IC
Illusion Conclusion
Jerry Stocking
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Illusion Conclusion — Core (16 Tapes)
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Tape 12 – Side A
Tape 12 – Side A
IC_T12A
44:34
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Transcript
251 utterances · click to jump
00:01
S0
But you go out to this thin place where thereis no air anymore, just a little lizard and you canit connect with anybody and letis take care of it in little steps that can work.
00:15
S0
So what would happen if we mix some exercises here? The point of the IC course is to give you about a 100 things, any one of which you could practice for a week or two,
00:28
S0
And with permutations, you could probably practice for a month. It's not to have you become proficient at any of these. It's to have you have a taste of these and then you go to go out and practice and play with them. And you get the tapes and you get a list of different things you can play with. You guys will come up with that list tomorrow. Here's another one. What would happen if when she's coming up with the two alternatives? Did you see how she was thrown right into herself?
00:56
S0
All of her attention back here. What happens if you're drawn to put all of your attention back here? Where do I want it? Out there. Try that. Look at him. Put it out there and talk to him with two alternatives.
01:13
S1
Patrick, still
01:19
S0
asleep. You see her attention going in and out and in and out and in and out. And what happens? She's got more energy and less suffering. Ah, shucks. What's the point?
01:34
S0
And I swear that as an integral part of most of your philosophies is that the more you suffer, the better you are. It's really goofy to me. But is that more fun? All it requires is a shift of attention. A little shift of attention. And then what she's exhibiting beautifully there is going out, coming back in, going out, coming back in. The neat thing is that you can't carry your illusion from in here to out there. You can't do it. So you have to shed it
02:08
S0
to come in and go out. If you miss one opportunity to shed it, it becomes more real for you. If you miss two or three, it becomes a fact for you. If you miss 10 or 12, it becomes a profound belief for you. If it if you get up to 15 or 20, you just die. And then you go around automated all the time thinking you're around.
02:33
S0
Go after it like it's important, please.
02:39
S0
How much fun it is to have your attention off yourself. You watching? But look around the room and the attention is is off of yourself. I've not seen your attention off of yourself that much. Could you tell Mark? She's looking at you. It's a different beast.
03:03
S0
You. Your attention right over here full tilt. You generally keep three or four bits in here to monitor how you're doing. What if you didn't keep the three or four bits in there to monitor how you're doing?
03:19
S0
Something really magical happens at that point, which is you have a body which monitors how you're doing. So your brain your mind rather doesn't have to. Your body puts you here instead of your mind putting you here. And when your mind puts you there, it puts you at some imaginary point in your illusion. Would you have to defend like crazy?
03:50
S0
And it's not that metaphorical.
03:53
S0
Please refer to the dance exercise in your booklet.
03:59
S0
I recommend, as your doctor here, a minimum of ten minutes a day dancing for the rest of your life.
04:10
S0
Whether it's with somebody or by yourself, at least ten minutes a day, please. Every day. In other words, that gets put as the number one priority for the day. If nothing else gets done in that day, at least you danced for ten minutes. Make it a priority. The one thing that you never ever short yourself on. So attention is your currency. That's it. That's what we have. That's all we have to trade in is attention which is focus of consciousness. This is not some weird consciousness, this is consciousness as I've defined it. Consciousness as
04:59
S0
filling of imaginary holes with imaginary stuff in your head. It's stuff you make up. That's what it is.
05:12
S0
So it's what you focus imaginary stuff and holes in here. Stuff and holes. Stuff and holes. Stuff and holes. Shucks.
05:26
S0
How many places to put things?
05:30
S0
Seven?
05:32
S0
Seven plus or minus two.
05:37
S0
That's the size of your consciousness and attention is what you put in these.
05:47
S0
What you're focusing on? Yes.
05:48
S1
Not what you put what you
05:50
S0
This is what you're focusing on. Of the whole possible database available to you, this is what you're focusing on. Right. Okay. This is what you become conscious of. And
06:05
S0
there's no size limit inherent. There's just a size limit by how big you think you are.
