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Illusion Conclusion
Jerry Stocking
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Tape 13 – Side A
Tape 13 – Side A
IC_T13A
44:45
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Transcript
204 utterances · click to jump
00:01
S0
You have to go more deeply into the experience and get down to the point that all the meaning isn't so locked up that it gets starts to get released because when that meaning gets released, you get energy. Why didn't anybody tell you this before? Because they don't know.
00:24
S0
Because they found something that they can tell you specific rather than just dancing with it as you go.
00:32
S0
You got to dance with it as you go.
00:36
S0
And the contrast between sitting there and assuring him as the proud, strong parent able to and sitting and being cuddled and held by him,
00:49
S0
it has him not hold on to either experience.
00:55
S0
What if no experience produced a predictable result? You would have to pay attention.
01:05
S0
Wouldn't you? You'd have to pay attention.
01:09
S0
And that's what you're here for, to pay attention.
01:13
S0
You'd have to look at your daughter and not see your daughter crying and not say she's been crying all morning, you'd have to distinguish something. How this cry is different than the cry of a minute ago. How this cry touches a different part of you than the part that it touched a moment ago.
01:35
S0
I recall this was many years ago leading a workshop in Milwaukee. We got on the elevator to go up, this was at the War Memorial, and this mother gets on with her young child and the young child lets out a scream and I matched the scream.
01:54
S0
And the child stopped
01:59
S0
and looks at me. The scream was a routine to get the mother. Me matching the scream blew the whole game for the child and the child was pretty interesting and pretty interested from there on.
02:17
S0
A couple other interactions, then I cemented it in with the mother verbally so that she would get the game.
02:27
S0
Whatever your immediate tendency is, is probably some sort of defense or shutting down. It's no longer necessary.
02:36
S0
The only possible positive defense is opening more fully. It's the only one you've got and in order to do that you have to not go for that first response. In order to do that you've got to not circle the wagons and defend your illusion. It won't work. It didn't work before other than to keep you alive.
03:01
S0
It didn't work for quality. It didn't work for multiple illusionary perspectives per second, it didn't increase them and it needs to increase them. If it doesn't increase them, you have not now equipped yourself more fully for the next moment And if you don't equip yourself more fully for the next moment, you just constantly get further behind and you guys tackle all these huge things that are so meaningful
03:29
S0
and you can't get the meaning out and you're stuck with the meaning.
03:35
S0
Eek. It hurts. And you put it between yourself and another human. And you even come up with and he's done a great job of staking out the middle ground, but it's no fun.
03:50
S0
And you've done a great job and none of that is wasted, by the way. Because if you can stake out the middle ground, you can play out too. You've done a great job of this, one of the better I've ever seen. Now let's find out how much ground you can stake out. I suspect it could be a lot. So you have to split it into the tiny little pieces because at some point your world is going to become so entertaining that even when your daughter is weeping, it's entertaining. And you're also going to be able to distinguish the difference and Molly watched this with Max. He's got one of Judson's little things and he wants it.
04:38
S0
And he's gonna take it. I mean, I I was gonna take it, and I took it from his hand and he goes like this.
04:48
S0
And I saw that it's an absolute scam. He's running a scam here and this scam has worked.
04:57
S0
This scam has really worked. So now let's jump out ahead. He's 45.
05:06
S0
He's going to find somebody that works with. Oh, what's wrong, dearie? I didn't buy the scam. What happens with him? I would assume that scam would generally blow up into something. At least tears. You gotta know when to buy it and when not to buy it and you gotta buy it if it furthers the child opening or the relationship opening or the boss opening or the client opening or whoever and not buy it if it doesn't. But you have to become a master of your own attention to do that. And to do that, you have to be awake. Oh, I'd rather sleep.
05:57
S0
All kinds of weird stuff happens while you're gone.
06:01
S0
And then you're behind.
06:05
S0
It's tough. Pair up,
06:12
S1
Please refer to the chain of emotion exercise in your booklet.
