S0
and they have so few they have to attend to.
02:38
S0
How many stimuli stimuli and responses do you have to attend to in a day? It's a big world. Do you know that you make more choices in a day than Julius Caesar made in his lifetime? Check it out.
03:02
S0
You walk into the grocery store and here's the cereal aisle.
03:08
S0
How many potential choices do you have here? Hundreds and hundreds.
03:17
S0
How many choices do you have? You walk to your closet. How many outfits you figured Julius Caesar had?
03:28
S0
He didn't need them. What did he need them for? He made almost no choices, and he was the ruler of the known world like you.
03:43
S0
It's just such a different known world, isn't it? His was bigger than yours, at least maybe. How much information do you figure he had to keep tabs on?
03:54
S0
I want a picture of Julius Caesar on the Internet in his computer. He didn't have to know much, did he?
04:05
S0
He didn't even have to try and have stuff be fair.
04:12
S0
No. Whatever he said was it. Just like you. Only in this little kingdom. He didn't have morals. He was morals. Whatever he said was okay was okay. That's what you're trying to do up here. So some stimulus occurs and you zip through your picture sounds and feelings, you've indexed these little rascals. You've got all sorts of indexes, and the way that you index them deeply influences what comes out on this other side.
04:52
S2
Please refer to the picture sound feeling diagram again.
04:57
S0
So a stimulus happens and then a result a response results.
05:03
S0
The response that you become conscious of because I say automobile. What a picture.
05:14
S0
Your car, the one you currently drive. For how many of you is it the one you currently drive? Look around. You
05:24
S0
got two others.
05:26
S0
What do you picture? Old car. Old car. Old car. Old car?
05:33
S0
A model t. So yours is black. Is it black? Right now. Yeah. It's cream. You took you like it black. She likes it with cream. What chance have you got?
05:46
S0
What do you get? Automobile. What did you get? Red car. Red? Sports car? Or what'd you get?
05:54
S3
Little blue cartoon
05:55
S0
car. K. All different automobiles. Okay. Vehicle. Jeep. Bicycle. Jeep. Bicycle. How different can these get?
06:10
S0
Pretty different, can't they? Any of you get a train? Yes. K. Who got what they think is the weirdest in the room?
06:19
S4
We got tow truck.
06:20
S0
Okay.
06:23
S0
When you come up with one, the one you come up with is somewhere between your eighteenth and twenty fourth. The one you become conscious of is somewhere between your eighteenth and twenty fourth. You always miss the first 17. You overlook those. Those don't get access. Those don't get considered in your sample rate. They don't. You get somewhere between eighteen and twenty four. If you're getting 24, you're having a hard day. If you're getting 18, things are flowing along quite nicely.
07:07
S0
The lizard doesn't get somewhere between eighteen and twenty four. The lizard gets the first one and out comes the tongue. The lizard's got you beat by 18 to 24 every single time.
07:25
S0
It's there before you get there. It is. You don't have a chance. You can't beat them in this. The reason you get you missed the first 17, The first 17 is created as a place for consciousness to play.
07:44
S0
Only you're using consciousness to try and control stuff, So it doesn't get to play there. That's where it's supposed to play. That's how you were created. It's a physical thing there. That's how you were created. If you ever get back to number 17, you got a revelation.
08:07
S0
If you got to 16, you got a miracle.
08:14
S0
By the time you work your way back to 10, I can't even tell you.
08:22
S0
That's where you're supposed to be playing with consciousness instead of trying to absolutely mess up the whole world or somebody else's world. That's what that's for.
08:37
S0
In other words, the really, really good news is you have a whole lot of area to play in that you're currently not using.
08:49
S0
So how far out think of these like ripples in a pond.
08:53
S0
You throw a little rock in. How far out do they go?
08:57
S3
As far as the water goes.
08:59
S0
Yes. In this case, the water is the universe. How far out does it go all the way out? So out of a possible
09:10
S0
infinite number, you grab a little sampling which is between eighteen and twenty four.
09:19
S0
Anytime you get past
09:24
S0
it's slightly different for different people. But anytime you get past for sure, anytime you get past 40, you're deeply in peace because you didn't have to respond. By then, it is so such a small demand for response that you don't have to respond. You can observe it.
09:50
S1
This is the watch here.
09:51
S0
And then at a certain point further out when you get to about oh, in most people's case, right around 60, you say it no longer exists
10:05
S0
because you can't perceive it. You can't pick it up.
