IC
Illusion Conclusion
Jerry Stocking
Library
Search
About
Library
/
VIP's Course
/
VIP Course – CD 5
VIP Course – CD 5
VIP_CD_05
1:15:14
12 nuggets
← VIP Course – CD 4
VIP Course – CD 6 →
Nugget
1
/ 12
00:00 — 08:22
00:00
1:15:14
⏪ Prev
▶ Play
Next ⏩
📍 Restart
-10s
+10s
Speed
0.75×
1×
1.1×
1.25×
1.5×
2×
←
prev ·
→
next ·
R
restart ·
J
/
L
±10s ·
Space
play/pause
All nuggets
Click to jump
1
2
3
4
5
6
7
8
9
10
11
12
Transcript
569 utterances · click to jump
00:04
S0
Yeah. Some famous.
00:11
S0
He sent that up to the flagpole to find out if anyone would salute.
00:18
S1
Okay. It's myself. Anybody
00:24
S0
get the simultaneous?
00:27
S0
That's one of those in your dreams things.
00:32
S0
Simultaneous sounds pretty good, though, doesn't it? I
00:36
S0
mean, what else would a nice guy be?
00:40
S0
In prison? No.
00:47
S0
We reserve the prisons for the innocent ones.
00:52
S0
You get self or not?
00:55
S1
I know that it used to be real simultaneous. Or it used to be simultaneous. I
01:05
S1
could switch all the time with
01:08
S0
It it's possible that it's your own program in the way
01:14
S0
given what I just heard from you.
01:22
S0
And now I'm not pulling many exceptions here. I'm pulling a little exception here. Just a tiny one because I perceive that he's in transit
01:32
S0
between two rings. What's he in transit from, and what's he in transit to, Karen?
01:44
S1
From myself. Self to other is what I
01:48
S0
Yep. It's self to other.
01:54
S0
And that being in transit between self to other can look like simultaneous. You get how that could be the case?
02:05
S0
He's going from self to other, and he's a bit pissed off about it. And
02:13
S0
the other is where you look stupid.
02:17
S0
So you've gotta look stupid
02:20
S0
because underneath the other, don't worry. There's something completely different than either of those lurking. I promise.
02:32
S0
So any resistance to looking stupid is being in your own way. I'm not saying yeah. I am.
02:43
S0
I was gonna say I'm not saying
02:46
S0
don't try to look stupid because I am saying try to look stupid. But you have to discover that you're not stupid
02:55
S0
by not trying to prove that you're not stupid Because trying to prove that you're not stupid is a very stupid thing to do, and only stupid people do it.
03:07
S0
So I see you in migration between self, which you used to run, and other. And then there's another, don't worry, migration after that. Do you know what the one after that is?
03:22
S1
The left a.
03:24
S0
No. It's a big s. Big s. The big s is what he's been playing with. That's what got you all last night.
03:31
S1
Uh-huh. Yeah.
03:33
S0
Small s is there's only me. Big s is it's all here, and it's all me. That's s is salvation, s is savior. That's what I think is underneath it. And it would look like switch a little bit given where he is and what's going on, but I think it's the big ass. And then Jeff's gonna go, hi.
04:03
S0
And he currently is using you guys to bring that part of him out. That's what he did while he was talking to you last night.
04:13
S0
Any of you noticed that he included you? Mhmm. That's that. He didn't include you as other people. He included you as himself.
04:23
S0
But attempts to get to a big ass
04:28
S0
with a lot of insecurity in there gets results in switch.
04:37
S0
And what he's been doing for the last few weeks is confronting insecurity massively, which will lead him through other to a a big s.
04:50
S0
I thought you already went. Go ahead.
04:53
S1
I'll have to ask you a question.
04:55
S0
I know.
04:55
S1
When you talk about moving from a ring,
04:57
S2
are you talking about that meta program moving from one ring to another, or will that influence other meta programs so that they'll kind of hold
05:04
S0
There's a set on a ring, and there's a different set on a different ring. Some may change, some may not change. But there is that set, and that set is set because that's the grouping that defines that ring for you. Got it?
05:27
S2
And so if you move if you just change one metaprogram and no others, you're still moving in a ring. You're just dragging down some some of the same metaprograms with you.
05:37
S0
No. Okay. If you move from one ring to the other, you get whatever grouping is at that other ring.
05:47
S0
But now if you just what I'm saying is he's gonna get a whole different set of meta programs. Not all different necessarily, but he's gonna get the set that's there. When you move rings, you get the set that's on that ring. You don't bring stuff from that other ring there.
06:05
S2
But they might be the same.
06:06
S0
I mean, they might Some of them may be the same.
06:08
S2
Okay. As you move from rings, are you also changing the size of rock? Because that's what I feel like is going on with this is that the rock is getting smaller.
06:15
S0
Well, you're changing streams.
06:20
S1
Oh, a set of
06:21
S2
rocks. Okay.
06:22
S0
A different set of rocks. So
06:26
S1
does that mean if you change if if I change from, say, simultaneous to self or something, then I go in in another ring, and then all the meta programs have a possibility of changing, like, just
06:39
S0
I'm saying you cannot
06:43
S0
change it without changing all of it. Okay. Now you can work on it and practice changing it and practice changing it and still underneath will crawl out the automatic one that you do and you'll be operating on top of that.
07:04
S0
And if you continue to practice and play around practicing with different ones, at some point, there you go. Okay?
07:14
S0
So it's a unit movement. And yet it's playing around with the individual pieces that then allows the unit movement. And the unit movement is sufficiently extreme that it made you wanna go on with life in spite of the fact that you had made it horrendous.
07:35
S0
And that laid out a trail for you that you don't wanna go back over and that's exactly what you must do. Not surprisingly.
07:47
S0
It's like a yo yo. You throw it down and you think, well, it's gone. Woah.
07:55
S0
Until you switch units.
08:00
S0
And given a a tremendously immature culture, people don't switch layers very often. They'd rather keep it in place, and they get married to keep it in place. And they keep the same job to keep it in place. And they do all of this stuff to keep it in place. And they don't even know that's how come they're doing it, but that's the game.