06:30
S0
Two's go first. Two.
06:41
S0
Who's two here?
06:44
S0
You look over at her and you get absolutely livid. Do you know what livid means? Mad.
06:50
S2
Mad. Angry.
06:51
S0
You get so yeah. Beyond angry. Okay. Way off the scale. You sit over here and don't respond, but observe, first of all, how she does it. How does she go about generating livid from nothing or from it wouldn't be nothing. From wherever whatever she's stuck with at the moment.
07:17
S0
You chain through these emotions.
07:21
S0
And if you can find out what somebody's chain is, which takes fifteen to twenty seconds if you're paying attention, then you can tell where they're gonna be next. And you can start hunting them where they are based on really where they are rather than where they have been.
07:39
S0
So you get livid. Watch what does she do to get livid. K. And you get livid really make it personal. Okay. You okay. Go ahead. Watch.
07:58
S0
Watching what she's doing? All kinds of things, aren't there?
08:11
S0
Now you're doing some of them right back to her. You've got to watch out. It's a little contagious here. Now watch out. This is the release valve. She does the goofy, childish giggling afterwards. What if she didn't have to do that? She does that attempting to erase what just went on. She adds a little depth and then loses the depth again.
08:37
S0
This time don't do it. What if you didn't have to do it? Your whole life would be different. I know. Some of you have to learn to do it wither.
08:48
S0
But now the game is, I think we're gonna do threes instead. Threes, please, Instead of twos. We need an observer. We
08:58
S0
gotta have an observer. So the game is, I'm gonna continue on the motif of throwing tough stuff at you. Okay?
09:05
S0
She gets livid. Molly attempts her best not to get wrapped into it. What do you think happens? Chris gets upset, Molly gets upset. Any question about it? Chris comes in, he's a little tight. Molly goes, okay. I can do that.
09:24
S0
They go down the tubes together.
09:28
S0
So she gets upset. What's she upset about by the way? She's just upset. That's it. What if you had content free upsets? Everybody in the world says, what are you upset about? What are you angry about? What are you
09:45
S0
or make up a story. The pope. The pope pissed me off this morning. He lives where it's warmer than here, and that pisses me off. Not only that, he doesn't have to have really he doesn't have to, like, go shopping for his wardrobe. And that pisses me off. So she gets really this is still going on over here, by the way. It's pretty much gone here, and it's if you see her, it's still going on over here. That
10:23
S0
isn't bad. It might even be just a matter of some increased depth, But you gotta be willing to have it go on forever over there. So Dick, the bad news is not only do you have to broaden it out so that you can do both, but you have to be willing to have it go on forever.
10:42
S0
In other words, you have to be willing to be angry for ten years if that's what it takes.
10:50
S1
It's my stomach.
10:52
S3
No. Was saying it's still there too.
10:54
S0
Yeah. So she gets really mad at Molly. Molly does her best to be in neutral. So she watches it. She makes those distinctions. She watches how the body tightens here, where it tightens first, where it tightens second, what happens right in here, what happens all over.
11:15
S0
And then when she's at the height of it and Molly's really watched it, Molly goes into it too, Following doing just the same thing. And you watch and you support them in any way you can talking as little as you can. So now we've got both of them absolutely livid.
11:43
S0
See, watch it. This is the trivial stuff. She tends not to go into it. You need to really go into it because if you can't really go into it, it's gonna go into you when you least want it. You're gonna be in the situation with somebody you really care about and you're gonna find this thing plopped on you and you're out of it. Not out of the mood, out of the relationship. Because at that point in time, you'll play out a cultural script and you'll be gone. That'll be that.
12:38
S0
And when it's as deep as you think it can get, then it's time just to come back out.
12:45
S0
Wiggle around, shift your attention, your attention goes somewhere else, completely different place. You notice where it gets stuck, where it doesn't want to release.
