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Illusion Conclusion
Jerry Stocking
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VIP Course – CD 2
VIP Course – CD 2
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1:07:20
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438 utterances · click to jump
00:05
S0
I I kept on ice I was getting lost.
00:10
S1
K. Something to watch out for there is you tend to go with the first response.
00:18
S1
Practice so that you can get out. Anytime you're over a 100, you're in really good shape.
00:28
S0
It may have gone on by this, but
00:30
S1
It's a way to get rid of company.
00:39
S1
How long do you figure it would take you to get to a 100? Based on how quickly they really go. It's complete ignorance of what's going on up there that allows you to think that it takes a long time because they're going.
00:54
S2
And it's actually
00:55
S1
They're they're zipping through.
00:56
S2
It's actually the counting, the auditory part of the counting
00:59
S1
that That slows it down. So something just, Robert works with people who do a lot of phone sales. If you do sales, you could find out which response of yours was the most likely to produce the sale. You could do statistics on it and run out a bell curve on your responses. You follow?
01:23
S2
I mean, like, what came in your
01:25
S0
mind first or what
01:26
S1
came Well, you you could graph the whole darn thing. A response shows up. Some stimulus allegedly occurred
01:38
S1
because this whole order thing is full of garbage. But some response showed up and then another one showed up and another one showed up and another one showed up and another one showed up. There are patterns to your responses which you started to identify there. It got further it got more disjoint as you got further out. You on any parameter, you could graph your responses. Where in what area do your nicest responses tend to fall? Well, that's between three and six.
02:17
S1
At what point do your most defensive ones happen? Probably way right up in here. Where do your most loving ones happen? Well, what you wanna do is you wanna ask yourself how much love do I have in my life?
02:34
S1
How much of the time do I spend just loving? That will let you know how far down the road, whether it's derailed by the time it gets there, so it doesn't ever get there. You follow? So you could statistically, you could set up something where you could graph all of these. And you could say, See, my suspicion is that if you stay tuned for long enough that you would find some pretty darn nice terrain out there.
03:08
S1
And what I'm suggesting to you is that the first several are almost always dictated by your lack of confidence, by your inabilities, by some need to defend something.
03:21
S1
So the person says something to you, I know. And you already have handled it, just not well. And the roots of these judgments that you have about yourselves that aren't so positive has to do with you having grabbed these early responses
03:39
S1
which fall in a certain sort of thing.
03:45
S1
Is that understandable? What if you went out to the terrain? What if you found out what terrain you wanted to be in and got out there, given that this happened so gosh darn rapidly, you could be there anytime you wanted to. That means anytime there's a stimulus you could love or you could hate or you could be nice or you could be defensive or you could be now we're getting a little closer to choice there, aren't we?
04:17
S3
Was also a lot of fun once I started getting past three and four. It just even got more fun out there.
04:26
S1
Partially because what happens is you get a whole lot more terrain to play in. That's the nature. You get it? The nature of a a circle moving out like that, how much bigger are the ones out here?
04:41
S1
And yet they're still covered in the same amount of time, but they're much larger. It just increases your playground immensely.
04:49
S1
What if you didn't have to take the first, second, or third response? What if you could go out to the fiftieth or the twentieth or whichever one? Now you say, oh my goodness. I'm talking to so and so. I I'm gonna live with this person for the rest of my life. I'm not sure I wanna take these.
05:08
S1
I think I'll wait till we get out here. Oops. I'm just met this person for the first time. I'm not sure I wanna take these. I think I'll wait till we get out here. Oh, I'm talking to my mom and dad. I'm not sure I wanna take these. I think I'll wait. And out you go.
05:30
S4
Since the first responses would be more defensively based and the further out you get, the more fun or crazier they get?
05:38
S1
The more human you become.
05:42
S4
Mhmm. You mean by that? Like, being more human, but it seems like the
05:45
S1
Meaning less stimulus response, more thinking.
05:48
S4
Okay. More thinking?
05:51
S1
Yeah.
05:54
S4
For entertainment sake. Yeah.
05:59
S1
Was that your first response?
06:04
S1
Say say yes. Yes. Yes. It was. You watch it, this applies.
06:17
S4
It seems like since the first ones are more defensive and the ones that you wait to take action on, that I have to wait to take action on are more fun or human oriented that they would be less likely to have gone through your patterns.
06:34
S4
I think that's what I heard in Karen's question.
06:39
S1
I think that's accurate.
06:46
S1
If for no other reason than that there are more responses possible. They may all still be through the patterns,
06:54
S1
but there are more responses. And then that brings in an element which I didn't want to bring in which has to do with once you get out there, let's say, fifteen, twenty, and you've got a lot of terrain,
07:11
S1
it is then patterns that pick which one of those
07:16
S1
on that ring you pick. I didn't wanna get into patterns of patterns. That's why I didn't answer her question.
07:26
S1
And the question was about patterns of patterns,
07:30
S1
And that's a little hefty for right here, right now. And it's where she is, but it's not where y'all are.
07:42
S1
I'm gonna launch very soon. Any questions before I launch? Yeah.