08:28
S1
I do other, and I think I run Switch also.
08:32
S0
Yep.
08:34
S0
Pat and marker are friends.
08:38
S0
Other
08:41
S0
other other other and switch underneath it. But I think there are two layers with other on it.
08:52
S0
And I think that one of the
08:56
S0
large differences between these two come on up, Margaret and Pat,
09:02
S0
and watch. This will just demonstrate it, I think, fairly rapidly. And stand next to each other.
09:18
S0
Notice any difference between the two in what you get from them?
09:29
S0
The difference you can readily observe is the difference between the internal and external. Which one's internal?
09:37
S1
The other
09:41
S0
way around even though it's small.
09:45
S0
So what's happened is that Margaret is doing you a great service. You don't ever have to beat Margaret
09:56
S0
because you will never beat her harder than she's beating herself. Pat is beating you.
10:05
S0
You get it?
10:07
S3
Mhmm. You
10:10
S0
would. Pat is beating you. That's the external with that switch right underneath the surface. And Margaret is beating herself. That's the internal.
10:27
S0
See it? Where does your attention go looking at these two?
10:31
S1
Margaret. Margaret.
10:33
S0
Goes right to Margaret because you aren't gonna get hit there.
10:38
S0
Now it's no fun to watch her hit herself. Well, it kind of is fun to watch her hit herself. Ain't it?
10:47
S0
Do you get it? Pat's hitting you and you go, I don't wanna get hit. Well, let's find somebody who hits herself. Okay. There she is. She's doing it.
11:01
S0
This is one of the things to watch for if you're gonna watch a movie, don't just watch a movie. Watch a movie. If the camera's on two people, where does your attention go? Which of the two?
11:18
S0
Where does your attention go here? How much effort does it take for you to put your attention on Pat
11:28
S0
when these two are there and you could look at either one?
11:33
S1
A lot. I know.
11:34
S0
Doesn't it? So the question is how hard do you want your life to be? You you got do I have to?
11:47
S0
So we've flipped on the TV yesterday and being deprived of TV, living that kind of horrible life, it's kinda unique to put it on. And here were some actors being interviewed about some movie that they've just come out with, and it was
12:05
S0
Matt Damon. I mean, lightweights. Tom Hanks,
12:12
S0
Tom Sizemore, and I forget who the other one was.
12:17
S2
Edmunds. Edmunds.
12:18
S0
Probably. Edmunds. Okay. Who's the heavyweight of the crew?
12:24
S0
Absolutely Tom
12:27
S0
not. Tom Hanks is sitting there running simultaneous, and ain't nobody buying it.
12:33
S1
Damon. Matt Damon.
12:34
S0
Matt Damon is sitting there running self, and that's it.
12:43
S0
So where's your attention gonna go? If you're culturally based, your attention has to go to Tom Hanks because you know he's a different creature than than the others as far as what he's produced and all of this stuff.
12:58
S2
Yeah.
12:58
S0
More famous. And you've seen him in a lot, and you've seen him grow,
13:05
S0
allegedly.
13:08
S0
No wanna know where attention went?
13:12
S0
Tom Sizemore. That was it. All of it. Right there. The other ones didn't even appear on the screen. He just disappeared them.
13:21
S1
I I noticed he was so light lit up. He was
13:23
S0
He abs well, he always is. He absolutely disappeared them. They didn't appear on the screen.
13:31
S0
We're talking about the dynamics of the pattern here. It's not by disturbance that he did that because not only did you look at him, but you wanted to. And when you did, you were more you than before. And every role I've ever seen him in is this way. And it's just
13:53
S0
he was thinking in public. He's sitting there waiting, and he's gonna deal with what goes on. These other ones are already prepared. Matt Damon is totally scripted. Everything he's gonna say is entirely predictable. You could write it down before he ever says it.
14:15
S0
Watch them and figure out what they're doing. Robert De Niro originally was a fairly interesting actor until I realized he runs the same patterns no matter which character he is. And then you go, okay. It's him again.
14:29
S0
Dustin Hoffman does not run the same patterns. Rust Dustin Hoffman takes on completely different patterns depending on who he's playing. That sends goosebumps up and down.
14:43
S1
Tom Cruise
14:44
S0
always seems like the same person. Always the same person. Mhmm.
14:52
S0
Costner, the same thing. Christian Slater, not the same thing at all.
14:58
S0
He takes on the different patterns.
15:02
S0
And who gets the screen is the one who you don't know what in the world they're gonna do next. That's who gets the who pulls you.
15:16
S0
Who else? What do you do? Get that mic to
15:20
S1
okay. Simultaneous, I'm trying to be less tolerant of others and make more of me.
15:31
S0
Woah. That's that's something to shoot for.
15:46
S0
Gosh. I I seldom know.
15:49
S1
And that part of the change is over. So
15:58
S0
Is that accurate? What is he running?
16:03
S1
That was simultaneous.
16:04
S0
I think it's simultaneous.
16:07
S0
I think it's big time simultaneous, and he's trying to switch change it over to switch. Probably go for sale. Okay.
16:15
S1
I'm trying this. I'm getting more.
16:18
S0
So don't forget that it's about practicing all of them. Because if you practice all of them and become fluent enough in all of them, then you'll find out what level's next. If you decide what level should be next,
16:39
S0
then you're resisting, which is forcing, which is problematic again.
16:44
S1
That's gonna be a problem, Charles.
16:47
S0
No.
16:51
S0
Okay? Mhmm. Alright. Next.
17:01
S1
I think I do self, and I don't know what the next level is. I just have to wait and see.
17:08
S0
K.
17:11
S0
What does she do?
17:15
S0
Now watch out because you're getting into problematic terrain here.
17:21
S0
That's the throw off. I think what you have here is self and external. Try that one on.
17:32
S1
That'll produce anxiety. On
17:35
S0
a good day.
