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Illusion Conclusion
Jerry Stocking
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VIP Course – CD 1
VIP Course – CD 1
VIP_CD_01
1:07:07
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479 utterances · click to jump
00:23
S0
So raise your hand if you've done the only other VIP course ever before so that they can see who these people are.
00:32
S0
That's three.
00:43
S0
This is an opportunity to get down to really tiny pieces. Such tiny pieces that if you don't experience some severe disorientation,
00:57
S0
I will be very surprised. And the root of the disorientation has to do with that you're really not who you keep pretending that you are.
01:10
S0
That that just isn't who you are.
01:13
S0
And the very important patterns are the ones that come what makes them so important is they come before you ever notice them.
01:24
S0
So they've influenced everything that you've ever come across in your life
01:31
S0
without you knowing that it's being influenced. So what's happened is that someone has doctored all of your food before you get it. So you really don't know what food is. Someone has doctored all of your perceptions before you perceived it. So you don't have any clue what you've seen, heard, or felt. You just know what you got once it was
01:59
S0
fooled with.
02:02
S0
I've watched a friend of ours named Eric get back to the point of one of his major major patterns. I don't think you guys need to do this, but it was a pretty tall, strong, handsome man weeping a lot and then deciding not to bother to confront it and keeping it in place. At that moment, he realized that he had never seen anything in his life that hadn't gone through this one filter.
02:36
S1
You
02:36
S0
get it? He'd never seen anything. The motivation for everything in his life had been dictated by the one filter. And he said, that's it. I'm I'm not ready to learn about other ones.
02:54
S0
That probably won't happen here. And yet, that's the level of stuff that this is. These are the early patterns. These are completely made up and fictitious patterns, of course, like all of them are, but we found them to be useful. To give you an idea of how valuable they are, visual auditory kinesthetic is one of them.
03:23
S0
That's one of how many? I forget.
03:32
S0
This is an ongoing dispute. You ready? You each, get one of these. It's like a little book with meta programs in it. Pass them around, would you? Can
03:49
S0
you believe it? Raise your hand if you have considered the possibility that all of these booklets are the same other than the name on the front, that they have the same content in them?
04:09
S0
Oh, no. Of course not. That would be your patterns, not mine.
04:16
S1
Well, I hope that they didn't, but I'm
04:19
S0
They aren't the same. Don't worry. Some of you got an extra sheet in there that kind of sums up the whole thing.
04:30
S0
I believe it's oh, we put one in Peggy's. The other color one.
04:38
S0
So every single communication with you you have with another human being, they are filtering it and you are filtering it.
04:47
S0
Any response that gets out of you gets filtered on the way out. Now how deeply can you take this stuff? That's what we wanna find out. Tonight, it is the major purpose of tonight is to get us deep enough so that you take these deeply. I don't care if we get any covered tonight. It's about getting you down to where they live.
05:15
S1
And is there a place that we're trying to get to?
05:18
S0
I would assume there typically is. Just not as far as I'm concerned.
05:26
S0
The idea is to learn to watch the patterns so you can see, that's something dictated by my patterns. That wasn't me speaking. That was the patterns influencing it. Not to change it, just to notice that. And to notice that and notice it and notice it. After you've noticed it sufficiently in yourself, you'll be able to start to see it in other people.
05:53
S0
And then you'll discover
05:58
S0
you only need to bother to deal with the ones that don't come from their patterns.
06:04
S0
It's an ongoing offering that you neglect.
06:12
S0
How many of those that are infinite? It's just the data that you always miss. It's your lifeline. It's your connection to everything. So there are a lot of them. And the filters seem to protect you when in fact what they do is they
06:41
S0
are kinda like glasses that make things look further away than they are. So the thing is really just ready to eat you, but you see it further away. So you think you're safer. So what they do is they distance you and buffer you from absolutely everything. And there's nothing wrong with them. They can become fun. Yes? Immense fun once you start seeing them. And prior to that, they just you they just have you lose everything. That's all. But that's what you're used to doing, so it's just life.
07:24
S0
So I'm gonna let you all show your patterns to everybody. But first, I'm gonna explain a little something that I've been doing in the last week, if that's okay. It's just a little aside. It might get in the way of covering some of the VIPs, but we don't really care about those anyway, do we?
07:45
S0
Probably not.
07:47
S0
I've discovered something in the last week and a couple days.
07:53
S0
And I think we'll tie it back into these. If you have a perception,
08:00
S0
it's going to be a mixture of pictures, sounds, and feelings.
08:06
S0
What I've discovered in the last week is that somewhere between 4060% of that perception
08:18
S0
is strictly geared toward orienting yourself in space and time.
08:28
S0
It's a redundancy
08:31
S0
almost all the time. So what happens is you sit here and you know where you are in relation to the room. You get it? Every perception you have has a a taking into account
08:49
S0
what's around you to a certain degree which puts you in a specific location. A specific time and a specific place.
09:01
S0
Like in a computer, it would be a designation of a location where something is stored. You get it on a hard disk. If you didn't have that, how do you know where to find it?