07:58
S0
Do I understand you correctly that we tend in general to have defensive patterns first? That's that's the pattern that we tend to run. Defensive responses first.
08:10
S1
Let's not necessarily call them defensive, but let's call them survival based.
08:16
S0
Okay. That's
08:18
S1
Like a frog catches the fly Uh-huh. Or you show up and the frog jumps away like those.
08:27
S0
Okay. So that sounds like that has to do with the insecurity that you talked
08:31
S1
about.
08:31
S0
And so as the insecurity is handled, do the first responses become more human?
08:37
S1
Yes. As a matter of fact, the whole order of things disappears.
08:44
S0
You still
08:44
S1
have the rings of responses? Because among other things, it doesn't matter if you survive or not.
08:51
S1
And
08:54
S1
when you have the insecurity, the only thing that matters is that the insecurity survives. And the only way I know of really to have the insecurity survive is to be have you be the most stimulus response oriented you possibly can be because then you will be the least trustworthy and the least I mean, you just aren't ever there.
09:18
S1
And that's a pretty insecure position to be in. It's never there.
09:25
S1
Is that
09:25
S5
an answer?
09:26
S0
And there's others, but
09:27
S1
Go ahead. Doesn't matter.
09:29
S0
Just how does this get set up in the first place? This is a pretty pathetic, you know, judgmental, but this is a sorry state to live in. I mean, this is also about the survival of the patterns?
09:40
S1
Yes. It's survival of the organism. At a certain point, you had two gods over you, each arguing for their own patterns and demanding that you take on their patterns and their patterns were different. And you had to find some way to survive based on these two gods.
10:04
S0
And it's been defending that ever since?
10:06
S1
Yes. What you needed is about 85, ninety, hundred, hundred and twenty gods.
10:15
S1
There you get really interesting stuff. You get how that would be? But if you're torn between two, then you're in trouble because it's so easy for them to measure where you are if you're torn between two.
10:30
S1
It's a digital setup and it's just not fair. Our minds are generally analog and to set them up to force them into digital doesn't work.
10:47
S1
So that's how it got set up. It doesn't mean it has to stay that way.
10:54
S1
Anything else on anything? Yeah.
10:59
S1
I keep forgetting what your name is. Adar. Adar. Yeah. The yin and yang thing is this kind of I think I can get that.
11:08
S1
The yin and the yang is a
11:09
S3
Yin and yang. You know?
11:11
S1
Uh-huh. Black and white. So it's not really good place to be then.
11:19
S1
It's only a good place to be if you're not there. K. But the idea with the black and the white is to have both. Yes?
11:30
S1
I I think that's the thing why it's in the circle is the whole Yeah. So that's exactly the place to be. Because if you have both, then the only way that you can have them be separate is to have one then the other. If you have them both at the same time, then you have no gray and you have no black and you have no white.
11:54
S1
That's where life occurs. So the ideas of that as far as I can tell, my suspicion is when you look at it, you shift back and forth between the black and the white. Yeah. That's not what the symbol means. The symbol is you look at the symbol
12:13
S1
and you get them both at the same time in equal measure
12:19
S1
and neither one triumphs. So that's exactly the place to be because they both disappear. And there is nothing between them, which is what the symbol would mean to me. And you all live between them, and that's no place to live because it's no place.
12:43
S0
But the universe is shifting on and off and on and off and on and off and off off.
12:47
S1
Same thing. It's not really.
12:52
S1
It's both on and off at the same time.
12:59
S1
Thank goodness and badness.
13:05
S1
Anything else on anything?
13:08
S4
Forgot what I was gonna say.
13:10
S2
I wanted to ask something about when we're the exercise that we just did, what determines
13:17
S2
response and when you're doing when you're not doing that?
13:21
S1
What we're talking about here is we're talking about the focus of your attention.
13:25
S2
You're you're saying they all go on all
13:26
S0
of them?
13:27
S1
All of them. Yes. I'm saying they all go on all the time, and where is your attention? And chances are pretty good that most of you, most of the time jump for the first one, and your attention never gets to the second or third or fourth or fiftieth. And your patterns dictate
13:49
S1
which one you go for. But go ahead.
13:54
S1
See, we're back to patterns of patterns again.
13:57
S2
What determines that then? Yeah. And you
13:59
S0
Yeah.
14:00
S1
Metaprogram substantially. Okay.
14:05
S1
Okay. Well, it's a loop. Okay. But there's I'm I'm
14:12
S1
we're sitting at the table up there on the the let yourself glow is over, but the people are hanging around on Saturday. And they hung around most of them till
14:23
S1
08:30 or nine at night. And
14:27
S1
we're sitting at the table that morning, and I said I don't remember what was said in conversation, but I said sitting here at the table is a metaphor for not being at the table.
14:42
S1
So sitting down is a metaphor for standing up.
14:49
S1
So breathing in is a metaphor for breathing out.
14:56
S1
Try that.
14:59
S1
And yes is a metaphor for no.
15:05
S1
Yeah. That's the appropriate response to that right there.
15:10
S1
And from there, we can do meta programs.