12:59
S0
Notice it? There are things that you don't want to they're carryovers. In other words, there are parts of the seven plus or minus two that stay stuck. You should be able to get rid of it in your body here with this.
13:13
S0
And you should be able to get rid of it from your body into this. It should go both ways. These two aren't separate. They just seem to be separate. So what if you could, rather than resisting somebody's mood, which you do on a regular basis, what if you could join them and go all the way down into it so that you two were both fully down into it? Now look at where they are.
13:41
S0
Yeah. And they don't know.
13:48
S0
You gotta you might wanna see it.
13:50
S2
What did she say?
13:51
S0
Just lots more emotions show up. These emotions are sitting in there the whole time. They're sitting in there constantly. She's just come up against what she tries to avoid her whole life. And guess what? She made it through. It won't hurt her. You need to learn to go deeper. Until you learn to go deeper, you won't love anybody. You'll do some pretense of love on the surface. You gotta be able to go into any sort of I don't care if it's anger into any of it. You gotta be able to go so deeply into the emotion without getting hooked. And then get hooked and get unhooked. You're never gonna hooked is some stimulus has taken over. So it's you're not you guiding it anymore. Now the beautiful thing about that is at that moment you're not in control. And there's lots of evidence that you're not in control and you need lots of evidence that you're not in control because the moment you don't have evidence that you're not in control, you think you're in control again. Idiot. So
14:58
S0
let's play with the emotions. You watch what happened when I went through the emotions in front of the room. It washes stuff through you. The problem isn't the emotions. The problem is getting stuck in some symbol of some emotion. That's where the problem happens. And you do that by not having experienced enough emotions.
15:21
S0
Dick has an emotion show up, but then it gets stuck because he's not experienced enough of them. You gotta you gotta fight like cats and dogs Tuesday night from eight till nine.
15:34
S0
You gotta really fight like cats and dogs Tuesday night from eight till nine otherwise you weren't prepared. It'll happen when it happens stimulus response and the whole thing will get played out and you may as well be lizards.
15:48
S0
So I want you to do anger first. You watch everything she does to get angry. Now could that be a benefit? She has to go through some stuff here. If she enter if she gets home and you go, oh my gosh. It's tight in here and it's she's working on anger. It's coming up. What if you knew it way before it ever came?
16:11
S0
What if you knew that it was coming for her way before it ever came?
16:17
S0
You could become a forecaster, couldn't you? And you could become a magician because you'd see it by the little tiny signs. By the tiny signs, you would be able to take care of every upset your daughter has that you wanted to take care of before it ever blows up to the point that there's nothing you can do.
16:40
S0
Currently, by the time it shows up, it's already too big to deal with. And so the whole relationship is defined in an Italian way which is over threshold.
16:55
S0
No Italian knows another Italian's there unless they're both over threshold. And then they don't know they're there.
17:04
S0
What if you could know what was going on with them?
17:09
S0
Boy, could you make room for that Rather than resist it, if you resist it remember the bat sends a wave out and then gets it back? If you resist it, she gets back that junk. Yeah. What if you let it go through? She gets back nothing at all. Weird. What if you do it right back to her? And there you are, but you don't have to do it. What if you're just able to do it right back to her? Remember the little kid on the elevator and I yell and matches his yell? It's all gone.
17:43
S0
And you watched me with Max. Mhmm. It's strictly how much attention are we gonna put here. I'm taking the thing, Max. Yeah. But he's looking to see, is this gonna work? Is this gonna play here? Am I gonna get the attention here? Is it gonna and I'm making my attention not dependent upon the the the little thing. Yeah. And I watched how many times he tried. Before then, it got distracted. He has a longer attention span than you do Mhmm. Currently, which is a problem for you. So you're gonna have to either shorten his or lengthen yours. We'll find out.
18:24
S0
And you understand that that's how you guys abuse your kids. Because he's got to either shorten his or she's got to lengthen hers. If she decides that she's the teacher, then he's got to shorten his. Ritalin will take care of it later.