09:13
S0
And what I've discovered is that
09:15
S2
you don't need
09:15
S0
that most of the time.
09:20
S0
So you can free up 40 to 60% of every perception most of the time and you only need to do this,
09:31
S0
depending on what you are up to. If you are running through traffic, you might need to do a little more often. If you are sitting in your house or sitting here, you need to do it much less often. You can free up your perceptions by not doing the orientation.
09:45
S3
How do you not do it? Yeah.
09:50
S0
The whole point of VIPs is to lose you.
09:56
S0
And this is the quickest way I know to lose you. Close your eyes, please.
10:04
S0
And where are you?
10:09
S0
Can you tell where you are in the room? Lose it.
10:16
S0
Can you lose it?
10:20
S0
Here's an easy way to lose it. The easiest way is replace it with another location. Be somewhere else.
10:31
S0
Can you do that? Now be somewhere else.
10:38
S0
And be somewhere else. And be somewhere else and be somewhere else so rapidly that you don't know where you are.
10:53
S0
The whole point in having a specific location is that you know what terrain to defend
11:03
S0
so that nobody else can occupy that location partially.
11:14
S0
So as you sit there, can you hear the buzzing? Yes. Can you filter out the buzzing?
11:26
S0
Or have it come from a different location?
11:33
S3
Yes.
11:37
S0
I'm not sure the technology of doing this yet. You can open your eyes. I've done it. And what it's done is it's freed up all of that 40 to 60% most of the time for reality
11:56
S0
rather than for you get how orientation is limitation? Mhmm. Because it's defining me by the circumstance. It's circumstantial existence.
12:10
S2
How do we recognize it when it's gone?
12:13
S0
You absolutely will not know who you are or where you are. You will not be anywhere. You will cease to exist in the terms that you've generally defined yourself. And in that moment, much more will become available to you than just this present location.
12:33
S0
That's really how you'll know.
12:37
S0
And how I know, it's very simple, is that all content disappears from my head.
12:44
S0
You understand? In other words, there none of the pictures would make sense to any of you
12:52
S0
at all.
12:55
S0
Ever been lost out in the woods? Like, really lost and you had absolutely no idea where you were? Mhmm. And if you get upset when that happened? Mhmm. And if you get relaxed when that happened? Okay. So the first step to this is probably to get relaxed when that happens because that's the door you're opening. We're opening a door to temporary Alzheimer's. It's called enlightenment.
13:28
S0
They just may be related.
13:32
S1
I just wanted it it's it's more of a challenge. Easier to do it with your eyes closed, but to have your eyes open, you see the things that you're relating to.
13:41
S0
I do.
13:41
S1
I see the things I'm relating to.
13:43
S0
Okay.
13:44
S1
So that's just the next challenge.
13:46
S0
Sure. So then one of the things to do is instead of focusing on individual ones, focus on all of it.
13:57
S0
I'm not talking just in this room. My suspicion is you did just in this room.
14:03
S1
I was actually picturing myself walking home.
14:05
S0
Okay. Now add more. Yeah.
14:10
S0
Don't forget our house
14:15
S0
and add all of it. What I'm suggesting to you is this is an argument for your limitations, And it is absolutely necessary from time to time when you exist in the world, but it's not necessary on every single perception. And we're doing it on every single perception. I how I first started doing this was just lying in bed because I thought, you know, I don't need to know where I am. So the room would disappear, the house would disappear, all of that would disappear, and all of that space was available. It's like you just found out that you have a much larger hard drive than you thought you had. A much larger playground than you thought you had.
15:04
S0
So this gets this enters somewhere around where VIPs enter.
15:10
S2
It seems like I do this automatically, like I like breathing almost. I'm always referencing that that that that that, and it and it doesn't seem like I spend a lot of conscious time referencing it.
15:26
S0
Yes. It's been going on without you having a clue that it's going on.
15:30
S1
Like breathing.
15:31
S0
Except let's say Joe's a a plumber and does all kinds of other work like that. Except when you're standing there and you're pondering the job and all of a sudden something that you hadn't noticed about the job, you just get it. In that moment, you didn't waste the 40 to 60%, you disappeared.
15:56
S4
And that just
15:56
S0
You got out of the way. That gives you a little hint of how useful it will be when you don't need to waste this. What's that? How much of this how much of the $40.60 that gets us expended here is due to bald faced insecurity?
16:20
S0
That gets answered very directly by how comfortable you are when you are lost,
16:27
S0
which is almost all of it is defined by insecurity.
16:32
S0
So one of the nicest, easiest routes into it is to take care of insecurity. And that leads us right to VIPs because what if you don't need to defend who you aren't anymore?
16:46
S0
Wouldn't that be kinda neat if you didn't need to defend who you're not as though it was who you are?
16:57
S0
I mean, there were some pictures on the wall here. What if you decided one of them was the Mona Lisa and it was yours? You'd have to defend it from everybody, wouldn't you, and take care of it and all of this stuff? And the dumbest thing you could do is ask somebody if it was the Mona Lisa because that could just shatter your whole life right there. All those years you defended it. That's what we're fooling with this weekend. All those years that you've argued for who you are is what we're fiddling around with just a little bit this weekend. Yeah.