15:18
S1
And then he said to me, sitting down is a metaphor for standing up. I need help.
15:29
S1
And if sitting down is a metaphor for standing up, what does either matter?
15:40
S1
Because they're contained within
15:45
S1
and not quite so obviously and perhaps even more importantly, sitting down as a metaphor for sitting down.
16:00
S1
I wouldn't be any less, would it?
16:05
S1
Go ahead. Sit down is a metaphor for sitting down. I dare you.
16:15
S1
So your personality is a metaphor for everybody else's.
16:29
S1
So here's a here's what we're gonna do is we're gonna hit we're gonna talk about a meta program or a VIP, a very important pattern. NLP calls them meta programs, I call them VIPs but we also have very different ones than they do and yet we have used their basic distinctions of these.
16:51
S1
We are going to talk about one. There are going to be several steps involved. One is explain it
17:00
S1
and you ask questions, whatever you wanna ask about it till you start to get some sort of grasp here of what in the world is it. Then you're gonna get into a group and you're gonna
17:16
S1
show yours.
17:19
S1
And then number three, you're gonna try others.
17:25
S1
So you're first gonna discover what it is, then what you do, then what the others are like. You can take these at very different
17:39
S1
levels.
17:42
S1
What we wanna do
17:47
S1
when the VIPs become unlivable, when they so totally constrict you on one level, you move out to another one.
17:59
S1
And when they make this level unlivable, so that you can't stand the amount of restriction you've got, you move out to another one. This is what's driven you out.
18:11
S1
So in the process of going back in, you're gonna find that you have different levels that have different combinations of these.
18:24
S1
One of our ideas here is that by the end of this weekend that you're able to move between some of these levels with some fluidity which means that you're able to take on entirely different personalities like that.
18:43
S1
That's really a good and effective way to have you discover that you're not who you thought you were.
18:52
S1
K. It's practicing schizophrenia. PS.
18:59
S1
So to refresh your memory what a meta program is or what a VIP is, is they're like rocks in the stream
19:09
S1
that influence absolutely everything that flows by them.
19:16
S1
And your attention is generally somewhere way downstream
19:23
S1
focusing on some little part of what's happened.
19:28
S1
This is everything that happens down here. Everything that occurs down here is a response to what's happened up here where the programs are. We're gonna move upstream in the stream of consciousness
19:44
S1
to where this stuff really goes on.
19:48
S1
We I don't know where the term came from, but the the game here
19:58
S1
is when I describe one of these patterns to you and you've gotten your questions answered, what you then need to do is you need to
20:11
S1
let a little bit of nothing in. Just a tiny bit of nothing in here and then the whole system will regroup. This is like a reset on an electrical plug. You get it? You got a problem with your electrical plug if there's that little red thing there, you press it and resets it so it's ready to go or reset button on something or on your computer there's a reset button probably. The little bit of nothing resets your whole system And you have,
20:49
S1
what currently due to lack of attention is a read only memory
20:59
S1
which is all the settings you generally operate with. What happens is if a little nothing comes in, just a little, then your whole system needs to read its settings. And in the process of it reading its settings, if they don't flash by on the screen too fast, you'll be able to tell which one of the programs you do because it'll say it right there. We call this chinking down. I have no idea when how we came up with it, but it you remember and
21:37
S1
you remember from the VIP weekend that it sounded a little weird at first, but you ended up after tour covering two or three of these that you just go pow and there it was. And Peggy over and over again, she would say, I really wanna do this, but I really do this.
21:58
S1
So what we're gonna do is play around with these. With that little reset, you'll be able to find out what you do. And then you'll be able to go back and tinker around with it in groups of four or five and change one and find out what happens. You're gonna be able to move these rocks and influence the
22:23
S1
the way that it flows through. At any point in time regarding anything, ask questions please. But the disorienting part is trying on the different programs because you're not gonna be you.
22:40
S1
You're gonna be who knows who. And perhaps by the end of Sunday, you're also gonna be able to and this this would be a stretch and we might well get there. You're gonna be able to look at her,
22:57
S1
listen to her for, I don't I don't know, fifteen, twenty seconds and find out her major patterns and put them on you. And then speak to her as her
23:13
S1
rather than being you. Because you aren't really you. This is just a set of limitations that you've taken on and adopted like you've put a mask on.
23:24
S1
The book I've started regarding these, started a number of years ago. It's called MetaMasks.
23:31
S1
And it is about the masks that you wear and how you can take them apart.
23:44
S1
So remember that chances are very good in the circles and remember who you are is really right in the middle. That's you. That very often from this circle to this circle, you're going to get something like an opposite because you didn't leave here by accident. You left here because you couldn't stand it anymore and went out here and had it be different. And then you went out here and had it be different. And then you went out here and had it be different. And none none of these differences really made a difference because they were all still limitations. That's part of why there's no satisfaction in the system.
24:27
S0
These are layers of patterns?
24:32
S1
Yes. These are layers of patterns. It's exactly what they are. And what they do is they obscure you from you.
24:43
S0
How many layers are there usually?
24:47
S1
Somewhere between 740.
24:52
S1
I have no idea.