17:36
S1
Yeah. Pretty sure. Anxiety. On
17:39
S0
a very good day, it would only produce anxiety. But see, it's you don't live anywhere because the only reference you really have is out here and you won't you're the only one who exists. In this case, it produced response after response after response because she's trying to bridge the gap between the two. So she's trying to meet it partway as quickly as she can and cover up that. So this constantly every single time this gets referenced, then that's at the longest eighteen seconds and typically sooner than that, she has to have a shift of attention. So she's thrown off more than she's thrown on. Remember what we did where you're focused on the space between the words? She's forced into focusing on the space in between the words, so she's constantly grabbing at any firm ground she can find or anything that seems like firm ground. That's what those programs force you into. And it doesn't mean for long.
18:46
S0
Now it doesn't mean for long. It meant a life sentence prior to you coming and playing here most likely. And now we'll find out. That's what self and other I mean, and external does.
19:08
S0
Wham. Wham. Wham. Wham. It's a very difficult thing. It's it's impossible to mediate because the two can't there's no overlap between the two. By definition, there can't be any overlap between the two.
19:28
S0
Do other? Yeah. Some self.
19:34
S0
Where's the self? Did you say it yet?
19:38
S1
I didn't say it. I thought it was over here when you said it.
19:41
S0
K.
19:44
S0
It's like
19:47
S0
he and Zoe are mirror images.
19:54
S0
Internal and other. I've run into almost no internal others that I know of in my life, but it that may be because one can't find them.
20:05
S1
It's not so obvious.
20:08
S0
That's a distinct possibility.
20:11
S1
It's not so obvious on Margaret because our internal is like this, and his internal is like
20:15
S0
His internal is huge. If you wanna learn a big internal, he's a great guy to learn an internal from with the other. Because Steve's there, except that all he really cares about is over there.
20:34
S0
So it's the mirror image of self and external. And if you look stand up here. Together.
20:47
S0
Where does your attention go?
20:50
S3
Back and forth.
20:52
S1
It has to.
21:01
S0
Doesn't have to? Because you can't I mean, how could you go to one or the other? They're equally up.
21:14
S0
I mean, beautiful. That's what I meant. They're equally beautiful. So here's Two
21:21
S1
people I
21:22
S0
can Here's a test for you, and this is the kind of thing you miss, and you really gotta learn about people. Here's the one the only question you need to ask about these two.
21:33
S0
There's only one question that you need to ask about these two. Just one question and it'll answer the whole thing for you and it will teach you a whole lot about these patterns. Look at them. This is the only question you need. How old are they?
22:00
S1
Not
22:02
S0
that old quite. It's a little girl and a little boy. And y'all are sitting here, and Karen's sitting against the wall like this going
22:15
S0
and you all regressed age wise just having the little girl and the little boy go in front of the room. You get it? Mhmm. And you probably didn't even notice that you regressed, but now that I pointed out, you
22:31
S1
go,
22:31
S0
obviously. It's a little baby boy and a little baby girl. Five maybe.
22:40
S0
Maybe six. It gets a lot more complicated by the time they get to nine or 10. More complicated than this. Look at
22:48
S1
All the way in the last couple of years.
22:51
S0
But you see him? You
23:00
S0
should never again in your lifetime get bored as long as you or anybody else is around. Is this a little girl and a little boy?
23:11
S0
Well, check out. Isn't that the kind of thing you're running at four or five years of age?
23:21
S0
Here I am except God's out here,
23:26
S0
self and external.
23:31
S0
Wouldn't it? You play around with that at this age, they arrested their development back then and here it is,
23:44
S0
right there in front of you. And the only way that Zoe can mature or Steve can look older is by having problems. Watch because she just started worrying. Mhmm. And did you see her age when she worried?
24:01
S3
10 years.
24:01
S0
Yes. As soon as she started worrying, she aged.
24:05
S1
I don't wanna mature.
24:06
S0
That's not really the way to mature.
24:10
S0
Not that that isn't the way most people mature. How about moving through the patterns instead?
24:19
S0
Now see, he doesn't do it by worry because he goes internal.
24:28
S0
He goes, I'm just here, and here's the playground, and here we are. I'm not gonna play more than I should. Yeah.
24:38
S1
Okay.
24:40
S0
So
24:45
S0
internal and other produces a fairly flat line existence.
24:53
S0
An external and self produces the wildness, And there are some other programs in here that are influencing it, but you get the point. There's the demonstration of that little
25:08
S0
who else?
25:12
S1
I'm switch. A little bit of simultaneous.
25:22
S0
Boy, that sure seemed like selfless, didn't it?
25:29
S0
What do you like best about your girlfriend?
25:36
S1
Best thing I like about my girlfriend. Best thing I like about my girlfriend?
25:47
S0
You see I'm asking for him to go inside and get something from in there. Uh-oh. Where is it? Where is it? It's not in there. I like the way she looks to others.
26:06
S0
Was that in there, or did I misread that? That's good.
26:15
S0
I thought I heard that in there. And that
26:22
S1
yeah. That's sad.
26:26
S0
So you also can very easily start predicting people's thoughts because you're hearing them or seeing them as long as you get your own programs out of the way.
26:41
S0
So I perceive it as other and and lots or selfless. Lots of selfless.
26:47
S1
Only you
26:54
S0
can make my dreams disappear.
27:00
S0
Or here's another song we sing for that. Ready? Getting to know you, forgetting all about me.
27:13
S0
Getting to know you, forgetting I exist.
27:21
S0
Like that.
27:28
S0
Now watch. Look at him. You see what's going on? Tremendously upset, and he doesn't know to what degree because he's still monitoring out here. So one of the things you miss is the data from your upsets. You gotta be able to be flexible in these things. You gotta be able to dance around in these things. Otherwise, you'll get stuck in an upset
28:00
S0
or not learn everything you can from an upset. If you don't learn everything that you can from something, guess what happens? You repeat it. And then if you don't learn everything that you can from the next time, you repeat it again. And if you decide that it's happened too often and you don't like it or it's too boring, then you don't learn that time and it repeats again.