17:32
S1
I found myself kind of had our eyes closed, and and I was trying to move myself to another part of the room. I kept referencing back to where I am now. It was almost like I had a visual picture of me moving over there, but I was still here. So I wasn't doing
17:49
S0
So it just doubles down the trouble. Yeah.
17:51
S1
Yep. I wasn't doing it at all. And and when you said that about Joe having that, like, moment, it's probably the only time when I'm just
18:03
S0
Orgasm can work that way sometimes because it can so overload everything that you can't monitor it anymore. Of
18:15
S1
course. How
18:17
S0
many categories of them are there? Okay. Good.
18:23
S1
I think it's
18:24
S3
and does this get easier with practice?
18:27
S0
Well, in a in a week, I've diminished it most of the time to close to zero. You would vouch for that? It's been difficult for Karen
18:40
S0
because we
18:41
S1
because you're not there. Yeah.
18:48
S1
There have been a few occasions where I've walked out of a store or been driving and lost orientation of where I was or it's almost a sense of who I was or what I was doing. And I've as I've talked to other people, I've talked to a lot of people who've had the same experience. Is that what you're talking
19:04
S0
about?
19:05
S1
Same thing?
19:05
S0
Except that by the time you noticed that you were already trying to figure it out probably. Trying to get back. I'm trying I'm talking about that without the trying to get back.
19:16
S0
And I'm not suggesting that you don't need it. You just don't need the level of redundancy that it has. This has become like a mantra to you. It just repeats with every single perception. And if it doesn't need to come along with the perceptions, what could you use those for? What could you use all of that open space for? So we're trying to figure out after the last let yourself glow, we're trying to figure out what to do with insecurity
19:47
S0
because we found that there's so much of it around that we've gotta find some decent use for it.
19:56
S0
There's absolutely no shortage of insecurity around. So we're trying to figure out what to do with it.
20:03
S2
Furnace it for electricity or something?
20:05
S0
Yes. We're we're
20:08
S3
Furnace it for enlightenment.
20:10
S0
We found that it fuels relationship to break apart. So
20:18
S0
we found some specific ways that it is currently being used. We're just checking out how else it might be able to be used. And we're suspecting that the cure for insecurity may be disorientation, which probably won't surprise any of you.
20:36
S2
Yeah. It has something happened. I don't if this is
20:40
S0
This is it right here. Well, anyway, when Shadi
20:44
S2
when Shadi was in the group in Atlanta, and I went to bed one night after I got to talk to him, I started to drift off. It was just like my whole being, and everything just shifted. It was just like a
20:55
S0
How far? That's how you tell. If it's between nine to 12 inches, this is it.
21:01
S2
It was nine to 12 inches. It is Okay. I
21:06
S0
thought it was. And then
21:08
S2
it happened again last night, but it wasn't quite as dramatic. But it's like it's like I was standing here and I just moved like I was transported.
21:19
S0
See, one of the things we've noticed with enlightenment is it's like everything moves over just a little bit, so you don't know where anything is. And you don't need to know.
21:32
S0
So that's the sort of disorientation I'm speaking of. Now did it occupy a spot when it moved?
21:40
S2
No. Because it scared the shit out, and I went back.
21:42
S0
Okay. That if you get two of those and you don't take advantage of it, that's all you'll get.
21:56
S0
So you're welcome.
22:04
S0
It's like the mumps. Not entirely like the mumps, but similar.
22:11
S1
In visualizing someplace else, all I'm doing is refining myself in each new place.
22:15
S0
Yes. That's it. So you may be using 65 or 70% of it that way. And I'm telling you, it's filled with insecurity.
22:28
S0
And it was
22:31
S0
educational to some of you were there last night, so you heard it. I closed my eyes before we left our place and opened them at Pat and Pilar's place here yesterday. So I did the plane and did the drive and did the drive down here and the metal detector. They had the the thing beep, so they had to run the thing over Karen and I, and I had no idea what they were doing. It was pretty peculiar.
23:02
S0
One of the things I discovered is that all of my pictures are out here.
23:08
S0
So when I close my eyes, I don't see anything
23:15
S0
because I put them out here. So not only do I have no sounds in my head because I don't have any sounds in my head, but I also have no pictures.
23:23
S1
But you're here
23:24
S0
But I have tremendous smells.
23:28
S0
Absolutely incredible smells all we'd be driving, and I'd smell a portable toilet that was over on the side of the road or smell I mean, just somebody would walk by and I'd you know, that was nice. That was whatever.
23:44
S0
But it also took care of jet lag. There was none. Without all of that external visual, there was I mean, it was fine. It was like I hadn't gone anywhere
23:58
S0
because I had because when you go somewhere, you constantly monitor where you are, not only where you are, but where you are in relation to where you've been and where you're going.
24:10
S1
So does that percentage go way up?
24:12
S0
Yes.
24:14
S0
60 to 80? And and people are more insecure when they're traveling generally. And that's how many things do you have to locate?