24:55
S0
Is it possible
24:56
S1
I I don't even think all of them? I don't even think it's relevant. Yes. Absolutely.
25:00
S0
What's the question?
25:01
S1
Is it possible to unlayer all of them? Absolutely. It is possible to unlayer all of them and you're not interested in that particularly. Because at that point, you have no game anymore.
25:15
S1
At So
25:16
S0
the game is to be able to?
25:17
S1
Yes. And to play with them. But remember something important here, which is it's not like this lair is going on and none of these other ones exist. They're all going on at the same time. Who you really are is right in there and it's having a party. It's like there's a huge surprise party and nobody told you to come. And that's going on right in there.
25:45
S5
Right now.
25:45
S1
Oh, absolutely. It can't end.
25:50
S1
It doesn't end, and it also doesn't die. It's not possible. That would be a joke if it ever could. It can't.
26:10
S1
So there's it's the fun of taking them apart. And once you discover that this one isn't you, you go, It's not me. And then you go, this is me. This for sure is me. This honest to goodness absolutely is me.
26:31
S1
And then you start to take that one apart and then you go, oh, it's me. You get it? And it goes like that. Because really what these are,
26:50
S1
is waves that way too.
26:55
S1
Peggy had something first, think, than Robert.
26:58
S6
If you took one meta program and took it out and looked at the waves that you went on one meta program, would that necessarily be the same rings as if you took another meta program?
27:08
S1
No. Wait just a second.
27:14
S1
It's a different combination. You you've got a whole group of meta programs which make up that ring. And you've got a whole group of meta programs which make up that ring and a whole group that make up that ring.
27:32
S6
What I'm asking is can meta program a reside on ring a?
27:38
S1
We call that doubling
27:40
S6
go to the second one, it doesn't go away.
27:43
S1
We call that doubling down. We've now found a woman who has other on at least, oh, I don't know how many in a row. We haven't found the bottom of it yet.
27:55
S1
And other is one program and it sits on this one and on that one and on that one and on that one and just weigh in. Now there are other there are different meta programs which vary here in these, but that one continues down.
28:14
S6
You had said earlier that people are analog, not digital, and it would seem that as the undulation of waves goes out, that this meta program may be peaking while this one is going down so that you're not necessarily kind of jumping from ring to ring, but you're
28:29
S1
It's a person is not one wave. They're a conjunction of waves. Okay. The complexity that the mathematical complexity that shows up with this level of waves meeting in one location is you. And that's pretty complex.
28:49
S0
Okay.
28:54
S1
She has a mathematical disability, so I just I get a little reward when I explain something to her and she understands it. Her mathematical disability is she got 800 out of 800 on her math SATs.
29:08
S1
Probably had spare time at the end too. So in other words, she knows much more about math than I do.
29:14
S6
The GEDs.
29:15
S1
GEDs. I don't
29:16
S5
know.
29:16
S2
Not the GEDs. The
29:18
S1
The r e
29:19
S0
The
29:19
S1
second one. The r e f.
29:20
S2
The one after the 50 two's.
29:23
S1
The RCM. That's it. Thank you. We're all Canadian mounted. Right?
29:32
S3
In the IC course, you said the further you get out in circles, you get further away from reality?
29:38
S1
Yes.
29:38
S3
Is that the same? Yes.
29:39
S1
Okay. Same thing. And the more possible responses there are,
29:48
S1
far more responses possible.
29:53
S1
So you're much more of an idiot because you're picking the same one over and over again from a much larger set.
30:04
S1
Whereas a fundamentalist may not be out nearly that far. They're back in here the temptation to hold on to in here there maybe it's just black or white. And so they are
30:18
S1
here's let's say this is the black side
30:22
S1
and that's the white side. So the fundamentalist spends half of their time bad and half of their time good, but they only can see the half that they're good.
30:35
S1
So this is not only going on, but also you've got this tiny little focus of attention and what are you gonna focus on?
30:44
S1
So the there are dances within dances that are not logically figure out able with the system that is operating on the system, you get into a strange loop that way.
31:03
S1
That's part of what goes on this weekend, which is the trying to take the system apart with the system itself is a fairly interesting endeavor. It's like trying to take a screwdriver apart with its with a screwdriver. It's a little
31:21
S1
you know, you've figured out thus far how to pull yourself down by your own bootstraps, but now we're trying to have you figure out how to pull yourself up. You pull yourself down by your own bootstraps just by tripping.
31:37
S1
Yeah.
31:39
S2
You said that you move or I heard you say that you move out a layer because you get tired of the limitations.
31:45
S1
Well, it just becomes unlivable.
31:48
S2
And so it's just the chain it's just change that propels you. I mean, you don't really see that you have more options on the outer layer.
31:56
S1
You No. You don't. Yeah. And the game as a human being is to go out to the point that you perceive that absolutely everything is illusion and then take that knowledge back in with you.
32:11
S1
And you do So it's still it's so far out
32:14
S2
there that it becomes ludicrous.