28:29
S0
You need to go in there and explore the upset. And you've taken on a lot because you're the boss and running selfless.
28:40
S0
So it's time for some flexibility in these, and we'll make it an awful lot more fun. You get it? So practice like a wild man when you get in your groups to practice this one. K?
28:55
S0
Who else?
29:01
S0
And yet you've got other and external
29:06
S0
or selfless and external
29:09
S0
that fits in the same location.
29:16
S0
We'll buy the house. We just won't live in it.
29:22
S3
I've been playing with these a lot, and yet I'm not sure where I flip and land or where I am at the moment.
29:32
S3
It's like I I'll see myself doing selfless
29:40
S3
if I can you know, if you can do that. And
29:50
S3
and then I'll notice the switch. Sometimes the switch is a lot more apparent to me than the other. And I noticed the other
30:00
S0
So she's gotten to the point, and she's been practicing these a lot for over a year now. Yeah. This, I think, is the main one that you two practice. Is that accurate?
30:14
S1
The
30:14
S3
main one that shows up
30:15
S0
a lot. And I've really practiced it a lot. And my suspicion is that what you're doing here is you're dominating this one with the internal external.
30:27
S0
So I think you need to practice the mathematically possible permutations and connections between the two rather than just doing this one. Because right now as you're talking, you're making it virtually impossible for us to tell which one you're doing because it's all sheathed and internal. So
30:48
S0
we can't get through the internal to find out which one's going on there.
30:52
S1
Is that why I get self?
30:54
S0
Probably.
30:54
S3
Okay.
30:57
S0
I do. I get self, and I think it's because it's
31:00
S3
maybe doing self. Maybe
31:03
S0
You're not. Okay. I mean, you may be doing some of that, but It's more. It's covered with the internal.
31:10
S3
So are these just not as big, or
31:14
S2
or are these
31:15
S0
I don't get that they're smaller. Yeah. I just get that they're being dominated currently by another one. Like, one rock is behind a big And they may be even the same size, but it's still right behind it. It's backed up against it.
31:32
S3
So play with these, but with the internal, external along with it?
31:37
S0
Yes. Well, you showed your complete inability to do external. Yeah. So develop the ability to do external. So don't even play with it with it. Just learn to do external.
31:50
S3
External and something will happen with this.
31:51
S0
Yes. I promise.
31:56
S1
I think I've also been playing with these.
31:58
S0
You know it, don't you?
32:00
S1
Yeah. It's it's funny when we're both doing switch.
32:04
S0
When Joe came to his first IC course, it was all other. Wasn't it? Mhmm. Her selfless. Just total selfless.
32:16
S0
Incredible. I mean, like, the the picture in the dictionary of selfless.
32:23
S0
Boy, we've gone through some places from there, haven't you?
32:26
S1
Six months later, it was well, it was the first VIP course, and it was all self.
32:32
S0
All self. And now he can switch with the best of them.
32:39
S0
Look out. High volume switch.
32:42
S3
A lot of switch.
32:43
S0
A lot of switch.
32:46
S1
And some simultaneous.
32:48
S0
Yep. The least. Well, I I don't ever see you switch my kids.
32:55
S0
No. I do occasionally, but not often. See, one of the neat things is the kids will bring these out even if they'll usually bring out the layer underneath. And then you go, god, I hate that kid.
33:13
S1
I learned too much from
33:14
S0
your kids. Yeah. Should hear Joe working up there doing plumbing or whatever working with Judson.
33:21
S1
The best helper I've ever had.
33:22
S0
A trait. Yeah. It is well, and vice versa.
33:26
S1
Six years old. Just turned six.
33:28
S0
Yeah. And you guys are incredible together, but he gets it too. I mean, he just brings out what he needs. They're pondering whether they have kids or not. Probably not. I mean, growing up and learning all that stuff about oneself.
33:50
S1
Are you still teaching?
33:51
S0
Why would you want that?
33:54
S0
Yeah. Along with a couple other things too.
34:00
S0
So this is the result of a lot of practice in it. And when I say a lot, I mean a lot of practice because these almost never change for people.
34:14
S0
Yes.
34:16
S3
Well, I'm simultaneous on the surface, obviously. And something else is coming through, and I'm not sure if it's self or switch.
34:26
S0
What is it? Switch.
34:29
S1
Okay. So Selfless.
34:32
S3
Yeah. I
34:35
S3
never would have thought.
34:39
S0
Well, it probably crossed your mind.
34:41
S3
No. It didn't actually.
34:43
S0
You get it? Didn't you? Yeah. It's Yeah. Selfless.
34:49
S0
And that's the good one.
34:58
S3
That's coming through. You
35:02
S0
get it just like having a moon and something. Okay.
35:09
S0
It's what what this is like is it's like astrology with people. That's what this is. We use people instead of planets. So we're just bringing a little closer to home.
35:25
S3
I have a question.
35:28
S1
I had a lot of emotion, Jay. Like, you were saying self and internal would be hard to get out of, and it's it's very selective and it's very Yeah. Really blunt.
35:44
S0
Don't leave it.
35:48
S1
That makes it really serious. It makes it tough
35:50
S0
for me to play. Good.
36:01
S0
Do you guys get what you just got a demonstration of? What?
36:10
S1
You were able to make her laugh.
36:13
S0
I just had her in an instant, I had her motivated to leave what she just had said she didn't wanna leave for anything. And if I tried to get her to leave it, she would resist the dickens out of it and wouldn't want any part of it. And I said, there's a game out here. And she said, I know.
36:37
S0
I don't want you to lose it. I want you to keep it. I want a lot of other people to learn this, and I want you to add alternatives so that in any point in time, you can do any of them. That's it. Please don't lose it.
36:55
S0
At some point,
36:58
S0
and this is about tier three if I'm not mistaken, you pick which layer you wanna go to.
37:10
S0
There are eight tiers and about by the time you get down to three,
37:16
S0
you can go to whichever level you want. You can play self and internal. You can just go between them. Any any patterns you've had, you can have those anytime you want.
37:31
S1
In this moment, I don't want anything.