24:28
S1
Jerry, is it like getting so big that you disappear? Or is that I
24:33
S0
was just gonna address that,
24:38
S0
and you would be the one who would ask. Thomas
24:45
S0
Berry supposedly has no jet lag or anything like that. You guys know Thomas Berry? Mhmm. He's a cosmetologist or a cosmologist.
25:00
S0
He's
25:07
S0
he puts makeup on big things.
25:12
S0
He's a cosmologist and an elderly one at that. And supposedly, his view is so big that traveling anywhere on earth isn't traveling for him. It just isn't traveling. I mean, because he's thinking so much bigger than the earth. He's thinking everything out there. So a dislocation of a thousand miles doesn't mean anything. So I suspect that works, and I'd rather start where you are, especially you since you already have this huge ability. I want I'm talking using this as a tiny ability and the dislocation you can get from doing it at a tiny level, frees up that little space a little bit at a time so that you don't have to just go big. You can have whatever degree of orientation you want rather than just it's all gone.
26:16
S2
There's one other thing I noticed was that I didn't notice the buzz until you mentioned it.
26:22
S1
Yes.
26:23
S2
And then it was then oh, there's
26:25
S0
What buzz?
26:28
S2
But that was gone until you brought it back up.
26:31
S0
Doesn't take long for it to leave again. And what I'm suggesting is that you factored out this orientation the way you factor out the buzz after a while. And it's just gone. So you always know where you are, but you don't know how you know where you are. And my suggestion is what if you aren't there?
26:59
S0
Or what if you don't need to be there? This is really bad news for travel agents.
27:06
S0
Because why would you pay them all that money to go places if you didn't need to be stuck here?
27:14
S0
You could just go.
27:20
S1
I've always
27:23
S1
chalked it up to an age related thing, but this happens to me on the freeway. When I'm driving down the freeway, all of sudden, I had no idea where I'm going or I mean, I've just gone off somewhere.
27:33
S0
That's not what I'm talking about.
27:35
S1
Explain the difference.
27:36
S0
I'm talking of that's the loss
27:41
S0
the the complete submersion in automaticity is not what I'm talking about. The oops, I missed my exit. The I don't know where in the world I am. I've just been gone somewhere. This has gone everywhere.
27:57
S1
K.
27:58
S0
I haven't found
27:59
S1
it that way. Did you think that that's what it is?
28:01
S0
That's my guess. Okay. Just from what I saw when you Right. Brought it
28:04
S1
up. Okay. That's the set up.
28:07
S0
See, what what happens is that while you're doing this, you're stuck with somewhere.
28:15
S0
And then you go somewhere else. And then you go somewhere else. And then you go somewhere else. And then you get old and then you die. I'm suggesting that without this as and I'm gonna learn more about dismantling this and I'll let you know. I promise. I could do it now for me. Soon, I will know how to tell you to do it for you.
28:38
S0
You're gonna be able to be everywhere without even getting big. If it takes a change in size, then you have to monitor the change in size, is what you do with your visual. If it doesn't take a change in size,
28:59
S0
then you've just lost a little something you don't need.
29:04
S0
And when you meet somebody, you do you up it a little bit to protect yourself and to find out where you are and where they are and where what if you didn't have to waste all that energy? Do you have something, Pam?
29:18
S1
See, When you first said you have to like, it's the insecurity or the disorientation it was like. It was almost too much to be with. But ever since you said that, then I'm like, physically, my body has, like, a lot of pressure on it. Like, this is how I, like, live. It doesn't matter if I'm doing something I've never done before. I still have like, I put all that
29:39
S0
The amount of
29:42
S0
this translates as pressure.
29:46
S0
Because pressure is taking a reading out there and getting a reading back. So all of this stuff weighs on you. Whether you wanted to or not, whether you like it or not, it works as pressure.
30:00
S1
And it keeps
30:01
S0
Pressure would be any sort of a vector with a direction both ways. So what are you reading off of right now to know where you are?
30:15
S0
And watch. Okay? And I don't know to what degree you can get this. But now I'm orienting,
30:26
S0
and now I'm not.
30:35
S0
Any difference? That's the difference.
30:40
S0
Here's with I'll do it again. Here's with the orientation added into each perception.
30:50
S0
Do you get that I'm arguing for a location?
30:52
S1
I do. I don't know.
30:54
S0
Seemed like life? Now here it is without it.
31:05
S0
That's the difference. It might not be a subtle difference.
31:11
S0
So I suspect without an immense flexibility in VIPs,
31:18
S0
this wouldn't have been this wouldn't have showed up this way. I wouldn't have been able to just do this or even come up with the idea of doing it. Primarily because if you have a bunch of VIPs, you have a personality there that you have to defend. And by God, one of the first steps in defending it is knowing where it is. Wouldn't it be?
31:43
S0
It's really hard to defend something when you have absolutely no idea where it is. So these VIPs demand that you do the orientation. So in other words, what I'm offering to you is a little hint of what's underneath this to give you perhaps a little motivation to take care of it.
