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Illusion Conclusion
Jerry Stocking
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Illusion Conclusion — Core (16 Tapes)
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Tape 8 – Side A
Tape 8 – Side A
IC_T08A
44:44
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Transcript
226 utterances · click to jump
00:01
S0
You control them. You take them over here. You tell them it's time to go over there. It's time to go over here. It's time for you to do this. It's time for you to watch that. It's time for you to wake up to the alarm clock. It's time we gotta get you to school. It's time we gotta do this before we get you there. We gotta do this And their attention and then they need Ritalin. That's so true. They do. They need Ritalin. Why? Because they didn't get enough attention.
00:27
S0
They didn't get enough attention so they don't have enough attention. So they can't learn because learning is including any events you don't include within your attention span, the definition of learning is having a certain number of events that fit and don't fit within your attention span. If your attention span is too short, you cannot correlate this with this because you left in between. Now I don't know I didn't learn about knees. I just saw, oh, there's a knee. Now I'm gone. Oh, there's a knee. I can't compare the two. You lose the ability to compare by not having the attention span you can't learn then. So, yes, you gotta lengthen the attention span. Do you have any idea to what extent this is all geared toward having you asleep and automated? Yes. Yeah. Mhmm. Yeah. Yep. Any idea how many times Emily at 12 years of age has been woken up by us?
01:41
S0
Oh, it's probably five or six times in twelve years. We treat her sleep like a sacred entity.
01:54
S0
If she's asleep, she's asleep until she wakes up. Judson taught me this many years ago, several like three or four years ago. I'm tucking him in. I've told him the requisite however many hundreds of stories I needed to practicing my visual auditory kinesthetic, doing the whole thing that I do. None of it like a pattern. And I said, close your eyes. And he said, I can't. And I said, what do you mean? And he said, they close when it's time.
02:27
S0
And I went, oh my god.
02:32
S0
They do. I sat there with him, and he's lying there. And then at a certain point, they go, and he's gone.
02:44
S0
It would hurt him to close his eyes.
02:49
S0
How many don't you do this. You go to bed. You go, k. I gotta go to sleep. What
02:56
S0
would happen if you waited till they close
03:01
S0
and took that metaphor everywhere?
03:05
S0
This is why it takes me four or five days sometimes to write a book.
03:11
S0
Enlightenment is losing your mind, I think, took eight.
03:16
S0
Any of you read the book? Enlightenment is losing your mind? It's not that easy, is it? No. Took eight days to write it. Eight consecutive days. That's because I wrote it when it was time.
03:30
S0
There was a bunch of time before that it wasn't time to write it, and there was time after it it wasn't time to write it. So I just wrote it when it was time. You sit down and type it out and go, wow. That's nice. I'm done.
03:44
S0
And it took forever in that eight days because I wasn't trying to get it done. I just was typing it. And then we couldn't find anybody to edit it because we couldn't find anybody who had editing skills who could understand what the book said.
04:03
S0
I mean it. We couldn't. We we got it to our regular editor, he kept changing the meaning without knowing he was changing the meaning.
04:14
S0
And few things anger me, but that does. When the editor steps in and changes my meaning, on purpose, it's fine. By accident, we're in trouble. So
04:27
S0
your attention span has to go across them in order for you to do the magical thing of generalizing so that you can take one piece from here and one piece from here and have them relate.
04:42
S0
Most of you don't have enough attention span to have a relationship because you there they are and then you're gone. And meanwhile, they start suffering because you just left.
04:55
S0
Oh. Oh, I have to do this. All of a sudden, you don't have a spouse. You don't have children. You don't have a house. You don't have anything. You have everything focused on what you have to do. And then what happens if they get in the way? What happens if they make a noise? You say, shut up.
05:13
S0
And they take the shut up as an indication of a slight bit of attention from you, so they do it again.
05:22
S0
Not that you've ever experienced this. Oh, no.