10:09
S4
The stimulus no longer exists?
10:11
S0
Yes. You you no longer could respond to it because it doesn't exist.
10:17
S0
It has ceased to exist. Peace has demolished something. In
10:24
S0
other words, it has gone subtle enough that it is no longer within your sensory realm.
10:32
S0
So you can't get it with your senses after that.
10:37
S0
It doesn't mean you can't get it because your senses aren't all you've got. Remember, I talked about pattern, patterns, awareness, consciousness, and we add the next one, spirituality. Spirituality is what happens after death, which is after 60.
11:02
S2
Refer to the stimulus response peace diagram.
11:07
S0
I don't mean sixty years.
11:10
S1
I hope not.
11:11
S0
You you get it, though? Yeah. That's what happens there. So you've got a spectrum to play in, and you play right in here almost all the time. That's your playground given an infinite field that you could play in.
11:29
S0
You play in this tiny little playground of it. I'm not saying that's wrong. I'm saying, what is that set up as far as potential? Oh my gosh. You mean if I went to 17,
11:46
S0
I can have revelations all the time? Yes. Nothing but. Anything you thought would be a revelation. You mean if I just went out a little further, all the way out, I would have to respond less and less? My need to respond would diminish? Yes.
12:06
S0
How many times do you fix it when it's not broken? How many times do you try and do it when it turns out that it would have turned out anyway? You gotta do it. How many of you have rose bushes? Go out there and open them up before they open up on their own and find out what happens.
12:25
S0
They just don't look the same. How often do you try and fix it before it does its natural thing?
12:37
S0
Every time you're in here,
12:41
S0
gosh darn it, with kids, you've gotta learn this. How often do you get the way in the way between the kids and the natural consequences of their action? What does that do? It makes them dependent on you. And if they're dependent on you, they're gonna be dependent on somebody else when you're not around,
13:01
S0
and they're gonna start to become dependent on culture, and they're gonna become little automatons who are wired into the whole thing, always dependent on out here for finding out what the heck's going on.
13:12
S1
Some of the
13:13
S0
schools And TV is great with that. Because it provides all the entertainment out here. And schools are perfect for that.
13:20
S1
They kill a lot of learning.
13:21
S0
Yeah. They do. I had somebody the other it was down in Houston last week, say to me,
13:31
S0
Jonathan's kids homeschooled, but they don't they don't really homeschool them. They just have the books around. I said, of course. Because given the books around, the kids just wanna read the books. The kids even set up specific times during the day when they're gonna read the books and what they're gonna study about and what they're gonna learn about and what they're gonna they can hardly wait.
13:55
S0
And how much did you enjoy the literature you read in high school? Mhmm. And you go back to those now out of wanting to read them, and they're a delight. They're incredible. Aren't they? Yeah. You go back and you go, oh my gosh. Read the classics. Please skip Grisham and skip this dumb down trash. Go back to that stuff that you didn't want to read back then and you'll find out it's readable. Not only that, it makes you smarter, the very act of reading it.
14:35
S0
So what if we could just get you to 17 regularly or maybe even 16 every once in a while? That's all a matter of only one thing,
14:51
S0
speed.
14:53
S0
Speed is always and only a matter of one thing, which is what you're carrying. The more you're carrying, the slower you go.
15:05
S0
The more junk you're carrying, the slower you go.
15:10
S0
You you have to. I got this and I got that and I got this and I got pretty soon you can hardly move.
15:22
S0
A neat little trick occurs here,
15:26
S0
which is we don't have to speed you up tremendously to get you to sixteen and seventeen. We've discovered that if we get you moving out this way
15:38
S2
Please refer to the stimulus response piece diagram again.
15:44
S0
Of course, the whole thing circles around, and that's the shortest route to get you back. We can't get you back this way because we're trying to accelerate you with all the stuff. We can move you out far enough, and it turns out if you're not responding at a certain point, a really magical point, you become the stimulus.
16:18
S0
So if you throw a pebble in the water, the ripples move out. Right? No.
16:25
S0
They don't.
16:28
S0
No ripples move out. That's they just move up and down. What moves out?
16:34
S1
I don't know. Energy or
16:38
S0
You gotta just grab for ideas, don't you, of what moves out. You guys know this. Right? Ripples? They move up and down. There's no movement that way.
16:51
S0
And so do you. You move up and down.