18:39
S0
Got the exercise? So you she gets into it. She watches everything. You observe. Watch both. And intervene if you need to just a little bit here or there. Then she takes it on too, you beam it right back and forth and find out how deeply you can go.
19:00
S0
And when you're deep enough, you interrupt and say, okay. Wiggle around, break it off, whatever. Then you switch chairs.
19:08
S2
Got it? The first time you don't resist it? Don't want you
19:12
S0
don't want you ever resisting it. First of all, I want you in neutral Okay. Just watching. Watch every element. Watch what it takes. Watch the hands go kind of here and watch the whole thing and then watch the waves of it go through because it comes through in waves in her. In some people, it won't. In her, it comes through in waves. What if you could sit here and watch this in somebody rather than thinking that it was somehow about you again?
19:41
S0
What if it had nothing to do with you? What if you could watch it and love them and watch it? Because this happens at work with employees, it happens everywhere. What if you could watch it the whole time?
19:55
S0
And then what if you could join in here or there? Jump in like on jump rope. You jump in, you jump a few times, and then you jump out. And she goes, oh my gosh, you mean I don't have to be stuck with this? Well, she's just watched you go deeply into it and then come back out of it. How that you get the I mean, the level of play is unbelievable. If you're bored, you're boring.
20:19
S0
I mean, you forgot that there's everything to play out here.
20:25
S0
So do it. Go.
20:29
S0
You guys, to get angry you don't have to have it be about something. You can just get angry as I just pointed out to Linda, she does it about this and about that and about this. She gets happy about this. She gets sad about that. She gets angry about this. Pretty soon life is about.
20:54
S0
And then you have to just be concerned with what round it is. Once it's about.
21:02
S0
Go.
21:06
S0
The more junk you have to go through to get angry, the more junk makes you angry.
21:13
S0
Put your eyes up. Put your eyes down or to the right, down or to the left, wiggle around,
21:24
S0
calibrate back to zero a little bit.
21:28
S0
Pair up please.
21:33
S0
So this is in my humble estimation the best folk song I've ever heard, and I've listened to a lot of folk songs. Dance, please. We had a
21:45
S0
at the personal renaissance, we had a folk singer come and down in the driveway set up a PA and his bass player and had everything like that. And we sat for the first half of his concert and watched and then for the second half we danced and folk singers don't really know what to do when you dance.
22:08
S0
It was kind of silly to watch them because they don't understand what what are they dancing for. They're supposed to just listen. Well, here's a dance song. Get closer than you've ever gotten, please.
22:48
S0
He also happens to be kinesthetic.
23:14
S0
You can't miss the accent. You have to distinguish what you wouldn't normally distinguish.
23:23
S0
Canada.
23:26
S0
Yeah, hear hear that? Canada or Minnesota, but I think it's a little stronger Canada. Please
23:34
S0
make sure that over lunch you have the most emotional lunch you've ever had. But I don't want you to get stuck in one kind of emotion. I want you to have dick sort of emotions.
23:51
S0
I want you to play around. The group over here was observing what emotion you use to get into some other one. Which one what emotion keys first, then watch what comes after and play around. I want you to be able to go into any emotion, anytime, anywhere, independent of everything because the emotion washes through you and cleans everything out. It can't do otherwise. It just cleans it out. I want to be cleaned out often, thank you kindly. And that's what you use these for. You have a conversation about embarrassment with people not from the Course? Remember they didn't even know what how you were talking when you were talking for don't care.
24:45
S0
They don't care at all. Have a profoundly emotional lunch up, down, all around, but don't go the one that you're naturally tempted to go to because that one just happens to you.
25:06
S0
So an emotional lunch, please. Remember all these Christmas heads are out shopping today. Biggest shopping day of the year. So there's nobody home.