32:07
S0
And throughout this weekend, you will get numerous opportunities to be disoriented by just moving these little patterns around. But remember, if you wanna practice with this, there's much greater disorientation ahead. So whatever you have in this weekend is minimal compared to what you can have. But how do you like me better doing the which which do you want?
32:34
S3
Disorientate not disorientation. What did you call that? Vacation. What was that? I like that better. I
32:39
S1
felt better. Really?
32:41
S0
It's the extraction of personality. What
32:47
S0
the heck?
32:49
S0
It's a
32:50
S2
more competition for space.
32:52
S0
It's a rooted canal. No. There's no competition for space. And it has to do with not arguing for a specific location.
33:03
S0
And I'd like you to have the technology.
33:10
S0
Okay. So show us your patterns. Take, thirty seconds each and show them off, please.
33:28
S0
So as far as I could tell, two people use the spaces
33:33
S0
and all the rest of the thanks. All the rest of the people use the words.
33:40
S0
Do you have any idea who used the spaces?
33:43
S1
Just me, Barb, Jeff.
33:45
S0
Barb and Jeff.
33:50
S1
What does that mean?
33:53
S0
The space in between. They communicated more in the spaces in between than in the words themselves.
34:05
S0
So I just demonstrated it. Yes? And now this is the other way of doing it.
34:14
S0
So the one is a selling of things. The other is a selling of possibility.
34:23
S0
You get the difference? Mhmm. So just watch in that little bit its shift.
34:33
S0
Raise your hand if you got the difference. Okay.
34:38
S0
So show us the difference.
34:44
S0
This is a show me course.
34:46
S2
This is where you're talking with your voice and saying whatever comes to the mind and then there's communicating what's more.
34:56
S0
Still both the same.
34:59
S2
Oops.
35:00
S0
He varied something, but he didn't vary that. You would have gotten it more so if he tried to, but it didn't work. Hand it to somebody else who got it.
35:14
S0
This is all geared toward getting you deeper.
35:17
S1
During the weekend, I'm expecting to be able to learn to communicate with all of you on a different level than I have been communicating with other people in the past.
35:31
S1
Better than it was before, but not good. Who else got it?
35:35
S0
It it was much more so. Now give us one sentence of one and one sentence of the other.
35:42
S0
Peggy was born, and she had track shoes on more or less. Give them a sentence. Say, the water is wet, and have your focus on only the words.
35:58
S1
The water is wet.
35:59
S0
Now say the water is wet and have it on the spaces.
36:05
S0
The water is Yeah. You get it?
36:08
S1
Uh-huh. It's hard to say the words. The water is wet.
36:14
S0
So that gave you some of it. Yes?
36:18
S0
Okay. So pair up. Now trio up.
36:24
S0
I want you to practice it in trios till you get it. You know what you're getting.
36:32
S0
I need at least one person in each trio to know what you're getting. And
36:41
S0
this is the focus on words, and this is the focus between words.
36:50
S0
It's the difference between the focus on inhale,
36:55
S0
exhale,
36:59
S0
or all the space in between.
37:05
S0
So many people try and do it with the words
37:11
S0
and that closes possibility. And I'm suggesting instead that you do it with the spaces and you can say it in the same way, only open rather than close. You follow? It is not about the speed. It is not about the pause you do coming into it.
37:40
S0
It's such a subtle thing and it's the difference when you speak of whether you open or close.
37:50
S0
So play around with it. And Karen and I will come around. Raise your hand if you got questions as you go. Go.
38:08
S0
Yes. It's much more in the process. Well, let's let's here's a quiz for you. Okay? What's the difference
38:17
S0
between no time and on time?
38:25
S1
The stories you have
38:26
S0
What's the difference between no time and on time?
38:30
S1
Oh, no. Have a verse. Yeah.
38:32
S0
It's just order.
38:38
S0
It's just order. That's process. You could think all you wanted about that and give all sorts of explanations about the difference between on time and no time and how this means that and this and all it is is order. You just moved one letter and another letter. Just played musical chairs with them a little. That's process. And that's what we're speaking of here. We're saying, where is your attention? Is it between the words or is it on the words?
39:16
S0
There's your sentence. So you don't have to worry about content. It's I go to Paris or I go to Paris.
39:30
S0
Second one was the spaces. First one was the words.
39:37
S1
In spending time with Barb, she's not real she's not the most vocal member of our groups when we're together. But I've had the impression since we've met that when Barb says something
39:48
S0
Are you focusing on the words or the spaces?
39:50
S1
Definitely focusing on the words.
39:52
S0
Try the spaces.
39:52
S1
Okay. When Barb says, like, the spaces are just for me, way to grab on to the next word.
40:01
S0
I know.
40:02
S1
Oh.
40:02
S0
It makes you
40:04
S1
it seems that the Barb, when she set does
40:10
S0
You get how this could change her life just a little bit? What?
40:19
S1
It has
40:24
S1
deep meaning or
40:25
S0
One of the things that will happen is that the people will open around you rather than just getting slashed or hit by your sentence.
40:41
S0
So the words are content. The spaces are punctuation or process.
40:52
S0
The words entirely define I mean, the space is entirely defined where the words live.