32:15
S1
Yes. Absolutely ludicrous. And then you go, this is ridiculous. This is come on. You finally get the joke. Mhmm. And you start laughing. And then you you're laughing and laughing and laughing and never crying. And then you step in one more. You start your progress back in. And all of a sudden, everything looks so serious. And you either then go back out to remember the laughing or you get to the point where you can laugh all the time on that one too. You get it? So your progress back in isn't like, okay, I got out and I go back in. I got out and I go back in a little ways, back out, back in, back out, back in, back out, back in, back
33:03
S1
back but I made it just a little further, and the highs get higher and the lows get lower. And these are the highs and these are the lows.
33:14
S1
So the the
33:17
S1
is there a dentist in the house?
33:18
S2
Just locating.
33:19
S1
So then one of the things that occurs is that the lows become being closer to who you really are. So you start to define that as the bad times because it's not as illusionary. Remember when you got the new car? When you were a young kid and you got the new car and you thought that life had really happened?
33:41
S0
Oh my god. Look at this.
33:46
S1
Now the other side of that is that now it could be dented, it could be scratched, it could be whatever. It had insurance. You had to put gas in it. You had to look after it. You had to wash it. You had to vacuum it. You had to find out what kind of a girl or guy you could get to go out with you in it. You had to get your driver's license. You had to
34:08
S1
so what happens is the further out you get, the more maintenance is required.
34:15
S1
And you end up spending all your time on maintenance out here.
34:21
S2
And does this journey correspond to the other circles that I remember you drawing about acquisition and falling apart?
34:36
S1
No. Not necessarily. Except that I could superimpose that.
34:47
S1
Yes. I can superimpose that right here.
34:52
S1
With this being process here and this being greater and greater acquisition all the way out until you finally have everything. And
35:06
S1
then into the holes you go as it all falls apart
35:13
S1
and you get back to process. So it sits right over the top of it that way because this is the part that you kinda wanna do. You discover you can do more things, you can have more things, you can have more fun, you can have you get it? I I'm starting to get the hang of this. This is starting to work here. This is really going on. If you see somebody falling on their nose a lot, they either are starting to fall apart or they're trying not to go out further. So they could be at either point and there are corresponding wouldn't there be? There are corresponding points here of how much one is falling apart
36:02
S1
or come together. Don't ask me about that, Peggy, because that's beyond my mathematical abilities.
36:11
S1
Far beyond.
36:16
S1
Other questions?
36:21
S1
So the first two or three may take a while and then we're gonna lickety split into a bunch of them.
36:34
S1
Please, between now and tomorrow morning,
36:40
S1
make sure that you insult at least two people
36:47
S1
not in the group.
37:01
S1
That's enough. Just insult two people not in the group. One.
37:08
S1
God. I thought I heard her say something.
37:14
S1
That was
37:14
S0
just a bug in
37:15
S1
the wall. I want you to watch your personality in action.
37:21
S1
And in order in order to do that, you'll have to watch your personality in action.
37:27
S1
You're gonna have to have your personality and their personality. That's the way you insult.
37:36
S1
Does you wanna do this?
37:39
S2
Her personality is already
37:40
S0
in action.
37:43
S1
I want you to watch the connection between the two. If you wanna add compliment to people also, I have no problem with that.
37:54
S1
But insult to people. You don't have to have it be a deep personal cut that they don't recover from and need therapy for like a hundred years. I'm not necessarily recommending that you do that or that you could.
38:12
S1
Just a little insult. I want you to watch the ripples and watch your influence.
38:22
S1
And I also want you coming in tomorrow morning fairly brave. How many of you are thinking you'll put that off till tomorrow? How many of you are thinking I won't do it? Raise your hand.
38:37
S6
But it was almost like what you were saying was that if we were being ourself, it was an insult to the people that we were if we were being our personality just wearing our mask, we were an insult or insulting the person.
38:49
S1
I think that's accurate.
38:53
S1
So in other words, you really don't have to go to the ends of the earth to perform this feat. Speaking to someone would probably be sufficient,
39:04
S1
especially if you were kind of being yourself while doing it.
39:09
S0
Oh. Are you talking to me?
39:15
S1
Talk to somebody
39:19
S1
and nail them. Pick up a random phone number in the phone book. Easy.
39:27
S1
Big thick book. Open it, dial. Say, this is Margaret, and your mother sucks.
39:39
S1
I just wanted you to know that. And I I'm really hoping that you don't have caller ID.
39:52
S1
But I am staying at Jeff's house. So if you so if you call back, ask for Jeff for a good time.
40:03
S1
Call after 3AM.
40:07
S1
They should have marked in the phone book who has caller ID and who doesn't, shouldn't they? Just so that you know. It'd make it a lot easier. Call from Fairphone. Sure.
40:21
S1
Okay. Tomorrow morning, 08:00 here.
40:28
S5
It's morning,
40:34
S5
And the doors are slowly closing.
40:39
S5
I just sense. Close your eyes, please, and breathe in
40:50
S5
and out
40:54
S5
and find out if you can lose your orientation.
41:08
S5
The cardinal is saying he's available.
41:24
S5
My story is we don't wanna start out with too much of that or we wouldn't get to work today. We just do that. But I promise you more of it is a tool to help the dust settle later on.