05:29
S0
I look at you, and then I look at you, and then I look at you, but I didn't die in between.
05:41
S0
You get it? I didn't. I'm still looking at you.
05:45
S0
I didn't drop you to look at you. Monogamy is monotony.
05:53
S0
You can't afford it. If you drop one to look at the other, the drop one is weeping so loudly, you can't even look at the other.
06:06
S0
And you die in the spots in between. You do. And watch how automated it is. With your eyes, start by looking over there and slowly, slowly, slowly and evenly move your eyes over to the other side of the room. Looking out here, move them evenly to the other side of the room.
06:32
S0
Take a
06:32
S1
moment now and try moving your eyes, please.
06:40
S0
What'd you notice? It doesn't happen. It stops moving. It doesn't it goes from object to object, recognizable object. I sit up here in front of the room and I see this. Yeah. It goes from recognizable object to recognizable object. You're depending on stuff.
07:05
S0
You're trying to avoid the holes at all cost and depending on stuff. A young baby goes,
07:20
S0
No jerks. Were there any? Mhmm. Mhmm. How many? A few. Three. Each one is a shift of attention. If you can go rather than and you did about probably maybe 15 between there and there. If you can get that 15 to 10, you've made a mass dent in the number of times that you were forced to let go and die in between.
07:52
S0
If you got it down to three or four or even one. If you got it down to one. I feel it. There it goes. What if you could get it down to one? What if you weren't absolutely, completely, and utterly dependent on the outside world for stimuli?
08:11
S0
Shucks. You could do anything then rather than just be at the effect of everything around you all the time.
08:21
S0
That'd be weird, wouldn't it? Pair up, please.
08:26
S0
Remember high school? I have to go. You really want the hurt.
08:31
S0
You didn't like high school? Is is it over? I bet you were one heck of a reject, weren't you? I was not included in anything. Yeah. You wouldn't let them in no matter what they did? No. I was in every group. Okay. Did you let them in? Yeah. Till they kicked me out.
08:52
S0
Do you guys fathom that you would have any choice but to kick him out after a while?
09:00
S0
God dang it. You gotta
09:03
S0
they have no choice. They would kick you out of here if they could. And you think it's them? Well, time to go.
09:15
S0
This level of ignorance at this age with your degree of intelligence is mildly inappropriate. Do you understand what I'm saying, you guys? Yeah. He sets it up so they can't stand to have him there. And then when they run him out of town on a rail, he says, oh, they didn't appreciate me. Do you get it? I think so.
09:43
S0
Does he get it?
09:44
S2
I don't think
09:45
S0
so. Don't think so.
09:50
S0
Until you can be around someone who perceives your setups as upsets and your upsets as setups, you have not found somebody who can be of value to you.
10:04
S0
You have to be around somebody who is sufficiently fast to see that when you're upset, you're really setting up.
10:16
S0
And when you're set up, those good times, you're really awfully upset.
10:22
S0
You gotta have somebody around you who perceives it that way. They're enough faster than you that they can be of use. He sets them all up and then blames them for doing it.
10:36
S0
And with how much of him does he blame them for doing it? Over and over and over in every way. They did it.
10:45
S0
Sure, he was sitting in chess club and snoring like crazy and knocking the pieces all over, and he ate three queens in one after
10:54
S0
What? Sure. He did.
10:59
S0
And they were never his queens either. They were the other people's queens. But why did they kick him out? He came to every meeting. It was good rest. And he never said anything nice about anybody in the chess club when he wasn't there either.
11:20
S0
I know your history. Oh, good. At least one of us. I know. Okay.
11:28
S0
So the game is
11:31
S1
Refer to the stimulus response exercise setup in your booklet.
11:37
S0
Let's play life as usual for a moment. Okay? He says some word. Bear. And she throws back whatever word comes to mind. Claw. He says a word whatever comes to mind when she says claw. Wheel. Car. Sock.