16:57
S0
Shucks. That's reminiscent of something, isn't it?
17:00
S2
Refer to the high low diagram.
17:07
S0
And then you say, wow. I'm doing okay.
17:15
S0
Pretty neat. Pretty great stuff. And you get down here and you go, oh, ick. I hate it. I don't like it. As a matter of fact, I don't like it so much that I'm not gonna take it anymore.
17:33
S0
So you draw a line down here that you will not go below.
17:41
S0
At least, and here's the important part, you won't perceive anything below that line. It doesn't mean you don't still go there. It means you won't perceive it. And given the nature of this beast and the mirror like nature of this beast, when you draw that line there, you also draw this line here. Refer to the high low diagram again, which makes it so that you can't perceive anything any better than that. And given the nature of a human being, within fifteen minutes, this now becomes the status quo, and that's it. That's life. So you blank out all of this, and you blank out all of that. You trade it in. You trade in the highs because you don't want the low. And then you've got this tiny little area that you can live in. And then on top of that,
18:39
S0
this is the highest high. That's the lowest low, and you're still obeying the same sort of time clock.
18:48
S0
That's your perceived way of living
18:53
S0
because you have to stay within this.
18:57
S0
The only times you get to wake up are when you cross the line of where you actually are, and that is called sample rate.
19:13
S0
That is the rate at which you sample out here to compare it to your model in here. Those are the moments of awake. And anytime that you aren't awake, you're shut down. And then when you wake up, you go, ah. Gone again. Ah, this is what you do.
19:40
S0
The idea isn't to stay awake all the time. The idea is to turn off faster and turn back on faster. Because in fact, the universe turns off and on over and over again very, very, very, very, very, very rapidly. You're supposed to simulate the universe because you are the universe and so you have to do it much faster.
20:02
S0
But the only times you get to be awake are right here. And then you say, these compose the world.
20:13
S0
Sees in your model could be come an opportunity for incredible entertainment
20:22
S0
rather than some kind of trauma. This isn't what I thought it was at all.
20:28
S0
As a matter of fact, almost nothing is what I thought it was over and over. Isn't that true? It's not what I thought it was. I got married. It's not what I thought it was. I got a business. It's not what I think it is.
20:45
S0
I got this face. It's not what I think it is. None of it's what you think it is. That's the joke.
20:52
S0
That's the good news. It's not what you think it is. Even when you're upset, it's not what you think it is. Even when you're high as a kite, it's not what you think it is because you aren't anywhere near this. Now one of the things we have to do in this course is we have to up your highs, which then is gonna produce lower lows. We have to push them out so far. If we push them out past the point that they in fact are, so that we get them way the heck out there. All of a sudden, you do a really magical thing, is you fold time.
21:30
S0
Because you're in transit so much going so high and so low that pretty soon it doubles back on itself and you move to a whole another system.
21:44
S0
That's the point that you're looking for.
21:48
S0
And you can't get there by minimizing your emotions. You have to get there not by dramatizing them, but by maximizing them. You've gotta get the highs so much higher till you can't even stand it. By the way, people can stand an awful lot more in the way of down than they can in the way of up. They hate the ups.
22:12
S0
You've got to get it so high and so low.
22:16
S0
But watch yourself in this course. An emotion comes up. We had yes. We had a bunch of this yesterday and a few people that were sitting here. The emotion starts to come up. Go, down
22:26
S0
it goes. You did it. You did it. Down it goes. That's not cool. Can't even be there. Don't dramatize it. Get the highs higher and the lows lower.
22:44
S1
Well, I'm intrigued by by the new system. You you you say we start this circle. I mean, I went all the way to to the new sis what's the new system?
22:55
S0
So are you willing to be patient and find out even if it takes two hundred years?
23:01
S1
I don't wanna wait that long.
23:04
S0
If you don't wanna wait that long, then it's not gonna be yours. I don't even want it.
23:11
S1
The new system?
23:12
S0
Yeah.
23:14
S0
I don't want any part of it. I'm tired of it.
23:22
S0
Is that Dorothy.
23:32
S0
What would I tell you that would be of benefit to you?
23:36
S1
But it's just that you you you've made that remark, and I is all and then then then, like, there's something else up here. And and what is it? Or or how do you know?
23:49
S0
Get curious
23:52
S0
about what this is
23:56
S0
and get really curious about what this is and get really curious about what this is and get really curious about what this is and what this is. And how you get curious about what those are
24:11
S0
is you attend to these more than ever before.