25:22
S0
That's the definition of shopping, particularly Christmas shopping. I
25:28
S0
request that you celebrate celebrate Christmas on January 18 this year. That way you get to give presents that you bought on the cheap.
25:38
S3
Yeah. Yeah.
25:43
S0
And your garbage man can pick up the tree later rather than when he's getting all those others or she's getting all those others.
25:55
S0
Two forty five back here. Emotional.
26:00
S1
Good food. Please refer to the emotional lunch exercise in your booklet.
26:08
S4
Sweet Patrick turned out to be a real bastard at lunch.
26:16
S4
And
26:18
S0
he If there's anyone who can distinguish between a real bastard, sort of a bastard, a total bastard, it's her. She's been with them all.
26:35
S4
And I I just wanted to say that you were you were so there and present and wonderful, and you you you glowed, and it was nice to see you like that. You have to be mean more often. You just shut the fuck up. See? It was it was nice to see you like that, Patrick.
26:53
S4
He didn't he did not look sick at all. He was vibrant.
26:58
S4
And it was so it was interesting to notice that, and everybody noticed that about you.
27:04
S0
Congratulations. Any of you lose your temper over lunch?
27:10
S0
A little bit of temper around? Yeah.
27:14
S1
I responded to Patrick, which was quite easy to do.
27:20
S1
It was very easy to get right back in his face and have a shouting match.
27:23
S0
Did you see that skinny little madman they're gonna say in the restaurant, aren't they?
27:30
S0
What else?
27:31
S3
I noticed that it seemed like anger was this thing to come up for us as a group and then
27:38
S0
Itis your predominant emotion as a group because the anger is just rampant in here if itis going to be anything.
27:45
S3
I mean
27:46
S0
That's not always the case. We get groups for whom sadness is the primary one. It turns out it's anger here for you guys. Yeah.
27:55
S3
And the sadness was was there too, but the laughter was not was more of a twittery thing than but they was really easy to push and shove and make a make a rude noise, you
28:07
S0
know. Sure. What kind of restaurant?
28:13
S0
It's almost more fun to go to an oriental restaurant because they have deeper rules about what behavior is allowed.
28:22
S0
Okay. What else?
28:25
S0
Any of you really get mad? Did you really get mad or you you need to work on the yawn, please.
28:36
S0
Raise your hand if you did a real yawn, not a fake one. K. There's a certain point at which a real one takes over.
28:47
S0
Notice how easy it is once it takes over? Nothing to it. Prior to that, you gotta keep trying to do things to get it to happen. All of life really works like the yawn finishes. Every bit of life works that easily.
29:05
S0
I want you to be able to get really angry, not angry watching yourself be angry, totally angry, completely sad. Otherwise, it doesn't clean out every nook and cranny in you. It just does part of it. And any part of it you can't generate completely will run you. It'll show up when you least want it and it will demolish what you care about the most.
29:37
S0
That's the nature of it. Just when you don't want it, it'll show up to protect your insecurities and lose you what you care about. Hasn't it?
29:51
S0
And what if you could do it any old time?
29:56
S0
Be kind of fun. I I did demand that I'd be the first one served and felt good, and I was. Yeah.
30:08
S3
It was fine. Yeah.
30:17
S2
I think it was easier to get easy to get angry at lunch because I actually did get angry in the exercise, and it was kinda still with me. So it was very available and I just brought it up.
30:32
S0
The faster you can get angry and then not angry, the faster you can get sadder and then not sad starts to make you really in control of what's going on instead of just at the effect of it.
30:50
S2
And I also noticed that, like you were saying before, you're not doing people a favor by being flat and not giving them feedback on how they are, which includes how annoying they are and the whole full spectrum of things.
31:07
S0
It's it's no
31:09
S2
all the time. People piss me off, and and I never really let them know. And I'm not doing them a favor. I'm not doing me a favor. I'm just wasting everybody's time.