11:56
S2
Shoe.
11:59
S0
Apple. Pear. Iron. Board. He's still leading. Mhmm. Do you get it? Mhmm. He's not taking off of hers. He's still leading. He's gotta take it and put it through two or three translations in here before it comes out. What if you just said something fast? Go. Button. Shoe. Ring. Finger. I'm getting clues. Go from hers. Okay. You say something first.
12:27
S2
House.
12:28
S0
Car.
12:29
S2
Baby.
12:30
S0
Diaper.
12:31
S2
Dog.
12:32
S0
Collar. Chimney. Got it. Yes.
12:37
S0
Oh. Oh. That'll have you have to clean the filters less often. Okay.
12:46
S0
So this is relationship as usual. Go for it. Okay. So don't forget. What? Don't do you guys don't forget. It's a absolute Shush. Shush. If
13:02
S0
yeah. The best way to not forget would be to not hear it. I apologize. Go ahead. Because then you couldn't forget it because you didn't hear it anyway. Don't forget, this is life or death to find out who's leading.
13:17
S0
That's the nature of relationship. It's life or death to find out who's the stimulus and who's the response. Who's forcing the other person to have to respond. Did you guys forget that? Never in relationship did you forget that. You might have forgotten it right here because you don't hate the person enough to be in relationship with them or love them enough. This is a life or death to find out who's the stimulus and who's the response, isn't it? Always. Care into them. Make them be a response. You can make them be a response. Oh. Come on. Let's get some real relationship stuff going.
13:54
S0
Rip their face off. Make a mere response. Fair.
14:02
S0
Pretty. Pretty. Right? Yeah. Pretty. Yeah. Good fun. Deep.
14:09
S0
Really a great opportunity to get to know somebody. Hi. How are you? Good. Fine. Yeah. Me too. Okay. Nice. What kind of car do you drive? Okay. Me too.
14:19
S0
What's your sign?
14:25
S0
Anything that your attention span does not encompass becomes an isolated incident,
14:37
S0
and your life becomes a sequence of isolated incidents. She doesn't notice that it's happened 8,000 times before in the last two weeks.
14:48
S0
So you miss that it's a pattern
14:51
S0
because it's just a series of isolated incidents, and that's as close to the presence as you get. Stupidity. Isolated incidents that you don't get to learn from.
15:06
S0
So now let's get into a little combination thing here. Speaking of high school.
15:14
S0
You had a combination lock, some of you, in high school? Yeah. And you had to remember your combination? Did you ever dream Yes. That you got to school and you didn't remember your combination? Yeah. Or even where your locker was? Yeah. Yeah. How many times did you dream that? Lots. Mhmm. Eek. What's that about? Okay.
15:46
S0
So I had the illusion that we were making progress.
15:51
S0
Thanks.
15:54
S0
Don't have to wonder who's bleeding here. Keep me flat on my feet.
16:04
S0
Okay. Here's what you do here. You throw out a stimulus, meaning a word.
16:11
S2
Red. Blue.
16:15
S0
Blue program. I think this thing's broken. I think it's stuck. You throw out just wait until I tell you. Mhmm. Throw out a stimulus. Fly. Do you have to tell your head like that to do it? Nope. Are you sure? Mhmm. So she said fly. Notice your first response. Got a first response? Don't say it. Got a second response? Third response? Give your third response. Yellow. Now yellow. First response. Second response. Give the third.
16:46
S2
Leaves.
16:49
S0
Purple. That was your third? Third to third. Instead of first to first, do third to third. Go. Barney. Yeah. It's not a drop in energy as much as it is an increase in the number of holes in the room.
17:13
S0
Now we got a little room here instead of all keep going. Three. Six.
17:25
S2
Six.
17:30
S0
You don't have to hold the other ones. Right. All you need to do is observe them. You don't have to hold them at all.