06:16
S0
So that's the holes which you then fill with stuff. The more of it you leave available, meaning not filled with stuff, the more operating room you have in the world.
06:36
S0
Play card games ever where there's a wild card?
06:40
S0
The card that you can make any other card? That's what one of these not already packed full is.
06:49
S0
Anytime all of these get full, you have no room for anything else. That's threshold. That's what we call threshold. You got no room for anything else. You can't put anything else in there because it's already packed full. That means anything that goes on from the moment all of these are full, you miss.
07:11
S0
Somebody can walk up to you. You won't even see them because it's already packed full. Now this does fill and empty quickly. It's a really fast process. But let's just illustrate the value of this and playing with attention is the currency you have as a human being. To play with that, let's take a standard phrase. Please
07:40
S0
refer to the seven plus or minus two diagram in your booklet. This is a declaration. Remember the purpose of a declaration? It's to find out about yourself. You say, I want and then fill in the blank with whatever you talk like this. Right? You say, I want this, I don't want that, I want this, I don't want that. In order to be the model of attention and the focus of consciousness, you have to be able to apply that to any aspect of your life. And I suggest that it's underlying it. Let me explain to you what want means in terms of attention.
08:26
S0
I want
08:30
S0
jelly beans.
08:34
S0
Now when it comes to jelly beans, we've got and remember we talked about dichotomies. We talked about good and bad. We talked about the parameters. Within I want jelly beans is what is it that I really, really want about jelly beans?
08:58
S0
And what is it that I don't want about jelly beans?
09:04
S0
You'd have some of both, wouldn't you? About anything you went for. Because maybe you want a new car, but you'd rather not pay the insurance.
09:15
S0
You've got a trade off. You've got a scale here. Please refer to the payoff and cost diagram in your booklet. This is the payoff and this is the cost. What does it cost you to have jelly beans And what is the payoff of having jelly beans? That's the scale you've just created by saying I want jelly beans.
09:44
S0
In other words, in order to want jelly beans,
09:51
S0
your attention has to focus more toward the payoff than the cost.
09:59
S0
That's the definition of a want. You are attending more to the payoff than the cost. So you say, I want it. That's how you know you want it. It because your attention is on the payoff rather than the cost. If you say, oh my gosh. Here goes my attention. They're fattening. They've got all kinds of colorings in it that aren't natural. When I get them, I just wanna eat all of them, and then I feel bad afterwards. Do I want them anymore? No. It's pushed it over. I'm paying attention to the cost. Again, attention to the cost, and I don't want it anymore.
10:44
S0
Want is a specific area for you. It's attending to the payoff a certain amount.
10:53
S0
If you go over further, you get over to need, which means you have attended even more, focused your attention on the positive, on the payoff.
11:08
S0
And the more you attend to the payoff, the more you identify your attention with something out here rather than and and it pulls it into connected with yourself. As you get over to need, it could threaten my life if I don't get it. Want is a fairly superficial, I want it and I may get it and I may not. I need it is much greater necessity. You produce that much greater necessity by attending to the payoff more of the time with more of your seven plus or minus two.
11:50
S0
You follow? It's attention. Where your attention goes determines if you suffer. It determines if you have a great time. It determines it's not the restaurant you went to. It's who went to the restaurant and what did they attend to. You could go to the same restaurant and be absolutely oppressed by the lighting and by the you're attending to it. It had fluorescence. And I just heard that fluorescence aren't good for you. And it etcetera, etcetera. You have a terrible time at the restaurant. You don't even notice the meal because you're attending. Your attention is focused on the damage that this could really be doing to you. Now
12:37
S0
in an attempt to get rid of this whole scale, we give you McDonald's.
12:43
S0
It's the same everywhere, All the time.
12:49
S0
How'd you like to eat at McDonald's all the time? So
12:54
S0
you go over from need
12:58
S0
and you get over to a phobia. Fully identified. Your attention on it is identical to your attention completely on you.