31:21
S0
And then as you start to let them know, you'll find all sorts of creative ways to let them know, which end up being fun for everybody. They
31:33
S0
do. And then you don't end up with cancer and you don't end up with all kinds of stuff like that that people get from blocking things, at least in my interpretation. They do.
31:43
S2
It takes so much energy to not do that. It takes more energy to be flat than it does to be emotional.
31:50
S0
Well, the fact is you're not flat.
31:53
S2
Right. You're holding. Yeah. Everything you're holding it up against the wall. You're doing this all the time.
31:58
S0
So every adjective you have is a metaphor for whatever your particular stuckness is, be it good and bad or right and wrong or whatever your playing field is, you use all these adjectives to cover up the fact that you're really just talking about the basic thing.
32:21
S0
Do you follow?
32:22
S3
Not quite.
32:26
S0
Give us some ungrounded assessments.
32:29
S3
The restaurant was dirty.
32:32
S0
That's bad.
32:36
S3
Okay. So we have
32:38
S0
Dirty restaurant means bad.
32:42
S0
Other ungrounded assessments. You don't have any problem determining what their metaphor is for, but you use them in order to split the horizontal playground into all different pieces to convince you that it's bigger and more interesting and fascinating than it is.
33:02
S0
And not to admit that you're basically stuck in one simple fundamentalist dichotomy that is absolutely irrelevant. This is one of the hardest things that I've told you. How I know that is that when I first introduced this, I introduced it to Karen and Jackie. And how we did it is they had one adjective for good and one adjective for bad for a whole day. Like, was like stupendous and terrible. And anytime they used an adjective, it had to be one of those two.
33:40
S0
And by the end of the day, they were relatively worn out and tired of being the judge of the universe. And the next day, they said, we've had enough of that. We get it. It took seven days of that before they really got it.
33:58
S0
They didn't get it on the second day. They didn't get it on the third. We had to go out to seven different days having a different pair of words each day before they realized that it really is flat terrain they're living on, and they're pretending that there are hills on it and that this really is a very interesting place to have lunch. That means good.
34:22
S0
And then on day three or four, we reversed them. Oh. So that's dependents meant terrible.
34:30
S3
Yeah.
34:31
S0
And humongous meant bad. I mean, meant good. And after seven days, they realized that they're in an absolutely flat playing field, and they were trying to make it so much more interesting than it was.
34:48
S0
And at that well, you never leave one level because you've tried to make it so interesting with all your adjectives. Wow. Not so clearly nouns are just as full of baloney, but adjectives are really you putting spin on everything. You put spin on it and you go, oh, this is really I've got an interesting one and yours is not as interesting as mine. You compete in things you don't care about. When you start generating I mean, how much do they sell products to you by adjectives? Don't they? They constantly try and sell everything to you by adjectives. Well, tell me about your wife. Oh, my wife. Adjectives mean you're staying on the same plane. You don't need adjectives when you go vertically, you only need adjectives to try and make it interesting on a horizontal. I know you don't fully get horizontal and vertical. Don't worry about it. It'll come.
35:55
S0
He'll get it.
36:02
S0
You don't get it? Let me explain it to you really quickly. K? The difference between horizontal and vertical. If you're if I'm working on you and rubbing you and I'm I'm wanting to rub you and I go like this and we work on it and we work on it and we really work on it. And finally, you start to limber up. K? K. And you start to limber up a little bit. That's horizontal. If I go like this,
36:38
S0
and then you start to just limber up, and it's yeah. You get it? Get the economy of it? Mhmm. That's horizontal. That's the difference between all the hard work.
36:51
S1
That's vertical.