17:40
S0
Just notice them. Now if you maybe sometimes do five and maybe sometimes do seven Or you can't help it anymore. There'll be a fairly small penalty. Like nothing. Go.
17:57
S0
Now see, I don't have to say it twice, do I?
18:02
S0
How much more attention you got,
18:06
S0
and how much effort was it to get it? How many more spaces you got?
18:14
S0
How much more room for entertainment do you have?
18:23
S0
How much more pieces they're starting to settle in? What
18:31
S0
if you're not a lizard?
18:38
S0
That to me is an interesting philosophical question.
18:45
S0
Where did the fear go?
18:49
S0
The performance anxiety disappeared, didn't it? And you sat there with someone, and you were amused. I look at your faces, and you're amused.
19:03
S0
Why is it have to be that easy?
19:09
S0
So now let's get a little more intricate. Two
19:17
S0
six,
19:20
S0
18. Which one of those is the most interest to you?
19:28
S2
Mine's 2. 18.
19:30
S0
Pretty much gotta be 18.
19:35
S0
So you do something. She does her second. You do your second. She does her sixth. You do your sixth. She does her eighteenth. You do your eighteenth. Go.
19:53
S0
Go for here.
19:54
S1
Refer to the third response, six response, and two, six, 18 stimulus response exercise in your booklet. Any
20:05
S0
fun? It's really hard. Yeah.
20:11
S0
You look like it's hard. He's laughing. His body is relaxing, and he says it's hard. What's this game about?
20:22
S2
Oh, control. Who's the stimulus?
20:24
S0
This game is about who's the stimulus, but it's also about who gets the most attention. Oh. That. Any question? He's accumulating attention forever here. He's getting more and more I mean, do you guys want attention? You don't want anything else. If you got enough attention, you wouldn't be able to buy anything.
20:50
S0
You buy things to get attention. You go places to get attention. You do almost everything you do to get attention. What if you could get attention by taking the sixth response instead of the first one?
21:07
S0
Shucks. That'd be a cheap fix, wouldn't it?
21:13
S0
Yeah. Yeah. What if one of your children comes into the room and goes, mommy, I need this. And you go
21:26
S0
and you get out to six or eight or ten or twelve. By then, the kid's gonna be going, I'm not sure I need it anymore. Seems like there's a party here.
21:42
S0
And if you respond to their first respond to their first statement, to their first stimulus, you're reinforcing their short attention span, and you're teaching them to be a lizard.
22:02
S0
You know when they hit the twos and they start saying why? That's when consciousness is born first. It's not there before that. It's born somewhere around two years of age.
22:17
S0
And they start saying why? And they say no when you say yes. What if you didn't have to respond to that? Wouldn't that be weird?
22:28
S0
You say yes. They say no. You go
22:35
S0
they say, well, that didn't work.
22:38
S0
And after a while, they don't try it again. They start to develop all kinds of other things they could do. All kinds of I mean, your your son knows all your buttons. He's got them nailed, and you are so obvious that to be around him is a problem because he knows all of your buttons, and he keeps firing them off any old time he wants. Just wait until he goes to press one of your buttons, and it's not there anymore. And he goes for button number two, and that's not there either. And it goes for button number three, and then he goes, mom.
23:19
S0
And he looks at you instead of the buttons.
23:24
S0
And you go, I don't want this kind of intimacy. I can't handle this. Let's get better. Let's watch some TV.
23:35
S0
I think your favorite program's on. You know that one I taught you to really like years ago so that I had could go out and do stuff? It's time for you to watch it. I know it's a rerun. I know you've seen it a thousand times before, but it's better than me.
23:49
S0
Don't you?
23:52
S0
Seems like Dave's in charge, but Dave's not getting the attention.
23:59
S0
Not only is Dave not getting the attention, but Dave is missing something else gigantic, which is he's not getting to explore his own model. He's getting to explore his own model in-depth,
24:16
S0
And he's not getting to explore his own model at all. Can you imagine how this accumulates over time?