13:11
S0
So if anything happened to it, it's like it happening to you. Again, it's attention.
13:22
S0
Phobia sits over here.
13:26
S0
I I don't want it. And not really, I don't want it. I can't have it. If I get it,
13:36
S0
my life goes down the tubes.
13:41
S0
I really need not to have it. It's essential to me that I not have it. And yet if I get some of it, I might still make it through. Here, I won't make it through.
13:53
S0
So one of the other parameters that you wanna pay attention to Mike, come here. One of the other parameters is you wanna that you wanna pay attention to is how often do you make something out here by focusing your attention on it either strongly to the payoff or strongly to the cost more important than you are and thus more important than someone else's.
14:19
S0
When we put you two in front of the room the other day, they're both there as islands. Remember that? They're both there as separate entities. Both of them have made the statement if they get their attentions off themselves if they get their attention off themselves, they may disappear. They may die. They're like phobic of having I mean, they have to have their attention on themselves. Remember that?
14:48
S0
No attention to give.
14:51
S0
None. This is like a blind bat without any sonar.
15:00
S0
That's about as insecure as you get. And you're gonna go through that stage of life and if you make it through, you're then taken care of in that way. And many of you aren't where those two are but you went through it without taking care of it so you're really that insecure. Give me some attention. I need some attention. Just want some attention, please.
15:28
S0
I need it.
15:30
S2
Yeah. But when you're mentioning about the restaurant, I've been out with people. Just recently, I went out on a date, and all she was talking about is the food and look at this thing over here and there. And when we got through it to dinner, I could not tell you what I ate. I was just on attention
15:50
S0
Yeah. To her. She was fill it filling your seven plus or minus two with what was filling her seven plus or minus two.
15:59
S2
And just with the story before, you know, a bomb could have dropped, and I wouldn't have heard it. Sure.
16:08
S0
It was so timid. Yeah.
16:11
S2
I saw nothing, and it was almost
16:15
S0
I felt like I was going into. Anytime your seven plus or minus two is full, you're in a trance.
16:22
S2
Yeah. That wasn't a trance.
16:25
S0
That's a trance.
16:28
S0
Anytime you have some room in it, you're not in a trance. You've got a certain amount that you could do something with other than what's dictated.
16:41
S0
So want, need, phobia, it all depends on how much of your attention you put on payoff and how much of your attention you put on cost. But chances are quite good that you've just said, I want that.
17:00
S0
You didn't check out that right before that, you put your attention on the payoff.
17:06
S0
That's the mechanism by which you bounced around from this to that to whatever you happen to do.
17:18
S0
You could go to the same restaurant and experience the restaurant.
17:25
S0
And my suspicion is the basics of you getting so full with the seven plus or minus two would was that you adopted without papers or interviews or anything like that, her insecurities.
17:40
S0
The smaller thing your attention is on, the greater indication that is of insecurity.
17:51
S0
There it is. I need this. It's my rabbit's foot, more or less.
18:00
S0
So we can take anything that you're currently doing and put it on a scale like this determining how attention underlies it and how if you move your attention what if you moved your attention think of something that you do want now. Anybody got something you want?
18:23
S0
What you got that you want? Jelly beans.
18:27
S0
Woah. Okay. She wants her marriage to work.
18:34
S0
What if her marriage works?
18:39
S0
First of all, it's a fairly large piece. Ain't
18:43
S1
it? Yeah.
18:45
S0
It's large enough that we can't possibly work on it.
18:50
S0
We can't possibly work on it. First of all, how would you know if it did? The answer is only when it's over.
19:02
S0
Because otherwise, it could not at any point in time. So
19:09
S0
let's break that down to a little smaller piece.
19:14
S0
Her husband's name is Chris. How often Chris does good.
19:25
S0
Chris
19:27
S0
does lousy. Center point.
19:35
S0
Where are you on this
19:40
S0
continuum? So this is why they taught you this kind of stuff. Remember back in math when they taught you about line segments and different? This is why they taught you that. They just didn't tell you that that's why they taught you that. But this is why you need to know that, which is in order to extrapolate a position.