24:18
S2
Refer to the high low diagram again and figure out how
24:23
S0
to squeeze just a little more high out of this one so that it goes up a little bit and then expand your world. And then figure out how to squeeze just a little more low out of this one and it goes down and that expands your world. And pretty soon you've moved these lines out and then you've moved anytime this one moves out, this one moves out. That's enough to keep you massively occupied.
24:50
S1
For two hundred years.
24:52
S0
Sure. Otherwise,
24:56
S0
I could probably give you a shot.
25:00
S0
I could. As a matter of fact, I know I could. I've done it many times with people, and it's of no benefit.
25:08
S0
I'd give you a shot and you would within ten minutes be denying that it happened.
25:15
S0
You'd have no place to put it in your system. You would have absolutely no place to put it. Now if you weren't able to deny it, then you'd really be in trouble because everything else in your system would pale in relation to it and you just lose. It's like you win the lottery and you you throw your money away. So most people who win the lottery, you know that. They don't deserve it, so they get rid of it.
25:42
S0
I could give you that.
25:46
S0
It's really funny. Every once in a while, I get carried away in a course. Every once in a while. You haven't seen it yet. If you see it, you're in deep trouble here.
25:56
S0
But we had a personal renaissance course. What month was that? September. September. I got carried away. I did. I performed a miracle right in front of them. It had to do with life and death, And I performed a miracle right in front of them. There's no question about it. Anybody that was there knew it.
26:21
S0
I regretted it the moment I did it.
26:28
S0
What in your life is more important than a miracle?
26:34
S0
The answer is almost anything
26:39
S0
which happens to be in your seven plus or minus two at the moment.
26:47
S0
The neat thing about horses, like when they put the blinders on them, they put them like this. With humans, they do it differently.
27:00
S0
I see. See, the only way you can know anything is if you block all the data.
27:07
S0
Don't let any in or you're in deep trouble.
27:13
S0
So what I'm telling you, basically, to bottom line it, is if you were a little less of a lizard, you'd be a little more of a human.
27:22
S0
So now let's figure out how to get you to be a little less of a lizard.
27:27
S0
What the heck? You understand I'm not saying that any of this is bad. It's gotten you here.
27:35
S0
Here you are, and you've lived the best that you could, and it's pretty good, really.
27:43
S0
I mean, by quality of life terms, how many has at least how many people have at least one TV in their house? Raise your hand. See? Real quality of life. How many have more than three? Raise your hand. Oh, come on. Somebody yes. I knew it'd be you. Somebody has to have more than three.
28:06
S0
None of the rest you don't have more than three? Me? Yeah. No. You have none? I got one. One? Black and white? No.
28:15
S0
13 inch?
28:25
S0
See, you wanna go to the other system before you handle this system. You've gotta handle this system. First. I get these calls from people back when I used to talk on the phone. They said I'm really interested in astral projection. I really wanna put myself anywhere and everywhere and all of this and all. And I say, are you married?
28:47
S0
Yeah. But I really wanna put in say, how's your wife?
28:52
S0
She's fine.
28:56
S0
Wife is not fine. The kids are not fine. The house is not fine, and they're ready for astral projection. I don't blame them.
29:07
S0
It's the only way that they could possibly get away from the obvious fact that nothing's working.
29:15
S0
You can't do astral projection to get away from something.
29:22
S0
If you are absolutely, completely, and utterly satisfied here and everything is totally perfect, you don't get to stay anymore.
29:34
S0
Until then, the aliens won't land. They're just circling around out there waiting until you love everybody. Until everybody loves everybody. Until then, we'll oppress ourselves significantly enough. But when everybody loves everybody, I'll tell you, you cannot believe the fascinating things that will happen.
29:58
S0
I mean, you think it's hard to get along with your spouse. Think of when these things land.
30:06
S0
Most of them aren't even carbon based.
30:10
S0
We're really in for some fun then. Then you'll have an excuse for not getting along. Now you got none. They like the wrong kind of flower. They don't understand when the garbage should be taken out. Oh, astronomical traumas.
30:27
S0
That's worth getting divorced for. Oh, they play racquetball. How nice. Let's get married.
30:36
S0
The amount of trivial you fill your seven plus or minus two with. If a lizard could think, they would think higher thoughts, at least for a little while. Not for long, but for a little bit they might.