24:23
S0
He's gonna have a model that is so entirely explored that he's gonna have plenty of attention to put out here on anybody out here because he's taken care of. And meanwhile, he's gonna be spitting back his lizard response.
24:44
S0
What a little thing. You
24:49
S0
only need a fraction of a second. That's all it takes. In that fraction of a second, everything changes.
25:02
S0
Seven one
25:07
S0
fifteen. Go.
25:11
S0
Get the point? Yeah. What's it like out there in the world? Yeah. Just like that. What's it like have you seen a Coke machine recently? The kind that dispenses Cokes? Mhmm.
25:28
S0
You've never seen anything that looks like what's on the front of the Coke machine. They have so accentuated the colors. They've so to overload everything. The drive is toward greater and greater stimuli. You go to a movie theater. Yes. The previews, what they do with this now. And we we fiddle with your tapes and stuff on the computer. We blow it over from DAT to computer and then back out to cassette for you. What they do with this is they take it and they boom it all out to the loudest that they can. So the quietest pin drop is so loud. It's right out there at the level of the rest of it. So that you they flatten the terrain. So everything's equally loud. They're all fighting to find out who can stimulate you.
26:24
S0
Don't buy it.
26:30
S0
Don't play with it. Don't even give it attention.
26:40
S0
None.
26:43
S0
Not even the tiniest bit. It doesn't deserve it. They're gonna keep playing this up. You know this. They're playing to a generation that grew up on TV. They they're playing to a generation that can't even make representations, visual representations in their own heads. They can't. They missed that stage and they won't get it back. They don't get it back. It's physiological damage. They won't get it back. They can't make representations in their head, so they look out here for their entertainment. So if you wanna sell them something, you better make everything entertaining out here.
27:26
S0
Average American watches seven plus hours of TV a day?
27:32
S0
Seven and a half hours a day.
27:36
S2
That's the average?
27:38
S0
Average a day. Seems high. Yes. But it's not. That's the average.
27:49
S0
Four seems high. Yes. Yeah. In excess of seven hours a day.
27:58
S0
They get home at night and turn on the TV, don't they? So that covers six, seven, eight, nine, ten.
28:11
S0
That's five right there. You gotta watch the morning news.
28:16
S0
God, how do they find their time?
28:18
S2
Yeah. That's
28:19
S0
right. And what are they trying to escape from? Yeah. And what happens is if you watch TV much before the age of six,
28:28
S0
you don't learn to make your own representations here. You don't learn it. So you never learn it. How many some of you have read Piaget?
28:41
S0
He tells you there are specific developmental stages that you go through that you don't get another chance at. These people, I get them in courses sometimes, the young people. They can't make a picture in their hands. They can't do it. No. It's done. I can teach them to cope with not being able to do it, but I can't teach them to do it. The physiology is not there. It didn't develop.
29:09
S2
So they don't
29:10
S0
It's like they don't have an arm. And Yes. That's all they got. And external visual. They can see here. Yeah. They just can't see in here. So they can't entertain themselves with pictures. You guys,
29:27
S0
make a picture of a unicorn and a bike
29:34
S0
with a whole lot of Kool Aid around. You can make pictures of anything, and it's very entertaining, isn't it? You don't have to be limited by what's out here. Why do you think they're bored all the time? They're bored all the time because they can't make the pictures.
29:52
S0
Now here's a little present. K? Make a picture of a lake.
30:00
S0
Make a picture of a motorcycle. How many of you put yourselves in the picture of the lake?
30:11
S0
Put yourself in the picture of the motorcycle.
30:16
S0
Let's say your kid gets kidnapped.
30:21
S0
What you gonna do? Are your kids missing? Where's your kid? I don't know. You know, after a few days when you get over the convenience of it all?
30:38
S0
Because your mother says, where's Johnny? And you gotta come up with some story, you've come up with all of them that you can. And you gotta produce Johnny or you're in trouble?