37:34
S0
Yeah. I understand.
37:38
S0
That makes sense because why have any of them back that you don't have right now?
37:45
S0
And in some other moment I mean, wouldn't that be terrible if you wanted just exactly what you had? Yeah.
37:58
S0
You'd just stay in the same spot. No. You wouldn't. You'd have a specific destination to leave from.
38:07
S1
And home to go to.
38:09
S0
Yeah. How many homes do you want?
38:16
S0
Every one. How big do you want it to be? Okay.
38:21
S0
I give you that.
38:25
S0
Not that you needed it from me.
38:31
S0
Is anybody else getting hungry, or is that just Uh-huh.
38:37
S0
Twelve twenty.
38:41
S3
Okay. Question? Yeah. When Steve and Zoe were standing
38:45
S1
at the front of the
38:46
S3
room, we said they were about five or six.
38:49
S0
Mhmm. Four or five, five or six.
38:51
S3
Yeah. And you made the statement. At that age, they arrested their development. Mhmm. That's the word you used. How how does that work exactly? A four year old arresting their own development?
39:07
S0
Everything out here becomes sufficiently problematic that one would rather go on whatever hiding place one has found.
39:17
S0
So they stay there.
39:19
S1
So by that time
39:20
S0
They say, I'm I'm gonna maintain this little world that I built in here so that I can always go back there.
39:29
S0
And it works.
39:32
S0
I I mean, it's done regularly. We live in a culture where almost no one ever attains the age of 13. As far as I can tell, anything older than 13 is a completely different human being,
39:46
S0
and almost nobody gets there.
39:51
S0
And that's it it here's my story due to the quantity of abuse that goes on and misunderstanding being abused and all this.
40:03
S2
If they're the rest of their development at 04:00, does that mean they don't have very many rings underneath them? That they're not have very many rings?
40:10
S0
Yes.
40:11
S2
And does progress for them mean just turning around and going back in, or
40:14
S0
do they go out a whole bunch? Chances are very good they go out. These two have to really
40:23
S0
grow and master the world out there. You until you get way out, it's not time to turn around and go in. Most people have further to go out, but that doesn't mean we can't play around with them going in and out and in and out and in and out. That's why you need all the programs so that you can go out when it's time to go out and go in when it's time to go in.
40:51
S0
You've kept it as small as you could and still you could live there.
40:56
S0
And I'm suggesting that you make it smaller and bigger both.
41:03
S0
Something about the inhale and the exhale. It's they they work together so well.
41:09
S0
And either one without the other one for any extended period of time just really presents problems. I think I'm just gonna practice my exhale today.
41:33
S0
And then pretty soon, there are no patterns left.
41:36
S1
So that's one way to do it. Literally.
41:40
S0
That's the easiest way.
41:42
S3
Some days it seems like.
41:44
S0
It does. Especially in Houston when the wind's coming from the wrong way and the dust is coming in and the
41:52
S0
that was last time I was here. They were saying nobody's allowed on the playgrounds. Nobody's oh, it's hefty.
42:02
S0
So over lunch,
42:05
S0
I want you to play with varying these four. I want you to do selfless and do self. I want you to do simultaneous and switch. Stick with one long enough until two or three people have identified that that's what you're doing and then go to a different one.
42:27
S0
Check home occasionally doing the one that you usually do. Find out what the other people are doing
42:35
S0
and just play with these till you can do them. By the time you get back from the end of lunch, I wanna be able to pick any person in the room and you come up front and you do
42:47
S0
one of these. And everybody knows which one you're doing because you're really doing it. Okay?
43:00
S0
Okay. Let me have it.
43:04
S0
Do you have something to say?
43:07
S0
I
43:09
S3
have a question about it's trauma, but I don't know what it is. I don't know.
43:13
S0
Do want me to tell you?
43:14
S3
Yeah. If you can.
43:16
S0
Your question is
43:25
S1
I don't know.
43:31
S3
You had me going there for a minute.
43:35
S0
Good.
43:38
S3
I guess I don't know how to I I can see it in other people.
43:44
S0
But One of the things to remember regarding what we're do what we're doing here is you aren't supposed to get it this weekend.
43:58
S0
It's not the way it works. You're supposed to get it over whatever time it takes to fit in and work in there. That's when you're supposed to get it.
44:13
S0
You, who's done a VIP course before, the only other one we have should know this. Do you watch anything happen after the VIP course?
44:23
S3
Yeah.
44:23
S0
Still going on from that one?
44:27
S3
Yeah.
44:28
S0
You aren't supposed to get this. Raise your hand if you've been confused at any points this morning.
44:35
S1
Last night, put it.
44:36
S0
Karen looks at me and she said, this is the best of the best, referring to you guys.
44:45
S1
You
44:47
S0
get it when you get it, and you get it how you get it when you get it. And by God, if you ever wanna learn a lot, get that now.
45:01
S0
It it's really true. You're gonna have the tapes of it. I'm not supposed to go slow.
45:10
S0
We'd get to one meta program maybe. If I went at a rate of speed that we made sure that everybody in the room got every aspect of it as we do it. That's not the point.
45:22
S0
Believe me, it's here
45:26
S0
and you're getting it.
45:29
S3
Yeah. It's something that never practiced before. I practiced some of the other things. Yeah. And I forgot about that one conveniently.
45:41
S0
K. And now it's fairly inconvenient. Okay.
45:48
S0
That means it's up.
45:50
S3
Yeah. It's up next. Yeah. Thanks.
45:53
S0
Yeah. If you don't practice it, the the practice police are gonna come after you and ticket you for non practicing of external.
46:06
S0
I don't even wanna tell you what the fine is. I I'll tell you. It turns out I didn't wanna tell you. It's years and years more of confused internal in your case. That's the fine.
46:23
S3
Yeah. I even wondered if that was what it was, why I wasn't getting it because I I couldn't place myself in internal. So why the hell am I supposed to place myself in external?
46:37
S3
It's like I couldn't No.
46:38
S0
I don't. Okay.
46:42
S0
Doesn't mean I can't tease you.