30:56
S0
Pair up, please. What seems to energize you guys,
31:04
S0
I wouldn't get near with a 100 foot pole.
31:10
S0
It hurts too much.
31:15
S0
It's time to reduce the level of stimuli necessary to produce entertainment so that you can become someone who generates the entertainment independent of stimuli and becomes a stimulus. In other words, time for you to become a sun instead of a moon.
31:37
S0
The moon just reflects stuff. The sun can't help but generate it.
31:47
S0
Any questions about this before we attack some exercises? Yep? Could you repeat what the orange circles are on those lines? We call them Nielsen points.
32:00
S0
Got it. Those are the households that you sampled to find out what everybody was paying attention to. So those are the moments that you woke up and checked out what was here and then went back in and disappeared.
32:22
S0
That's sample rate.
32:29
S0
And what beats a fascinating pulse in your life is the relationship between sample rate and attention span.
32:40
S0
The relationship between the seven plus or minus two and the sample rate is a very concise mathematical dance which has spun out who you are and couldn't have spun out anyone else.
32:59
S0
And a tiny alteration in that spins out someone else in that same location.
33:08
S0
And the more often you spin out someone else in that same location, the more of a stimulus you become. And the more the environment clears out an area for you to dance.
33:21
S4
You said that these great big up and down
33:24
S0
Do you guys have any idea how sweet he is?
33:28
S0
He's like one of the sweetest purse people I've ever had in a course.
33:33
S4
I got a feeling this is not good.
33:35
S0
You know that?
33:43
S4
These up and downs has has real highs and real lows. You said that they're going on all the time, and we sample it. And I thought that
33:53
S0
that Yes.
33:54
S4
I was I was thinking, if I'm in a
34:00
S4
I'm not if I'm not observing that, what what's going on?
34:05
S0
No. You sample the the the dotted blue line Yeah. Is the limitation yeah. I'm not willing to perceive life being any better than this, and I'm not willing to perceive life being any worse than this. And those set up the playing field for the dotted line well, really, the I I make pretty messy things, don't I? The orange line in the middle that's within those two Yeah. Is the line of what you could perceive based on the limitations of perception. Okay. And then the circles are the ones that make it into your seven plus or minus two.
34:51
S4
Because they're intersecting with the life that you're leading inside or something.
34:58
S4
It's that pink line. I don't know where it is.
35:00
S0
This pink line, the whole system here represents the current possible. This Refer to the sample rate diagram. Within here represents the perceptual possible,
35:20
S0
And the circles represent strictly the sample rate, which is the actual. What we actually chose. Yes. You didn't choose it. It happened automatically. And then you said afterwards you had choice, and you had no choice but to say that you had choice. Okay. There is no choice. The system is running faster than you can choose. Liver.
35:48
S0
You did something. Yeah. And you couldn't help it, and you didn't choose what to do. You didn't choose to do something, and you didn't choose what to do. Where's the choice?
36:00
S0
There wasn't any. That's the system that's going on. And then you say, oh, I had choice.
36:06
S4
When you just said liver and the time before, I was just aware of that there was something before my the word that came up, but it was
36:17
S0
Always is.
36:18
S4
Just it was just so fast. It was just like a little like a little blur.
36:23
S0
Some of you have read some of my books. I tell you that enlightenment is always closer than the next thought.
36:31
S0
The next thought is somewhere between eighteen and twenty '4. '17, '16, fifteen, fourteen, that's the day that's the party that you keep getting an invitation to and you keep missing the invitation.
36:46
S0
But the good news is you're there too.
36:51
S0
You can't not be there. You just don't know you're there. Now you look kinda silly at the party acting the way you are and worrying about what you're worrying about. But so what?
37:05
S0
Nobody else at the party who's aware of being at the party cares how you look. So don't worry. It's kinda like here.
37:13
S4
Thank you.
37:14
S3
Yeah. Seems to me that we should would do well to be interested in moving that dotted line.
37:22
S0
Please.
37:25
S0
Yeah. So that should be at higher highs and lower lows. Right. Only when you're at the lower low, you go, I don't want this.
37:33
S0
And when you are at the higher high, you go, I think I want this.
37:39
S3
But it can't last.
37:41
S0
Yeah. It'll be gone any minute or any fraction of a second. Now see then what happens is what determines your outlook and your disposition is how the samples happen to fall. If the samples happen to fall mostly above that pink line in the middle, you go life's pretty great. Mhmm. And if the samples happen to fall below it, you go life's pretty lousy.