30:53
S0
Where are you gonna put pictures of this lost kid?
30:58
S0
Everywhere. Wouldn't you put them everywhere? What if you put yourself in every single one of the pictures you make in your head?
31:08
S0
Sewing machine.
31:15
S0
Vibrator.
31:20
S0
Pneumatic drill.
31:24
S0
Dentist. Olives.
31:34
S0
Are you in those pictures? What if you put yourself in all of your pictures? You might find yourself.
31:46
S0
Wouldn't you wanna post yourself in all the pictures?
31:54
S0
Throw out a stimulus. Say something, Tom. And Got it? There you are. Smashing a TV.
32:07
S0
What if they couldn't throw out a stimulus that didn't remind you that you exist?
32:13
S0
Leather,
32:17
S0
knish,
32:21
S0
zest,
32:25
S0
writing. What if every single picture you ever made reinforced your existence? Would this be the pits or what? I don't think so.
32:40
S0
Take the mic.
32:43
S0
Microphone. Judy, hold in the microphone.
32:46
S2
So if if the young people today don't have this ability,
32:53
S2
then their relationship to the
32:55
S0
world is different. Yes.
33:05
S2
And people interact with them
33:09
S2
like they have this ability.
33:12
S0
Yes.
33:14
S0
And they say, just do something. And the kid goes,
33:20
S0
I got nothing. And the kid goes, oh,
33:25
S0
wow. External stimuli. External stimuli listen. If you're gonna have a capitalistic culture,
33:34
S0
you better make everybody dependent on external stimuli. Otherwise, you're gonna have a culture who's constantly amused and entertained already.
33:44
S0
The drive is to make you dependent. Isn't the drive in the school system that the external stimuli will provide the the kids the teachers need to make it interesting for the kids. Video games. It's all based on external stimuli grabbing, flip back a couple diagrams, for any stimulus to send you in your files to come out with a response. What if you don't need to respond?
34:14
S0
It's as close to free choice as you're gonna get.
34:20
S0
Yeah. This is probably why I just cannot, for the life of me, understand the attraction of video games. I It's just a disturbance. It's a traumatic disturbance, a sight and sound nightmare. I can't understand why you drink coffee. I can't understand why you'd go to a party. I can't understand why you would drive in a car. I can't understand why you would do almost anything that you do. I can't imagine how you guys go into work.
34:56
S0
I can't imagine. I I dazzles me
35:04
S0
that you guys can survive that many stimuli.
35:13
S0
We fairly recently got a Mercedes. What a difference. How many fewer stimuli are there in a Mercedes than in the Dodge van we used to drive?
35:26
S0
Can you imagine? How many how many of you have driven in a Mercedes? It's quiet.
35:34
S0
You don't even know the outside is there. You don't even know you're traveling. About a four hour ride is equivalent four hour drive in the van is equivalent to about a forty five minute drive in the Mercedes as far as stimuli go. What if you started sorting for economy of stimuli?
35:58
S0
It would get you closer to being a source. I'm not saying you gotta run away off into the woods and hide. Do you guys have any idea how loud the woods are?
36:09
S0
They're really loud, especially in the morning. Oh my god. They're loud. I'm not saying you overall have to try and reduce all of your stimuli. I'm saying please don't run out and try and get the most that you can.
36:26
S0
And what happens when you get too many stimuli is you go in and you save them for later to process later, but the later that you have a chance to process them never comes because they keep building up. And you storm in your body and you storm everywhere, and pretty soon you're an overwhelmed lizard. And the fly goes by and you're so overloaded that you can't even stick your tongue out.
36:54
S0
So you become not even a good lizard anymore. Yeah. Is that why we feel like we have no time to do anything? You're so over threshold
37:09
S0
that there's no chance. You got so much to process.
37:16
S0
That's why meditation tends to work, time without anything.