46:44
S3
No. I'm using the.
46:47
S0
Any other questions
46:52
S0
about anything?
46:58
S0
Write the next one on the board, Roger.
47:02
S0
So that was all you really need to know for sure about that program.
47:10
S0
And now we'll get on with the next one.
47:14
S1
It was very clear to me.
47:16
S0
Okay. Good. That solved it? Yes. I'm done. Okay. So now you can go out there and do that. We're done for now. Doesn't get her.
47:30
S0
Worked on Kevin.
47:37
S0
This one brings you dangerously close to coming out the content.
47:42
S0
Look out. Because it's not really about content, and yet it is, and yet it isn't, and yet it is, but it isn't. What are the different? So we've done one motivator. One existential. One existential. We have a few more to do.
48:04
S0
We should be able to finish most of these up today.
48:11
S0
God created the world in seven days. Do you know that? So we should be able to do this today.
48:24
S0
So we'll deal with this first like its content.
48:31
S0
Any questions?
48:34
S0
What do you do?
48:39
S0
Pass the mic to somebody who hasn't done the course before, would you please?
48:45
S0
Thanks. That's good activity.
48:52
S0
Something's still safe.
48:56
S1
Information.
49:02
S0
What do you think?
49:04
S3
Thing comes in.
49:07
S0
Pet's thinking its thing.
49:14
S1
Try
49:25
S0
her on.
49:29
S0
So now try somebody else on who might be more obvious and we'll get back to her.
49:40
S0
Remember, it's the pursuit of these that's much more valuable than the answers because my suspicion is you're sorting through data you're not used to sorting through and you've got to sort through yours and theirs.
49:55
S1
Would you please state the question? Which
49:59
S0
one of these do you do?
50:05
S0
Now watch this, guys. Mic back to Pam, please.
50:11
S0
Tell us about last weekend, would you?
50:18
S1
Last weekend, I went to a party with some people that I used to work with when
50:22
S2
I worked in my corporate job,
50:24
S1
and we talked about what was going on in everybody's life. It was really great to see everybody. And then
50:34
S1
Sunday, I went to the movies.
50:39
S0
Okay.
50:39
S1
And I saw a movie. I saw
50:46
S0
We have entirely ruled out information. We've totally ruled out information. Information is we went to see such and such movie and they say the name of it, it lasted for two hours and fourteen minutes and thirty two seconds. There were four previews to begin with. The first one was for such and such and such and such and such. And
51:08
S1
so and so, and he was in a
51:09
S0
movie back in '19 Two hundred 51 seats in the theater, and these were the kind that recline, but they weren't the kind that they weren't the new kind that recline. They were
51:22
S1
I can say more than that. I think it's quite good. It's a person. How
51:28
S0
do you get person out of this?
51:30
S1
I don't know. I heard activity. I heard these verbs.
51:32
S0
I hear activity, activity, activity. She puts her eyes up and she's watching things happen. You get it? She's watching it happen and what it's all movement. Her pictures are moving in her head fast and that's what she's reading off of. I said, how was your weekend?
51:56
S0
Or tell us about last weekend. I didn't tell her what to tell us. I didn't tell her to tell us who she was with or what she did or anything. I just said, tell us about the weekend. So you get, I didn't buy us it and why I asked and she tells us activity after activity after activity after activity. We don't know anything about the people she was with other than their people she used to work with.
52:25
S1
She's another activity.
52:28
S0
She used to work with them, do work, you know, get things done.
52:36
S0
Not that these aren't related to each other, by the way, because activity occurs in a location with somebody doing it.
52:48
S0
But she's just how fast her pictures are going lets me know that to keep up, she's gotta be fairly active.
52:57
S0
My guess is we have activity going on there.
53:01
S0
And whichever one of these you do the most, you will have the most distinctions around. You understand?
53:12
S0
Or what we say during the let yourself glow is you will have the most complex equivalences around it.
53:21
S0
And I suspect she does. Somebody who source for information is not gonna care what was done.
53:28
S0
They don't care what was done. They care about the data only and they have distinctions about the data. She has distinctions about what she did. She even knows the difference between going to a party and going to a movie. Somebody who starts for people might say, got together with Jim who I used to work with.
53:55
S0
And she wouldn't then say, and Jim and I did this.
53:59
S0
She might say, and Jim's having some problems.
54:05
S0
And we sat around and talked,
54:10
S0
and he talked about what was going on with him, and I talked about what was going on with me. You get there's there's just not the doing there.
54:22
S0
And have you seen my dinner with Andre? It's a people movie, not an activity movie. Any of you ever seen the Romancing the Stone or any of the these are activity movies. Yeah. There they go. Who's there? I have no idea. No. No people, but they're swinging from a vine, and they're saving the day. Once look at her. Once more, and there they go. What movie?
54:51
S1
What it's a movie.
54:53
S0
What happened in the movie?
54:55
S1
People died. He he tried to
54:57
S2
kill his wife.
54:59
S0
Okay. The last whatever that You get it?
55:01
S1
Michael loved you.
55:02
S0
He tried to kill his wife. And
55:05
S1
he ended up dying. Okay. Now that's the new one that it's not like that one.
55:10
S0
Doesn't sound like the new one.
55:16
S0
Sounds like the old one and the new one. So he tried to kill his wife and then he died?
55:22
S1
Then she
55:22
S0
killed Now I would love it if the newspaper said that, wouldn't you? You look up in the movie guide, so many stars. He tried to kill his wife and then he died. Alright. I can talk about that one at work. Hey. Did you go see the movie? Yeah. He tried to kill his wife and he died. Yeah. You must have seen it. I did.
55:46
S0
Activity. Activity. Activity. Activity.
55:51
S0
There she goes.
55:55
S0
Who's next? Activity.
56:00
S0
Any questions?
56:04
S0
Now any of these, this is a little different one because any of these can be brought up to the level of
56:12
S0
the one that you do the most and how you bring it up to that level is by making distinctions about it.