20:00
S0
And it gets more complicated, and I'm not gonna get into that right now. But there's also a
20:07
S0
and
20:09
S0
but we aren't gonna get into that right now. Let's be on where the course is.
20:15
S0
Right now.
20:15
S1
Right now?
20:16
S0
Yeah. Right now.
20:19
S0
So you wanna start taking apart attention. Where is she right now? Just watch what happens here as we play with this a little bit. Just quick. You don't have to think a lot about it because
20:30
S1
On the lousy side, towards the middle. Not About there? No. Back a little
20:37
S2
ways. A
20:39
S1
little bit more. Yeah.
20:42
S0
So we need to then and we aren't gonna do this for right now because we could got some other ways to do this. But that's somewhere around don't want him, isn't it?
20:54
S0
So how are you going to make it work? Is it by not wanting him? Oh,
21:00
S0
that doesn't sound like the best mechanism.
21:05
S0
So that's what she has right now. How about when you're with him?
21:14
S1
Depends on the situation.
21:16
S0
Uh-oh. Uh-oh. We got a problem there. It depends on the situation. What that tells you is that you now have a tremendously superficial relationship. It depends on what he's doing right now. It depends on how much of her attention he's got right then. It depends on like, if he's just giving her something big and fancy and neat looking that was apparently thoughtful for him to come up with, guess what?
21:54
S0
Starts to move over this way. This will tell you the superficiality of your relationship,
22:03
S0
which is what does he have to do to get her? In other words, what kind of disturbance does he have to set up to get her attention?
22:15
S1
And not so much anymore.
22:17
S0
So this is the center point. I wanna know if you're just sitting there with him in the bedroom. Just sitting there. Mhmm.
22:25
S1
Where is it? Just sitting there in the bedroom Yeah. Doing nothing. Yeah. He's on the good side.
22:33
S2
Okay.
22:37
S0
How far?
22:39
S1
Farther towards the good side than it. Yeah.
22:45
S0
So where would you rather be than sitting in the bedroom with him there? Nowhere. There's nowhere. That's it. Well, then this is really simple. Don't don't talk. Don't do stuff. Don't talk. But this isn't true
23:04
S0
because she wouldn't sit in the bedroom there because you don't. You do stuff.
23:13
S0
The stuff she does is setups to justify being over here.
23:20
S0
So tell us five really good things he's done in the last month, please. Really good things he's done in the last month.
23:32
S0
See, one of the major things you have to do is you have to make everything measurable by easy measures. We're now measuring using the clock.
23:49
S1
Taking care of Max while I've been gone is one.
23:53
S0
Taking care of Max while you've been gone? Mhmm. That's one really good thing he's done? Mhmm. Okay.
24:02
S0
How many of the days?
24:04
S1
Part of today and Sunday and part of Saturday.
24:09
S0
How many days was he scheduled to do it?
24:14
S0
Sunday. In other words, he had one day that he was supposed to do it and didn't. Right? Yeah. Where does that go?
24:23
S1
That was okay.
24:25
S0
How soon was it okay?
24:29
S1
Immediately, wasn't, and then not maybe
24:38
S1
five to ten minutes later, it was okay.
24:40
S0
Okay. So it took about five or ten minutes Mhmm. In which he was further over this way and then he came back. Okay. So now what you wanna do is you wanna use your own body to find out whether she thinks it was really a good thing he did to take care of Max.
25:01
S0
Anybody get moved? In other words, did that move you on your scale of perceiving her?
25:09
S0
Didn't move anybody. What's something really good he's done in the last month?
25:15
S0
There's a tendency as a human being to lower the bar.
25:22
S0
You lower the bar, you and then you realize that you're lowering the bar for everybody, not just for yourself. And pretty soon you couldn't trip on it.
25:32
S0
Let alone do you need to jump over it. You've got it so far underground that you just walk over the bar without even noticing that it's there.