36:52
S0
I mean, that's vertical. Sorry. That's vertical. The difference between all the hard work and not all the hard what if I just went like this and then you shifted everything? This is what Donnie Epstein has offered us with Network Chiropractic. You do a little something here and everything shifts all over. That's an example of vertical in a particular area. Very different to massage somebody up and down and finally you get them limber or to just give a little poke. And everything shifts. Best person I ever saw at any of this was a woman named Marjorie Barstow. She taught I need you one more moment. She taught Alexander Technique and what she she did it for about, I don't know, like sixty years. When I ran into her, was about 93 and she moved just like a little kitty cat. Just no extra movement ever with anything. She's this skinny little 93 year old. But she could take anybody you want and just do one little anything, anything, nothing like the heavy context of network chiropractic. One little something and she would interrupt some pattern that the person never conceived that they had and everything would shift totally in the that that's the difference in vertical versus horizontal. Horizontal, it's a it's a one for one earning. Mhmm. You put out one, you get one back. As you move vertically downward, closer to who you really are, you get 10 back for one, you get 50 back for one. Does this sound like the opposite of the reciprocity thing? It is.
38:44
S0
And that's what happens as you get closer to yourself. And that's what I'm talking about with vertical.
38:51
S0
It subtlety. Moves
38:55
S0
And the subtlety influences everything that's built on it all the way out. So you don't have to alter all that's been built out here. You alter this, and the fact of the matter is nothing's built yet. It's all still being built.
39:14
S0
So the fact that it's all still being built means that if you alter something subtle right now, it alters everything all the way out.
39:26
S0
And then one tiny little touch and everything in the world shifts. Now that starts to have my answer of the first day make sense to you regarding enlightenment and everything moved over a few inches.
39:42
S0
It's that simple.
39:47
S0
What if tomorrow you woke up in the morning and there was no meaning,
39:55
S0
Just for a couple minutes.
39:59
S0
None. And you could just look around.
40:05
S0
And you didn't have to react.
40:09
S0
And you could just look around and there's Dave,
40:15
S0
just Dave.
40:21
S0
And you complicate things so they can't be quite that easy, almost every time you get a chance, because I'll tell you, if it's really complicated, then you might be able to do it and somebody else couldn't, so you're really good.
40:34
S0
I could really reach them.
40:37
S0
Yeah.
40:44
S0
So we've got request, promise, assertion, and declaration. Given a chance to sell something, Kathy makes assertions,
40:59
S0
All kinds of assertions. Most of you would make assertions rather than request and promise. Now let's explore a little bit assertions and declarations. Assertion is a claim of fact regarding your relationship to something out here. If you're claiming a fact, you're claiming that there is evidence. In other words, you're claiming an an assertion is a victim event.
41:33
S0
You're claiming that something is some way and it has nothing to do with you.
41:42
S0
Nothing at all to do with you.
41:47
S0
Some assertions, please.
41:50
S3
The pen was made at the factory on the hill.
41:53
S0
K. She's asserting it. In other words, she's saying within that that there's evidence and that she could prove this. This is the case. The pen was made at the factory on the hill. Evidence is implied in it. I assert that x is y.
42:24
S0
Other assertions?
42:28
S1
I assert that that sign is made out of brown wood.
42:31
S2
K.
42:32
S0
Now let's get to relationship. Any assertions about the person you're in relationship with or people you care about?
42:43
S1
My father doesn't like broccoli.
42:46
S0
Okay. Does your father like you?
42:50
S1
I would think so. Yes.
42:56
S0
Do you assert that your father likes you?
42:58
S1
I assert that my father likes me.
43:02
S0
What happened?
43:06
S1
No. It went for it.
43:07
S0
The bottom fell out, didn't it? Yep. Did you watch the bottom fall out?
43:17
S0
Is there somebody your father doesn't like?
43:22
S0
You're seeing accesses here you've never seen from him before, I suspect.
43:27
S1
I know he doesnit like the medical industry.
43:32
S0
Is there someone your father doesnit like?
43:41
S0
Do you guys get the relevance of this?
43:47
S0
It never takes this long to sort through all your files.
43:52
S0
It can't take this long to sort through all your files. So the father do do are there people that your father doesn't care one way or the other about?
44:06
S0
Fascinating to me. I love it. So it it's a lack of distinctions.