40:59
S0
You started just hitting them with it, then you let off a little bit in that. You could let off a lot more. Then there's no problem having your attention, is there?
41:14
S0
Here's your attention. It's right there.
41:20
S0
Unless I'm saying put your attention on the words,
41:25
S0
then it kinda shuts you down.
41:30
S0
I thought this was gonna be a tiny little easy thing to practice.
41:35
S0
Turns out it's a little bigger than that. Reminds me of when I first took a voice lesson and discovered that that my entire personality was wrapped up in my voice.
41:48
S0
I didn't know that. But this woman had me change my voice a little bit, and I went
41:55
S0
I didn't know who I was.
41:59
S0
Calvin, talk to him just a little bit, please, and focus on the spaces rather than the words.
42:10
S4
I like to live in the
42:13
S4
I like to live in the mountains where it's nice and cool and
42:16
S0
All words. Yes? Now try spaces.
42:21
S4
I like to live in the mountains where it's cool and hearing clear air and no noise.
42:27
S0
There was a shift. Yes?
42:30
S0
And it can get even more so. Did you notice the shift in you? It wasn't like this. It was a
42:40
S0
okay? Practice that. Would it help to have groups of five instead of groups of three? Okay. Groups of three. Go.
42:55
S0
Remember what I say people's biggest fear is?
43:01
S0
Doing nothing. This is flirting with nothing. You get it? Yeah. And if we get you flirting with nothing here, the VIPs are gonna seem easier. So we're opening you up by flirting with nothing. Because what's between the words? Nothing. Nothing. If you can be comfortable with that, nothing?
43:34
S0
There you are.
43:37
S0
Keep going.
43:44
S0
Okay. Questions?
43:47
S3
I'm having a conversation in my head, but it makes me sad because my attention is on the words instead of the spices.
44:01
S0
No. Your attention is on the sadness.
44:04
S1
It's on the facts. I know.
44:07
S0
Okay. So basic philosophical statement involved there. There's a right way and a wrong way to do everything. She's been doing it the wrong way. She loses. She's bad. Alright. Let's go back to a fundamentalist thing here. Okay? Yeah. France is bad. Right? Yes. God. She's awful.
44:30
S1
Yeah.
44:31
S0
Hell. No hope for her. Have
44:36
S0
you seen the error of your ways?
44:39
S3
Amen, brother.
44:40
S0
Have you? Have you seen the error of your your ways? Yes.
44:50
S1
It seemed that it came easier when there was a defocus with it. When I had a for myself, when I had a defocus, there was more spaces. Mhmm. I do. It's almost Do
45:05
S0
you hear it?
45:06
S1
Yeah. Yeah.
45:06
S0
She's doing it. Yeah. Right there. So that might be a little trick for you.
45:13
S0
Defocus? No. She's saying that she's not focused on anything.
45:21
S0
That's another way to say nothing.
45:24
S1
She's not focused on the spaces either. It
45:29
S1
seems that, for me, it's easier to think of this as every individual word is decoration. So the whole just kinda becomes very easy.
45:48
S0
So she doing it or what? Yeah. Give you goosebumps a little bit?
45:53
S1
Yeah.
45:55
S0
Shucks. What if it's that easy?
46:00
S0
K. That was it. How is that to do?
46:08
S0
It's my answer.
46:12
S0
So nobody ever told you this before?
46:16
S1
He always asked this question.
46:22
S0
K. What else? What'd you notice? Over here, they noticed that personality tended to fill in the blanks.
46:33
S0
I'm not talking about focusing on a something called nothing.
46:38
S2
I noticed that I wanna go on searches.
46:46
S0
Sure.
46:50
S0
Kinda like pushing the rock up to the top of the hill and pushing it down and pushing it up and pushing it down and pushing it up and pushing it down and working when don't need to work.
47:04
S0
What if there's nowhere to get to and you don't need to work?
47:11
S0
What if the spaces are where reality lives?
47:19
S0
What if there are always at least as many spaces as there are words?
47:31
S0
What if the amount of attention that you put on the space rather than the duration that you give the space
47:40
S0
influences the possibilities that whoever you're speaking to can perceive.
47:49
S0
Just a few little what ifs.
47:54
S0
You notice the room now and the people in the room? Oh,
48:00
S0
shocks. Could you get near peace that easily?
48:06
S0
Could you use speaking as an excuse to get peaceful
48:12
S0
rather than rake up the muck one more time?
48:20
S0
Yeah. Maybe.
48:29
S2
I've been playing a little bit with not trying to fill up the spaces all the time.
48:41
S0
You get that he still has some words kind of stuck together. Maybe the caboose is none and the engine is none, but there are a few passenger cars or freight cars in between that are still stuck. Mhmm. K.
49:02
S0
How was it? Let's somebody else talk just a little bit so that you can practice focusing on the spaces. What I'm telling you is not only can you practice this yourself,
49:17
S0
but you can also do it to others
49:21
S0
by where you focus.
49:27
S0
Whose turn?
49:31
S0
You're gonna cry, are you? How's your week?