56:22
S0
You understand? No. If Pam wanted to do people, she'd start paying attention to people. And she'd look at Pilar and she'd look at Zoe and she'd try and figure out what the differences are
56:39
S0
and what distinguishes one from the other and she'd start building a database about the people rather than the activities. And then somebody would say, hey, do you wanna go rafting? And she'd say, not with you.
56:59
S0
I love the idea of going rafting, but I'll tell you, I'm gonna be careful who I go with because I care about who I'm with, not necessarily just what I'm doing.
57:12
S0
And that would be people coming to the forefront.
57:17
S0
Somebody who sorts for people is gonna pay attention to who they're with much more than what they're doing. They don't care what they're doing.
57:27
S0
So I'm saying you can bring all of these way, way up by playing around with distinguishing what's what with them.
57:38
S0
France has another one that's up in competition with that one a little bit.
57:45
S0
It's people. It's people. And she has trouble with that one because she runs external with it which has her not end up being a people for herself but they're still people. So she ends up believing in them more than she believes in her. This is how the programs work together or don't work together or dance together. And France cares tremendously about people and it pisses her off.
58:29
S1
I'm not
58:29
S0
saying Your major objective in life isn't to be open and available and tender, and that's what that does for you. You can see it. Yes? Mhmm. That's what that does to you.
58:43
S1
I know that there's been I know there's been a tough exterior on me.
58:48
S0
I'm telling you that this is a substantial part of what it protects.
58:55
S0
And I just talk about it and you soften up tremendously.
59:01
S0
And if you'd let that in more, you'd realize that what you wanna do with Terry now isn't perturb him more. I got that. Late.
59:14
S1
Just don't know how to
59:15
S0
You got it late. Yeah. Okay? And I'm telling you why you got it late. You got it late because you used that pattern to defend yourself.
59:29
S0
And the fact is that she cares very much about people and stray dogs and absolutely anything. She's a sucker for it.
59:42
S0
And so she pretended she wasn't.
59:47
S0
And there it is. You needed to find out that you could hook him, which you did. And then you needed to find out if you could get him off the hook.
59:58
S1
And I couldn't.
59:59
S0
Right. So what you did is you hooked him and then bailed.
1:00:04
S0
And that's one of the things you have to learn not to
1:00:07
S1
I didn't know I was hooking him. And I'm I'm not
1:00:13
S0
gonna call it premeditated, but he's still dead.
1:00:24
S0
Not that that isn't an education for him too. I'm not saying it isn't.
1:00:28
S1
Pilar let me borrow the tapes on VIP course.
1:00:33
S0
Mhmm.
1:00:34
S1
And prior to listening to those tapes, I was activity. And I that's a thing that I got from those tapes. It's been in the works. People bringing more people in, being more curious about people.
1:00:51
S0
You get the difference here, Pat?
1:00:54
S1
Between the activity and the people, what
1:00:57
S0
I'm talking the entire mood in the room. When she admits that it's people, the whole mood in the room totally changes.
1:01:09
S0
When she doesn't admit that it's people, the corpses are flying because the other patterns fly the corpses. And it hurts her more than it hurts anybody else. But you get the mood in the room when she admits that she's doing it? Imagine if you owned up to the patterns that you do, all of them. This is what happens when you own up to one of them.
1:01:36
S0
Imagine if you owned up to all of them. You'd just be lightly floating along and the people around you, anybody who came into contact with you would be lightly floating along too because they couldn't help it.
1:01:51
S0
Oh, shucks. Might that be worth a little practice or even a slight bit of disorientation or confusion from time to time? Yeah. It's possible.
1:02:02
S0
Gosh. If you get anywhere near who somebody really is,
1:02:07
S0
watch out.
1:02:11
S0
Don't think there are words for it. It comes out more like poetry.
1:02:18
S0
So that's the shift in telling the truth about one of the programs.
1:02:24
S0
Now that doesn't mean there aren't layers underneath that because there are. But this is just so much more accurate than the other one
1:02:35
S0
that it moves you. Yeah. That's it. If you're not moved, then there's junk going on.
1:02:45
S0
It's that simple.
1:02:51
S0
Margaret?
1:02:53
S1
I've noticed when you identify patterns that people are writing,
1:02:59
S1
it seems as though I recognize it as you say it. Like, I already saw it, but I didn't catch on until you said it. And it's no no big surprise.
1:03:08
S0
No. Given your patterns? No. It's not.
1:03:11
S1
When you do it to me and when I see other people's reaction, you do it to them, emotion comes off and people either get angry or upset or it's it's like a shock to the system. So Mhmm. Seems that we're always blessed to know about our own pattern. Because when I when you talk about France yeah. I I know that about France. Now that you've identified
1:03:32
S0
it. Right.
1:03:33
S1
And I've seen it a number of times, but when you do it to me, I may even know it, but such a shock that you say
1:03:40
S0
But there's some resistance. Resistance.
1:03:41
S1
That and I see it in other people too. So why is that so difficult to recognize ourselves or to what's that about?
1:03:54
S0
It it's very simple.
1:03:57
S0
Is that when you're observing somebody else, you're looking through your patterns at them. And when you're observing yourself, you're looking at your patterns through your patterns.
1:04:10
S0
And looking at your patterns through your patterns is a peculiar thing to do.
1:04:17
S1
And it's upsetting. Yeah.
1:04:22
S0
You can't understand why that would be upsetting?
1:04:28
S0
Let's say you've got a prescription for glasses and we double it
1:04:35
S0
just for fun. Any of the world gonna look differently to you? You're gonna get upset particularly if the eye doctor acts like this should be the right one for you? What I'm saying is doubling it has you see it. It gives you one extra that you can see.
1:05:02
S0
And it completely shifts all the perceptions Because instead of having one lens which tends to make it just right, we've just swung another one over and everything out here is distorted. And in that moment, you're still there and it's distorted so it can't be you.
1:05:24
S0
So in that moment, we distinguish between who you really are in those filters.
1:05:32
S0
I don't understand how you don't understand that that would be a shock. Let's skip the filters and pretend that all of a sudden your eyes are able to perceive like an eagle's eyes do.