41:40
S5
And open those little eyes, please.
41:48
S1
Any questions at all?
41:53
S1
Raise your hand if you insulted two people, please.
41:59
S1
Okay. Thanks. Raise your hand if you didn't.
42:02
S6
What did
42:05
S5
I ask? Two. Okay. I just had a little bit of deja miss. Yeah.
42:22
S1
Which one do you wanna do first?
42:25
S0
Okay.
42:38
S5
So where's your attention?
42:45
S4
On you. Okay.
42:50
S5
Now put it on you.
42:59
S5
And now put it on me.
43:06
S5
And now put it all on you.
43:13
S5
This is fun.
43:17
S5
All on me.
43:23
S5
All on you.
43:33
S5
All on me. Leave your eyes open, please. Because you may as well learn to do it with the external visual going.
43:45
S5
All on you.
43:49
S1
Half and half.
43:55
S5
Now without turning around, put it all on pat,
44:00
S5
every bit of it on pat
44:09
S5
And now all on me.
44:14
S5
All on you.
44:31
S1
So we're gonna fiddle with internal, external in a few different ways today.
44:38
S1
Do we have pens for them in case they wish to take notes in their notebooks? Because I want them to be able to take notes if they wish to.
44:52
S1
Internal, external
44:56
S1
is where does the buck
45:02
S1
stop?
45:06
S1
Where is the final test? Is it in here, or is it out there? In other words, when the going gets tough, when you when you're up against it and you've got to have one reference that you're going to pick, is it in here or is it out there?
45:29
S1
Fairly simple. And yet watch out because it may not be what you think it is. I love the people who say, I I'm pretty sure
45:40
S5
that I'm internally referenced, aren't I?
45:45
S1
I've had people say this.
45:51
S1
What do you do?
45:54
S1
Where does the buck stop?
45:58
S1
Pat says external. For herself?
46:02
S6
I'm external.
46:03
S1
External? I'm external. K. External. And wishing it was Enter. Yeah.
46:16
S3
Internal.
46:17
S1
K. Internal.
46:21
S4
Internal.
46:28
S1
Get one off.
46:31
S1
Calvin thinks it's internal, but is looking out here to find out. You get it? Do
46:41
S1
you get it? No. He really wants it to be internal so badly that it's allegedly become internal.
46:53
S1
Yeah?
46:57
S3
Yeah.
47:01
S1
You have a fool for a friend. But is can you feel it? The real question we're asking here is which way does the energy flow?
47:14
S1
Does it flow this way or does it flow this way?
47:20
S1
The nature of these little rascals is that they almost always stay the same.
47:26
S1
They aren't context dependent. They're much too deep for that.
47:32
S1
If you can get up to the point where they are context dependent, you've got one smart person there because you quickly assess the situation and determine whether it was worthwhile being externally referenced or internally referenced. Wait a minute. Is this somebody that I want everything they got? If so, I'm gonna be entirely externally referenced and take it right from there,
47:56
S1
all of it from there.
48:02
S1
Or if it's someplace that's not very safe, then I will just have it all with me. Thank you kindly. And it's taken care of.
48:16
S1
You just get the difference when I did it?
48:20
S1
When I was describing the one, I was doing the one. When I was describing the other, I was doing the other.
48:26
S1
There's a difference in your body, in your response to it. Which one has more power?
48:37
S1
Any other guesses? I don't think so. I'll do it again for you. You tell me which one has more power. Okay?
48:52
S1
This is the external,
49:00
S1
and this is the internal.
49:10
S6
Power is perceived by who?
49:12
S1
Power is measured by some sort of a meter that we get here. I have no problem submitting to a
49:22
S1
a different measure
49:23
S6
You're smaller than internal.
49:27
S1
Which is probably destined to be less powerful.
49:32
S1
You get it?
49:36
S1
So external is where you get your power and internal is what you're where you get your stability,
49:46
S1
except that can reverse too.
49:52
S1
You understand how that could reverse? Because if it's crazy in here, you gotta go out there
50:02
S1
to get your stability. But see, if you're if you have to do one of these, then you're in deep trouble.
50:11
S1
You follow that? If you have to do one of these, then either you're living on a desert island all by yourself all the time no matter what or you're never home.
50:27
S1
That's what happens if you get stuck in either one.
50:31
S1
So as Peggy said, the trick is to be out and in and out and in and out and in. You get what I was just doing? Do you feel it? Mhmm. And out and in and out and in.
50:52
S1
But it's humor. Yes? So the question is where do you wanna live? Do you wanna live just one place
51:01
S1
or do you want to live every place? And the answer is that sometimes it's appropriate to be one place and sometimes it's appropriate to be every place.
51:16
S1
Questions?
51:19
S0
It seems like on both places at different times.
51:24
S1
So what does France do?
51:27
S2
They do. They They say.
51:33
S0
There's something about there's something to do with pressure or or
51:36
S1
What, Pat? What yes.
51:42
S1
It's where does the buck stop. It's not lightly on an outer ring what can you do. Oh, I can spend a moment listening to you. I don't have a problem doing that. Now something to remember here is that these programs influence each other.