49:41
S1
My week has been good. It was my birthday this week.
49:47
S0
All week? Yes. Actually,
49:51
S1
was my
49:52
S0
Makes sense to me.
49:59
S1
I fun yesterday, and I worked my car yesterday. How
50:06
S0
are doing listening to the spaces?
50:10
S0
It's a little more difficult. So that's just another thing you could practice for fifteen, twenty minutes and get it down. What
50:20
S0
the heck? K.
50:24
S0
Any other questions?
50:27
S0
On this little thing? This is like other courses that you do with this. We're gonna touch on things. They're yours then. Go out and play with it and practice it. How would you use this? How many of you talk in front of groups?
50:42
S0
Any possible use for this?
50:47
S0
How many of you talk to other people?
50:53
S0
Here you go. How many of you have conversations in your head?
51:00
S0
Focus on the spaces.
51:08
S0
Right now.
51:09
S1
Okay.
51:19
S0
It's a little disorienting, isn't it?
51:26
S1
I get a choppy feeling or
51:31
S0
K. Breaks it up.
51:33
S1
In my head as I'm running my conversation. It feels real jerky like that when I start listening to the spaces. Okay.
51:45
S0
Somebody in the
51:49
S0
evening last night shared his little personal experience of being in China with a backpack and remember this? And being with somebody who only spoke Chinese and they conversed a lot and for a while, wasn't comfortable with it. At a certain point, he realized that they were communicating probably more than he ever had with anybody who he understood the words. And my response is, are you married?
52:17
S0
Because you need to find a wife who doesn't speak your language. What if you didn't understand the conversations in your head?
52:28
S0
Try it. Try them in a different language.
52:47
S0
You just wouldn't know I did bad and good still come through?
52:53
S0
So who said you couldn't have a party anywhere?
52:57
S0
So
53:04
S0
conversations are a major way that you hold your personality together. Yes?
53:14
S0
Well, what if they fell apart?
53:20
S0
So pairs, please.
53:23
S0
Just giving you another couple uses of that exercise. Get it? You probably could come up with a bunch of others.
53:32
S0
Pick an a and a b.
53:37
S0
As.
53:40
S0
I want you to look over at b and let go a tirade of judgments about them.
53:49
S0
I want you to judge them. Judge them good, bad, right, wrong, every judgment that can possibly come up, I want you to verbalize.
54:01
S0
Judge them. Just plain out judge them. Give us an example here, Zoe, please.
54:09
S1
Your hair is stringy and your face is pale.
54:12
S0
Keep going.
54:13
S1
And your eyebrows are too thin. And
54:16
S0
They don't all have to be negative unless the person sort of lends themselves to that.
54:30
S0
You notice I didn't say negative or positive, but we seem to be getting kind of a a watershed of a certain sort.
54:39
S1
I'm drunk with them.
54:41
S0
Aren't isn't your your pretty judgment too?
54:45
S1
Yeah. Yes. Yeah.
54:47
S0
But I want all of them that just kinda come up to come out.
54:52
S0
Get it? Judge until I say switch and then the other person judge. But don't edit. Absolutely no editing. It all comes out. Any judgment. No judgment is too nice or too nasty. Cut the editing. Leave the editor alone and say whatever you say, stringy hair. Okay? Go.
55:24
S0
Anything?
55:25
S4
Run out of gas real quick.
55:26
S0
You ran out of gas quick?
55:30
S0
Anybody?
55:31
S2
I have a hard time doing the negative part of it. I don't know why. I it's just
55:37
S0
because you're stupid.
55:38
S2
Because I'm stupid. And the editing came in, and I
55:41
S0
was Scared?
55:42
S2
Scared. Great to be honest.
55:45
S0
Do you lack creativity? Yeah. Do.
55:53
S0
I had a hard time doing it too. Those were the good ones. K.
56:00
S0
Just to let you know how to index this whole thing. K. So you had a hard time doing the bad ones.
56:08
S0
K.
56:11
S0
They're an equal number of good ones and bad ones in there, by the way.
56:17
S0
Since good and bad don't exist,
56:21
S0
it has to be an equal number.
56:24
S5
I kept going to observation instead
56:29
S1
of
56:29
S0
Rather than judgment?
56:30
S5
Yeah. Okay. And then I have to consciously make a judgment about it. And and maybe it was in there, but I was having to go look for
56:38
S0
it. Okay.
56:42
S0
Give us an idea please of the judgments you have about yourself.
56:48
S0
Three each go. Fast. Zip through.
56:54
S0
The three that come up first.
56:57
S5
My mind is quick. I move slow. I change slowly, and I'm a good person.
57:05
S0
K.
57:07
S2
I look goofy. I don't speak up, and I'm too quiet and
57:13
S0
shy. K.
57:15
S1
I'm fat, and I have
57:18
S3
a good sense of humor. And
57:24
S3
I shave my legs.
57:27
S0
Oh, no.
57:30
S1
I'm I'm noticing about this.
57:41
S4
I'm not
57:41
S0
It's important to take a little bit of pride in a large project completed. I
57:57
S0
apologize.
57:59
S1
For what?