25:42
S1
He got his father to turn the television off yesterday.
25:47
S0
Now forget the content.
25:50
S0
Forget the content. This one gets her a little bit.
25:57
S0
Right? Now
26:01
S0
imagine that that kind of thing gets you.
26:05
S0
I mean, that that he moved the door jam from right up against the wall here to eight inches further over against the wall. Wow.
26:25
S0
What we have here is we have a basically bankrupt system. The basically bankrupt system assumes there is not enough attention. She assumes that there's not enough attention to go around.
26:46
S0
There's just not.
26:50
S0
So what happens is if she's in his presence, she's married to him. If she's not in his presence, she's not.
27:02
S0
That's not true for everybody. That's what we're talking about her now, and that's true for some of you. Remember the abandonment exercise?
27:11
S0
When you attempted
27:14
S0
to maintain them in your seven plus or minus two so that you couldn't be abandoned?
27:19
S0
Remember that? She
27:23
S0
made up a rule early on, which is if I'm gonna be abandoned, it would be best if I abandoned first. So she abandons first. So when the person leaves, there's nobody to leave. Her seven plus or minus two is already occupied on something else.
27:44
S0
And she's got a little bit of a problem here, which is marker Chris. Which one does she like better? Depends on if she needs to write something.
27:56
S0
Or whether Chris has been bothersome because the marker is almost never bothersome.
28:07
S0
Notice when you get in an exercise with Molly that you're the only person that exists? Have you guys you guys have been in exercises with her. Have you noticed this? When she's sitting with you, that's it. You're it. At that moment, her husband is occupying none of her seven plus or minus two.
28:29
S0
She needs it to be right in her face to do it. That is a very infantile stage.
28:38
S0
Remember the stage where you couldn't play peekaboo with the baby? Because if you weren't there, you weren't there.
28:48
S0
And then when you were there, you were there. That kind of thing is what we're seeing here. She wants to carry a relationship over time when she can't carry anything over time.
29:02
S0
And it's a function of attention. It's a function of that her seven plus or minus two feels or is vacated and is gone.
29:15
S0
So you're going to have to learn to carry something and it's you're probably going to start with smaller objects than him.
29:23
S0
Little tiny things. Like, can you feel the microphone? Mhmm. Okay. Could you before I said it? Mhmm.
29:32
S0
Attention goes fully one place and gets only one dose of the seven plus or minus two, you've got to learn. In order to mature, you've got to be able to split your attention and the further apart your attention goes, the further removed number one is of your seven plus or minus two from number seven and the broader the gamut, the larger you are.
30:01
S0
And what Molly does is she looks at you and there's only you. But then guess what? You just died, and now there's only him.
30:15
S0
Now there's only the ceiling.
30:19
S0
Now this is beautiful. Any anything that somebody does is very useful in a specific context. In a specific context, this is very useful. She can't get hurt much because if the marker rolls across the floor, she forgets she was hurt. Wow.
30:40
S0
I mean, imagine if you could forget you were hurt that fast. Sitting right next to her is the world champion for holding things for a long time in the seven plus or minus two or being able to get access right back to it and never forgetting. Look at the two of them. You see any difference?
31:01
S0
She's the champion of the world for keeping it in place.
31:06
S0
And it's hard, isn't it? Yeah. But she can't not keep it in place and she can't keep it in place. And it's all a function of attention. And the way to alter this isn't by trying to alter this. The way to alter this are the little tiny exercises we play within the course. If you try and alter it by altering it, you're gonna come up against her not wanting to be abandoned and her making sure she's abandoned.
31:39
S0
Basic philosophical statements. I will always be abandoned. I will never be abandoned first.
31:46
S0
And it's all a function of attention. And you've got your own. Don't you?
31:58
S0
So here you've got this seven plus or minus two. How are you filling it up? Let's play around just a little bit with the scale of filling it up.
32:08
S0
Please refer to the seven plus or minus two diagram again.