52:02
S1
So what just got you is a different one which is influencing this one in her.
52:13
S1
And you have to isolate it so you just do this one regarding France. You have to take away the others and it's not so easy to do sometimes. You'll get much better at it over the day.
52:27
S1
The disturbance, a huge disturbance for France and some of these are much more important for people than other ones. A huge disturbance for France is she wants to be internal and isn't.
52:45
S1
You get it? She's been told that if she can just measure exactly how long this marker is herself,
52:55
S1
that her life will be perfect. But she has no ruler and no way of measuring it.
53:03
S1
She has no specific immutable reference in here that takes care of it for So she when she least wants to, she has to go, is that okay?
53:17
S1
When she absolutely doesn't wanna do that for anything, she has to ask out there to find out if it's okay. You get it? You watch the emotions. See, the emotion comes up.
53:29
S0
I got it last night. I couldn't go to sleep k. With it.
53:36
S1
So this is tragic. At the moment when she wants to be inside, she has to go outside.
53:45
S1
At the moment when she it would be most useful for her to be outside, she goes inside.
53:51
S1
You get that hurts those of you who interact with her. It's not like she wants to do this. It's a setup to have somebody have trouble.
54:04
S1
You follow? Mhmm. Particularly those of you who have hung around France some, and you've hung around France some. Right?
54:12
S0
All my life. Yeah.
54:15
S1
So here's where these programs really come in handy. Because what if she could go out when it was time to go out and come in when it's time to come in instead of the other way around?
54:24
S0
And how do you know when's when?
54:28
S0
And the the search the the the knowing when?
54:33
S1
No. It's really simple. By doing that. It's really simple. Currently, you know when.
54:41
S1
She's just got an opposite. She doesn't miss it. She's always in the opposite place. So she knows when, she just got it reversed.
54:54
S1
So what you do, the answer for this, and you want a simple practical way to do it. Here's example for my class Hold on just a moment. I'm gonna give you a very simple practical way to play with this and then ask your question.
55:08
S1
She said, watch her just do external.
55:12
S1
What you do is you practice it when the going's not tough. You practice putting it out and putting it in and putting it out and putting it in so that you can do it anytime. You practice it. Just when you're taking a little walk by yourself along the ocean or when you meet somebody along the ocean and you're talking to them. You practice putting all of your attention out there, external, all of it internal, you just practice it. Okay? Then when the going gets tough, you go to whichever one's appropriate.
55:49
S1
You just will because what you will have taught yourself is the ability to move between the two.
56:00
S1
So in other words, things are gonna have to get a little more scattered. Right now, they're fairly predictable. They're gonna have to get more scattered and then come back to being predictable on an on the opposite. So you do the appropriate one rather than almost always the inappropriate one.
56:18
S0
Is this am I is this I feel like I'm it seems like I'm mixing this up with switch and other.
56:25
S1
You are. That's the one I was referring to.
56:29
S0
And when we spoke last night and you complimented me, and I feel like I take it in, I I can my body feels energy to my toes. And then I reflected back and say, you're, you know, you're you were complimenting me on the number of people that showed up. Yes. And then I complimented you because you're the draw.
56:51
S5
Right.
56:51
S0
You're the you're the power. Was that appropriate to you to
56:58
S0
what are my patterns?
56:59
S1
The question is, did you have to do it? Yeah. You're watching her do external about it. Uh-huh. Yeah. That's what she
57:08
S1
these will keep getting you. Did
57:11
S1
you have to do it?
57:13
S0
I just watch you watching my patterns and it's
57:15
S1
No. What I'm saying is it's your style to do it. It's your personality to do that.
57:23
S1
Now it didn't used to be.
57:26
S0
To do what?
57:26
S1
This is how she's growing. It used to be that you'd go, yeah, I did it and it was great and it was wonderful and it was me and I did it and I did it and I did it and yet she still isn't getting that she did it.
57:40
S1
Now we've gotten down another layer where you're saying, yeah, I did it, but you did it.
57:49
S1
This is still on top of some other things. But she used to take the credit without taking the credit. Now she gives the credit away without taking the credit that's more congruent. You follow?
58:04
S1
And at some point, you're gonna not only take absolutely all of the credit right down to your little toes, but you're also gonna discover that when you take it down to your toes that they get it down to their toes too.
58:18
S0
Thank you. That's
58:20
S1
that's That they can't help it.
58:21
S0
For me. Okay.
58:23
S1
Well, that's our missing part. That might not be the missing part.
58:30
S1
It's a it's like a big job we have here, So there may be some other missing parts too. Yeah. Can't help it. Yes. You may.
58:46
S1
Okay. You get Calvin? Calvin wants to be internal, and yet there are sufficient flaws in his reference that he has to play fairly small to be internal.
59:07
S1
They have to decide what goes in the Encyclopedia Britannica. Yes? Because they have to limit what goes in there. And yet there's an awful lot more in that than there is in Little House in the Prairie.
59:21
S1
True? True. True. A lot more data. What I'm saying is currently, Calvin has such a limited reference inside that his reference doesn't cover very many situations. If he goes in and tries to reference just internally, he comes up wanting because he doesn't have the data in there most of the time.