57:59
S0
I don't know.
58:04
S2
Okay. I'm not smart enough. I have common sense, and I talk too too fast.
58:11
S2
I'm fat. I don't see well, and then my hair is too short.
58:16
S1
I'm smart. I'm stupid, and I'm stubborn. I'm bad. I'm ugly. I'm stupid.
58:27
S0
And they don't have to be grounded.
58:44
S1
I'm too emotional. I get lost in sensations, and I'm smart.
58:51
S1
I'm about five pounds overweight. I'm fun and creative, and I don't make enough money.
58:56
S2
Okay.
58:57
S1
I'm too fat.
59:05
S1
I'm a mess, and
59:09
S1
I can't make a decision.
59:15
S1
I'm short, chunky, and I like to cook.
59:24
S0
Top three right off the top.
59:28
S1
I'm too tall.
59:30
S0
You're editing. Quit editing.
59:33
S1
I can't I don't
59:34
S0
There's nothing there? No. So this is nothing?
59:37
S1
There there's
59:39
S0
just We finally got to nothing here. That's what I wanna know. There wasn't nothing there. The you were not saying something. Go. This is quick.
59:51
S1
I didn't spend enough time with my kids,
59:58
S1
And I don't dress well. One
1:00:02
S0
of the questions you wanna ask yourself when you hear the ones that pop out of you is whether or not you deserve to use the good China.
1:00:14
S0
That's just one of those quality of life questions that you wanna ask yourself from time to time.
1:00:26
S0
My mother ended up giving the good China without us virtually ever using it to her Avon lady. And she didn't ever use any of the Avon stuff. She just bought it because the lady needed her to buy it even though she was driving a Cadillac already. But she gave her a good China. Never gotten over it.
1:00:51
S0
And that's the truth.
1:00:56
S1
I deserve the good China. I'm self important, and I'm a dummy.
1:01:05
S0
You might also wanna while you hear this picture, huge placards.
1:01:16
S1
Might as
1:01:17
S3
well. Because it's
1:01:18
S1
there I
1:01:20
S0
mean, anybody could read it who wasn't tired of reading this kind of thing.
1:01:29
S0
That lightened the thing up. How many?
1:01:33
S1
I'm an alcoholic.
1:01:39
S0
So how many of you paid attention to the spaces?
1:01:48
S1
What
1:01:52
S0
happened to that exercise?
1:01:56
S0
Oh, that one was over. We were on to a different one.
1:02:00
S0
I get it. So we'll just teach you these things this weekend, and then we'll about it. Right? Okay. So we don't have to worry about what we teach them. Right?
1:02:12
S0
Because they're gonna forget it anyway.
1:02:19
S1
Okay.
1:02:21
S0
Pair up, please.
1:02:29
S0
Pick an a and a b.
1:02:35
S0
This
1:02:37
S0
we will have done in some of your ICs,
1:02:42
S0
and it keys in as Pilar pointed out with the focus on nothing. A, I want you to say any words you want to.
1:02:54
S0
B, notice your first response, your second response, your third response, and come out with your fourth response to whatever they said. So what I want you doing here
1:03:09
S0
is I want you focusing
1:03:13
S0
on the rings.
1:03:20
S0
When they say something, that's them dropping a pebble in the lake. And then you come out with a first response, second response, third response, and say whatever word is your fourth response. Okay? When he says whatever word is his fourth response, she has her first response, second response, third response, fourth response, fifth response, And she says her fifth. Then he goes to his sixth. She goes to her seventh. He goes to his eighth. She goes to her ninth. He goes to his tenth.
1:04:04
S0
So cycle through one time 10 like that, and then I'll give you the next step. Got it? Start with four.
1:04:19
S0
It's the first response. First response, first response, first response. Go back and forth about 10 times with just the first response. Go.
1:04:34
S0
Response. Other person, fifth response.
1:04:41
S0
Does first one, the other one does fifth.
1:04:50
S0
K. What'd you notice? Anything?
1:04:54
S1
By the time we did the third the third response and the third response, they were closer together. They were more similar items. Right. When we started, they were real dissimilar. Okay.
1:05:11
S5
The pictures actually came faster than I could count them. So by the time I counted to three, I might have had really six pictures.
1:05:28
S1
Exercise looks like the last one where you when you asked us to capture what was there. I could sense that there was all it was all there, but I couldn't go in and get it. Like, it I guess when I it just drives it, but when I try to reverse it and go and look for it, I have a hard time pulling it out. It makes sense.
1:05:54
S0
Yeah. It's who loves a dictator?
1:06:02
S0
Probably not even the dictator. True? Mhmm. You tend to be very authoritarian with your own mind and with your own searches and it's fed up with you.
1:06:17
S0
Another way of putting that would be you're allergic to your own thoughts at this point.
1:06:26
S0
You've got an allergy for your own thoughts.
1:06:32
S0
You've made a system which is not livable over there. You think you're in charge of it all, and it wants you to know and know in certain terms that you're not. So when you try once again to prove that you are, it says, screw you.
1:06:50
S0
You can't even have the simplest thing.