32:15
S0
But fitting with what we're doing, let's do something completely different first for just a moment to illustrate this.
32:26
S0
How MALE fills it is by keeping it tremendously superficial,
32:35
S0
really superficial.
32:39
S0
Dick, come on up, please. What do you see here?
32:45
S3
I see Matthew.
32:50
S3
I focus on his head and shoulders. I see a lot of energy up on that area of his body.
33:01
S0
What's wrong with Matthew?
33:04
S3
I'm not sure I can I don't know that?
33:12
S0
He doesn't because he can't.
33:17
S0
How many of you know what's wrong with Matthew?
33:21
S0
I'm not saying have the right answer, but you noticed I asked him a question, he has to shift his attention. Did you watch that? He shifted his attention, and he came to something that he doesn't know what it is.
33:35
S0
What's wrong with him?
33:39
S0
So what we're doing is we're going right up to a point at which he has no the data is not allowed in.
33:51
S0
It's not allowed in. This is not a route that he's able to go into. If I ask you what's wrong with Masimo, I suspect you could talk for a little bit. Couldn't you?
34:06
S0
Look, you don't see a vacant look, do you?
34:11
S0
She could easily start to come up with it. He can't come up with it. That's an area of the world that he's not able to go to.
34:21
S0
I could bring any of you up and ask you a question or two and get you to an area that you can't possibly there that you you can't attend to it. You can't pull it up. I watched you with Max two days ago. Max, Molly's little son. And I watch him looking at Max, and he doesn't see Max.
34:44
S0
He sees a perfect little child.
34:52
S0
True? Mhmm. He sees a perfect little child, so he's no good for Max.
35:01
S0
Does Molly see a perfect little child when she sees Max? Maybe
35:07
S0
if he's sleeping.
35:12
S0
But Molly has so much data about Max and data about her husband with Max and data about herself with Max and data about her mother with Max and data about Max with Max and data about how he should be and data about all of this stuff that she has to interact with that. Her attention,
35:37
S0
it's not her own. He just says, Matthew,
35:45
S0
Max, a beautiful child. So he can't distinguish. He can't break it into the little pieces. She can't not break it into the little pieces. So we've got the mother who's got all the data here and we've got God who says, what a beautiful child.
36:08
S0
You have to, in order to raise your child, interact with him everywhere along the line and all the way to perfect child and all the way back to no data.
36:23
S0
When you put your attention on Max, he didn't even know you were looking at him. He's used to fragmented attention. He's used to attention that goes certain places and not other places.
36:35
S0
So this comes back to the references course. What this boy does
36:42
S0
is he does there are five different categories. He does the fifth one, which is absolute.
36:53
S0
He is looking with God's eyes at you, thus he can't distinguish you from him or her or from the blessed creature that you are. He has to learn to split it up. He has to learn to break it up. He has to learn to look at, well, he's kinda crazy, this Matthew guy, and then start to you get it? Mhmm. Mhmm. There's no place to be. There's just every place to be because the fact is that you're every place.
37:26
S0
So so what you've done is leveled the terrain.
37:29
S3
Yeah. And I've done that consciously.
37:32
S0
I don't doubt it.
37:32
S3
Yeah.
37:33
S0
Yeah. Now undo it consciously.
37:38
S0
But you've done it for a long time consciously.
37:41
S3
Oh, with my own kids. I I was not this way. I mean
37:44
S0
I don't doubt it. You told them what to do and what not to Well, do and you
37:49
S3
I was aware of what their strengths and weaknesses were and interacted with them, I think, at a variety of levels. I know I did. Okay. You know, so I
38:00
S0
What I'm suggesting is you don't have to lose the one to do the other. Yeah. What if you could do both? What if you could talk to him about his shortcomings or his whatever or focus your attention on that and still see the big one. Mhmm. What I'm saying is you've thrown out the baby for the bathwater.