59:47
S1
I I just need some nodding like you get it. Okay? Or shaking like you don't get it. So since he comes up most of the time, what he's done is gone out to a more superficial level
1:00:02
S1
so that he can paint with a larger brush.
1:00:07
S4
And cover the difference?
1:00:08
S1
Generalizes. Yes. So what he does is he covers the differences by painting with a bigger brush and yet he's not pleased with the solutions that he comes up with.
1:00:22
S1
Part of the way I know that is his level of repetition
1:00:28
S1
because the the generalization, he paints too many situations that are different the same. And he's too smart to do that. But his attempt to be internally referenced has him have to do that.
1:00:46
S4
So he sees the differences with these situations, but he's only able to speak of them in generalities.
1:00:51
S1
Which has him not trust himself. You get it? Do you get it at all, Calvin? We are talking about you. Oh.
1:01:05
S1
Do do you get it? Or watch because he's gonna do it. Okay. He's gonna paint this one with a big brush.
1:01:16
S1
If if you're gonna paint houses,
1:01:21
S1
there are certain places that a big brush is very, very appropriate. And in most art, it's not. So in the art of living, what he's doing doesn't work very well because it doesn't give him the refinement to be entertained by.
1:01:41
S1
And it had him confused. Let's say this is yes and this is no. It had him confused yes and no. In other words, he had it just backwards. On a digital scale, he thought on was off and off was on.
1:01:56
S1
It'll do that.
1:02:00
S3
Does this kinda relate back to the same difference and opposite?
1:02:05
S3
That's what's coming to my mind as you're talking about this as to whether I'm thinking of things the same or different or opposite.
1:02:13
S3
You know, I'm trying to
1:02:14
S1
Yes.
1:02:15
S3
Think more of the same.
1:02:16
S1
Yes. Is that you paint them with the same brush.
1:02:20
S1
It
1:02:22
S1
cuts a couple ways. We just watched Emily go to horse camp, and, there are, I think, seven kids at horse camp. Emily's never done this sort of thing before. This is really out outer limits. And she's a day camper. We drive her there in the morning and pick her up in the evening. And all six of the other kids are night campers. They spend the night there. So what the kids do is they pick on her because she's a day camper. I mean, not bad. But what they do is they take any distinction and go after it. Anyone that they can find that's obviously the case. Now watch out because those same distinctions that you go after that way, that the other people go after that way are the ones that make you think you're valuable.
1:03:22
S1
You follow? So it's a line you're walking.
1:03:27
S1
I'm unique but I'm not that unique. I'm not unique enough to be really weird. I'm just unique enough to be a little better than you.
1:03:40
S1
You get it? And they wouldn't leave the day camper thing alone because they knew they could recognize that as a different thing.
1:03:53
S1
So what I'm suggesting is that you are painting it big and the same and you need to discover how to do it little. Currently, you come up wanting over and over and over again. You come up without the data that you needed, so you go ahead and pretend you have the data that you needed anyway.
1:04:15
S1
Only your data will only stretch so far.
1:04:18
S3
Then I'll fill in with illusion.
1:04:20
S1
Yes.
1:04:24
S1
Now this is two examples of how these get in pretty far pretty fast. Yes? You get how the shifting these could shift their life a little bit?
1:04:36
S1
What if France could go in and out? What if Calvin could just sit with you and be absolutely out there since he is rather than trying to be where he isn't? And he goes and tries to buy a truck and the people don't hear him. How often does this happen? Almost all the time because he's got a system built up that whatever they say doesn't work in it. You get it?
1:05:09
S0
What was the lesson?
1:05:11
S1
Whatever they they don't hear him and he doesn't hear them and he says, God, those people just don't listen.
1:05:19
S1
They never listen. Those damn people, all those people. Oops. Any system that makes all of them wrong and you right has to be working on some fairly shaky premises upfront.
1:05:37
S1
So his attention is on him,
1:05:41
S1
but the only one that he thinks is important is out here.
1:05:46
S1
So then out here gets blamed all the time.
1:05:51
S1
Wouldn't it? It just doesn't work out here.
1:05:56
S0
Is that why he thinks he's internal?
1:05:58
S1
Yes. He thinks he's internal because, he has to be one or the other and one looks good. One looks like what you ought to be if you're gonna be protected from all of that data that you don't want out here. You follow? He's forced into thinking that he's internal. If you're forced into it, I don't trust it.
1:06:23
S1
That's the first response.
1:06:28
S5
Your father is the same way.
1:06:34
S1
When Calvin was here for when when Calvin's ex was here for her course, I met his father. It's the same thing. And the program has dictated his life. And he's talking to me, and he doesn't know that I'm there. But all he really cares about is what I think of what he's saying.
1:06:53
S3
He's he's also very auditory like I am too.
1:06:56
S1
He he has that ability.
1:07:01
S1
He does. If he was any more auditory, he'd be in a wheelchair.
1:07:08
S1
Or he'd squeak. Blackhounded. Yeah. Yeah.