38:11
S0
And it's a relatively spontaneous event where they fall.
38:16
S0
But we And that's where attention span comes into it too, which is do you mix the miss the next sampling by holding on to the last sampling? Sure.
38:27
S3
So now
38:28
S0
You guys wanna hold on to what's good, so what's bad has its way with you.
38:35
S4
You could elaborate on that
38:36
S3
last sentence. Yeah.
38:38
S0
Or I could? Yeah. Are you certain? Yeah.
38:42
S4
I'm certain.
38:44
S0
What was it? You can't. I don't you can hold on to your
38:47
S3
we wanna hold on to the hives.
38:48
S4
You hold on to the good
38:50
S0
If you hold on to anything, you miss everything that happens in between. You miss the next samples.
38:57
S3
If you hold on to the bed, don't you miss everything in between? Yes. So it doesn't make sense to hold on to anything.
39:03
S0
Right. And
39:07
S0
you are
39:10
S0
in fact, you almost always hold on to the bad, and you almost never hold on to the good.
39:17
S3
And it
39:17
S0
doesn't What pops in? The bad stuff that's happened in your past or the good stuff that's happened in your past, what sticks around? What gets thought over and over again? You aren't generally haunted by wonderful stuff.
39:34
S0
It's just not the case. The wonderful stuff you go, ah, great.
39:40
S0
The best stuff you go, I don't want it. I don't want what is it I don't want? I don't want that. That's the thing I don't want. That, I don't want that. By then, you've already killed off a number of other samplings that could have set you free.
39:58
S3
Whether we hold on to the highs or the lows is irrelevant.
40:02
S0
When yes. It is. So It just produces a little more suffering holding on to either.
40:08
S3
Okay.
40:11
S3
And if we don't hold on to the highs or the lows, then the sample rate increases?
40:19
S0
Yes.
40:21
S3
And is it possible at that point then to move the dotted lines?
40:26
S0
Yes.
40:28
S3
And if you move the dotted lines and increase your sample rate
40:33
S0
Your life gets better and your life gets worse. All you have to do is take the little diagram that we drew earlier today, which was the good and the bad. Mhmm. Remember the good and the bad?
40:44
S3
Right.
40:45
S0
Not the ugly.
40:49
S0
And superimpose it right there.
40:53
S2
This is the good bad diagram from yesterday superimposed on current sample rate diagram in your booklet.
41:01
S0
Remember I drew it like this? Just put it like that,
41:05
S0
and that's it.
41:10
S0
Far be it from me to not give you a system that all fits together absolutely beautiful and is beyond any system you've ever heard from anybody in the world. Why would I bother?
41:23
S0
You do get it.
41:27
S1
I've got a question too.
41:29
S0
You need to pick are you through?
41:31
S3
It's meaningless.
41:33
S0
I I Of course, it's meaningless. There's no meaning in any of this. But
41:42
S0
it's useful. It's profoundly useful, and it's absolutely meaningless.
41:52
S0
For meaning, you have to have so distorted your sample rate that you keep one thing alive in the face of it disappearing for so long that only you carry it. Meaning is on the way to belief.
42:10
S0
Meaning is the glue that you use to stick all the pictures and sounds and feelings together in your head.
42:18
S1
Yeah. You see we can increase the frequency of the sampling. Yes. How about the duration or the depth of the sampling?
42:30
S0
The duration of the sampling is a function of attention span.
42:37
S0
And, yes, you can
42:39
S0
guys love this theoretical shit, don't you? Some of them do. If
42:49
S0
you got a sample here and it's a hit And you got a sample here and it's a hit. You now have a pattern. Then if you have a sample here and it's a miss, you have a problem.
43:09
S0
But only if your attention span
43:15
S0
spans this whole thing. If your attention span doesn't span that whole thing, you don't have a problem. You just have consistency. So you are rewarded constantly if you're in the control and consistency to shorten your attention span.
43:36
S0
And shorten it and shorten it and shorten it and shorten it and shorten it. What you need to do is lengthen your attention span and be amused by hits and be amused by misses. I have not yet found a limitation attention span wise of my children.
43:56
S0
I've not found it. They don't have one.
44:02
S0
They don't have an attention span because they don't need to go at all.
44:10
S0
They don't. What do you do to teach your kids they have a limited attention span?