38:23
S0
What if you could do both rather than having to go one way? Anytime you consciously try and control it, you're gonna limit yourself. And that's what we're talking about here is the limitation. Molly has to be able to look at Max and see the absolute perfect child that you do without running all of that stuff. She you
38:48
S0
have to be able to look at him, see the perfect child, but then also see for two years old, this kid's a little whatever. You gotta be able to do both. If you cut off one, you become not so useful anymore. This is about flexibility. This is about being able to generate all sorts of different responses instead of just one.
39:13
S0
So sit here, stand right here, and think that you're much better than me.
39:19
S0
You watch. He says, there's no room in my seven plus or minus two for that because I'm altering the whole game. Think that you're much better than me.
39:33
S0
Tough, isn't it? Now think that I'm much better than you?
39:37
S3
That's easy.
39:39
S0
It is?
39:40
S3
Well, I said it, but I'm not yeah.
39:44
S0
But it didn't happen, did it?
39:45
S3
No. It didn't.
39:46
S0
So what it is is there are steps, and there is a basement and a 2nd Floor. Mhmm. And you're still mulling around on the 1st Floor. Nothing wrong with the 1st Floor, but you might wanna check out the basement. You might wanna check out the 2nd Floor. There might even be a 3rd and a fourth Floor, maybe even a fifth and a sixth floor, but you still haven't learned that there are steps.
40:08
S0
Do you follow?
40:09
S3
Mhmm. I do.
40:10
S0
Okay. So be inferior to me.
40:20
S0
But see, you guys know, don't you? You know what he's doing. You
40:29
S0
can't play on a level playing field. You just can't. It doesn't work. This is a horizontal playing world. This is a world in which adjectives are all important because they're the only thing that differentiate between things. If you're lost, and let's pretend just for a moment that he's lost. Just for a moment. I know he isn't, but let's pretend just for a moment. You wanna try and find the high ground to get a view, don't you?
41:02
S0
I mean, you any of you been lost in the woods?
41:07
S0
Don't you start looking at trees that are looking for some kind of high ground so that you can see what's around? He's lost the high ground by calling it all the high ground. He talks to someone who is really into crystals
41:26
S0
just like they're the same as he is even though he's meditated for thirty years.
41:34
S0
They aren't the same. Do you know that?
41:37
S3
I know that, but I do do that. Yeah. I mean, I it's something I've done consciously.
41:43
S0
Which then has you not be able to contribute to them. Mhmm.
41:51
S3
I hadn't thought of that. No. I
41:52
S0
No. But check it out. Yeah. Yeah. It does. It has you not be able to contribute to them because you may be talking to somebody who's never fathomed meditating for thirty years, not even two minutes. And you talk to them like they are fully blossomed already. You know, you're planting the seeds and already you're smelling the blossoms. That's okay, but the blossoms aren't there.
42:21
S0
That's kind of neat because it doesn't matter what seeds you plant.
42:27
S0
You get it?
42:27
S3
Yeah. I do.
42:29
S0
You've leveled the playing field only it's not level. The idea is to make the playing field so bumpy, so far. You need to look at him, and you need to be so superior to him that he's a pathetic little creature. Look at that pathetic little creature. Did you see that little thing you just did with his eyes? Is that ridiculous or what?
42:56
S0
And then you need to be able to look at him and be so inferior to him
43:07
S0
that you're dependent on everything that he does and anything that just his very look cuts right through you.
43:17
S0
And what that does is that forces him to not know where to put his attention. Mhmm. I know you like the one and don't like the other. I got it. Every
43:28
S0
time I make an observation like this about her, she disagrees with what I've said. Have you watched it? Mhmm. It's a pattern.
43:34
S1
It's not what I would tell her.
43:36
S0
I know.
43:36
S1
But you think that.
43:38
S0
I know. I'm wrong. In this instance, you were. Right. Again.
43:46
S0
Are you sure?
43:47
S1
I'm positive.
43:48
S0
Yeah. Now shift to the negative that you're certain that I'm right.
43:54
S1
That's not a possibility.
43:56
S0
And that's how you shut off possibilities.