37:38
S0
And just imagine if you didn't have a conversation in your head all the time, how that would reduce your stimuli.
37:47
S0
You know, eight years ago the conversation in my head quit. I didn't have a conversation in my head. I haven't for eight years. Imagine the reduction in stimuli that provides.
38:00
S0
It's the getting rid of a constant perturbation.
38:13
S2
Yeah. Jerry, are there any quick simple ways to lighten that load of excess stimuli?
38:20
S0
Yeah. Don't run out and grab all of them that you possibly can. Currently, you are dependent upon the stimuli because you have enough in here that you don't wanna find out what's in here. You can't stand what you find out when you do nothing. We hold the let yourself glow course, which is two weeks at our house and then one week out in the world. And during the two weeks at our house, they spend is it four days? Four days out
38:54
S0
at space throughout the two weeks. And the four days out, they do nothing. They just sit out and do nothing. Nothing to read. Nothing to listen to as far as radio or anything like this. Four days out, what naturally shows up is peace.
39:14
S0
And after the first day, the conversations in their head are typically going, I can't.
39:21
S0
You have nothing to hide in there. And you do all this craziness to try and hide what's in here so you don't find out how wonderful you are. But you do it, you think, to not find out how horrible you are. You're not that horrible.
39:43
S0
You couldn't be no matter how hard you tried. By the end of the let yourself glow and but they have no phones. They don't ride in a car for the two weeks. They are not exposed to any advertising in the two weeks, meaning we put duct tape over all the labels on toothpaste, everything. They're intense with other people who are engaged in the same sort of enterprise that they are. And in two weeks, these people have shed so much trash. It's amazing. They don't hear a radio. They don't see a TV. They don't get inundated with all of this junk,
40:26
S0
and they don't wanna leave typically.
40:30
S0
Why in the world? And they go out into the world. We drop them on purpose after the two weeks. We send them out and won't talk to them because we don't wanna go through the transition that they're going through going back out there. And then they show up for the third weekend, which is a couple months later
40:48
S0
For the third week, they've still got the peace sitting in there, and most of them know it.
40:58
S0
And then we send them out into the world. We take away all of their money,
41:05
S0
and they have to earn the money that they use during the week. That's an instantaneous complete shift of their perspective on the world to be in Atlanta and have no money. And they have no money. They aren't allowed to buy gas unless they earn the money. They can sell books or these little cards we give them to make money. Other than that, they have no money. And, boy, did they learn about relationship in that last week. We had 16 people in this last glow for the third week. This was just about a month ago or so. They went out on the last evening and took the $624 they had left over from their expenses for the week and had a party and a little dinner get together with the $624. That's after eating pretty well for the week, driving, doing whatever they needed to do, that's what they had left over.
42:03
S0
And they discovered more about other people than probably in any week in their life before. Because in the two weeks, they learned about themselves and everything here. And then in the one week, they go out and play very aggressively out in the world and they discover they don't need all those things they fall back on. They don't need any of that stuff. They can take the party and be the stimulus all over the place, didn't you, Brian?
42:35
S0
And there's Brian. Yes.
42:41
S0
And Molly.
42:46
S0
And maybe even Barb.
42:53
S0
You can't reduce the stimuli until you're willing to observe what shows up in the absence of the stimuli.
43:02
S0
You got to keep the stimuli high and distracting. What do you do in your life as a diversion?
43:13
S0
You gotta get rid of all the diversions. The diversions are unnecessary stimuli. A fascinating thing will happen as you start to play with this and lengthening out the responses that you have to take, everything around you will slow down.
43:32
S0
Everybody at work will slow down. Everything around you will slow down, in effect, making you faster,
43:43
S0
and it all gets easier. The only reason that anything's tough is that you're too slow. You're carrying too much. It's going on faster than you are or as fast as you are so you got a problem. This speeds you up by having everything else slow down.
44:04
S0
What if you didn't have any stimuli to process today?