1:05:47
S0
So you can be two miles away and you can see it. You can see a mouse or a bunny rabbit from two and a half miles away and pick out the separate hairs. Is this gonna bother you?
1:06:02
S1
It's gonna be a shock.
1:06:04
S0
Try driving. You know why Eagles don't drive?
1:06:10
S0
Because they can't pass the eye test,
1:06:16
S0
and they can't reach the pedals.
1:06:22
S0
Try driving sometime with binoculars.
1:06:25
S1
No. Backwards.
1:06:28
S0
And have you ever tried that? Yes. It's a heck of a shock, ain't it? You go, woah. Wait a minute. This is life or death here. I'm not sure I wanna do that.
1:06:39
S1
Knock the log.
1:06:40
S0
Yeah. My brother brother got it down so that he could use his mirror glasses and drive off the reflection that he saw in his mirror glasses in the rearview mirror. But my brother was that kind of guy.
1:06:57
S0
I I understand that you don't that you can't imagine why that would be peculiar.
1:07:04
S0
I'm trying to come up with another analogy for it.
1:07:11
S0
How about if you were playing hide and seek? Okay? And you found the best hiding place ever. The absolute all star hiding place. And you stayed there for several days.
1:07:31
S0
And you knew it. It was just the best hiding place ever, and you got thinner, but you were just so thrilled. And then at some point, you thought to turn around, and you discover that everyone else was there too
1:07:46
S0
after all these days.
1:07:51
S0
What's happened is this isn't you.
1:07:56
S0
And the idea of finding out that it isn't you after all of the times,
1:08:03
S0
The story doesn't go on to tell you what the emperor did once he found out he rode through naked. Do you know since the story didn't cover that part? Well,
1:08:16
S0
he blushed from that day forward.
1:08:22
S0
You've been hiding in this and it doesn't exist.
1:08:28
S0
It plain out doesn't exist. And the discovery that all this is is a filter, it's not surprising to me that it throws people off.
1:08:41
S0
And these aren't real, these distinctions we're playing with but they are a way to get back and hone back into who you are which is what the point is.
1:08:52
S0
And do you have any idea how much distortion you've lived with because of these filters. For all of these years, you've distorted everything.
1:09:06
S0
Absolutely everything. And there's nothing wrong with that. It's just that you didn't know you did.
1:09:20
S0
So what would happen if you found out that you were wrong about the one thing in the world that you absolutely were certain that you were right about?
1:09:28
S0
That's what this is like. Oh, it's so surprising that people get a
1:09:31
S1
little
1:09:31
S0
upset. I don't think so.
1:09:42
S0
Who else? What do you do? Activity information, person, place, or thing.
1:09:53
S0
What do you think? Activity. Pat's activity? Pam says activity?
1:10:01
S1
What
1:10:07
S0
is it, K? You knew it was coming. I
1:10:13
S1
get one big thing when I
1:10:14
S0
That's it. It's one big thing.
1:10:17
S1
It's a big thing.
1:10:18
S0
He's on target. It's a thing.
1:10:22
S1
Does that person come?
1:10:23
S0
I don't think so. It's thing.
1:10:31
S0
The difference between activity and thing is activity is continuous and thing keeps stopping.
1:10:40
S1
So things can be an activity or a person?
1:10:43
S0
You could let
1:10:46
S0
me tell you about Richard Gere. Okay? Richard Gere is this actor
1:10:55
S0
and he gets paid a lot of money to star in films.
1:11:05
S1
So he said that everything is a thing. Every person is a thing, every place.
1:11:10
S0
Every activity. We laid the steps. We poured the concrete.
1:11:21
S0
How long would you wanna talk about chili peppers and distinctions regarding these things? We're sitting at the table watching you know about the different kinds of chili peppers and how this one last this long and that one last that long and this one does this and we're just going, woah. Because I have almost no distinctions regarding things. So I'm I'm hearing him describe things. And one of the ways that this indicates to me is that the a thing is distinct. This is not the thing. Now it's the thing. Now it's not the thing again.
1:12:05
S1
It stops and starts.
1:12:06
S0
Yes. It stops and starts.
1:12:08
S1
In this so it looks like it could be it's going.
1:12:12
S0
Well, you just fill in the blanks. See, the activity sorters in the crew are watching him and going, oh, activity, of course. I just filled in the blanks.
1:12:24
S0
She did? So I say, Rashani did? I did. Pat did. Pam did. Oh my gosh. Apparently Activity too. But yeah. By the way, it's not like these two aren't related.
1:12:41
S0
All things are is stopped activities.
1:12:46
S0
All things are is frozen light.
1:12:50
S0
But you don't get the kind of stopness he has unless you do thing.
1:13:00
S0
You follow? You look at Pam and she's not sitting there. She's sitting there.
1:13:10
S0
You look at Adar, and he's sitting there.
1:13:15
S0
He's still. You get it? He can even do this and still be still. Move around a little, would you?
1:13:25
S0
There's no activity. You get it? Fascinating thing with Kevin,
1:13:33
S0
a number of you don't know Kevin. When Kevin first came and did his first workshop, he not only was thing, but he also had a grid set up as a project manager. And he had a grid set up, and he had everything where it went.
1:13:51
S0
Just on the grid. And then not too long after the course, he saw his first moving picture in his head, and he started to do activity. And it was just a whole different. God, it was funny to watch because it was like all of these inanimate things just started dancing.
1:14:14
S0
This is how come you don't get along with the employees so well and numerous other people because they are not convenient. They never know when to start and when to stop.
1:14:27
S0
Do you follow that? Mhmm. They don't know when to start and stop. They should stay there.
1:14:34
S0
And they keep
1:14:37
S0
overlapping and bulging and going out to places that they shouldn't and they keep moving.
1:14:46
S0
Jesus, how can I count on look? There.
1:14:51
S0
It'd be easier to work with, wouldn't it? A major blank chest with live pieces. Woah. There went that one.
1:15:04
S0
Same way up at the top.