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Illusion Conclusion
Jerry Stocking
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VIP Course – CD 8
VIP Course – CD 8
VIP_CD_08
1:17:26
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594 utterances · click to jump
00:03
S0
Yeah.
00:06
S0
Yeah. I'm really
00:10
S1
I mean, I really don't care.
00:12
S2
You're a mismatch? Yeah. Oh, I know.
00:15
S0
Do you like to get things? Yeah. K.
00:27
S0
Are are you asking something of me? I don't
00:33
S1
Can you tell me how you identify
00:35
S0
They can. Could somebody tell me?
00:41
S0
The neatest way to do this, as far as I know, at least currently, this is my neatest way. The neatest way to do this is find out what about increases your own energy by a factor of at least 10.
00:57
S0
Roshani does match.
01:01
S0
What happens to your energy? And the whole energy in the room. Roshani does mismatch. I mean, it just goes, boom. There it goes.
01:12
S2
Is that you?
01:15
S2
When she's in her professor mode, doing her professor work, she's in match.
01:22
S2
When she's out and about with me, I mean, I can see the difference in her end. I mean, her age seems to diminish by about 25. I mean, she looks like a little child when she wore off line, but when she's in that that match mode where she's forcing herself to do that.
01:39
S0
Yeah. It's like choking herself.
01:41
S2
Yeah. Having it together on top of it. Yeah. And so pure.
01:48
S1
Is that why it's such hard to work?
01:51
S0
Well, probably not.
01:57
S0
I doubt it.
02:00
S1
Was that polarizing?
02:03
S0
No. It wasn't.
02:07
S0
Yeah. What if you didn't need to do that anymore? I mean, you can still do that, but you just don't have to be have it be that kind of work. Gonna get fired? No. And so what? So what? It wouldn't be the end of the world if you didn't get fired.
02:25
S0
Would it? No. I wouldn't.
02:28
S1
I mean, I've already been pretty outrageous, and now it kicked me
02:31
S0
out. Yeah.
02:35
S0
You have to load that lets off. Okay.
02:40
S0
And see,
02:42
S0
playing with these, you're gonna find out where
02:47
S0
if we didn't do a bunch of these, we wouldn't get that release. We could have not gotten that release and done different programs and never gotten that release unless we did this one. This is the way these little rascals work. And all of a sudden, all that stuff flows through. There it is.
03:07
S1
And, like, you're the last to know.
03:09
S0
No. I'm not. I'm usually the first the last to know. Okay.
03:16
S0
And there you are. But now you really know. Do you? Yeah. I do. That's too bad. Because you have to keep with not knowing.
03:30
S2
Well, match.
03:33
S0
Yeah. I think so.
03:37
S1
I do match and polarity. K. That's an indication of how big the rocks are for different people.
03:45
S0
It is.
03:49
S0
Everybody went? Okay.
03:55
S0
Three groups of six, and I want you to all practice mismatching. No. I want you half and half. Half matching, half mismatching. With one person and you know who you are, do polarity. Go. And I just want you talking and playing with it.
04:20
S0
We have a number of matchers in the room who are doing mismatch like it's an irrelevancy, like it's just coming up with whatever you want. Right. That's not what it is. The mismatchers
04:35
S0
dominate the matchers. There's so few mismatchers compared to matchers, and they're an equal proportion as far as power goes. There's so few mismatches because we wouldn't be able to keep things just the way they are if there were more of them. You get it? Uh-huh. Because the mismatches are the ones who are going, wow. Here we go and out here and do this. So the matcher says, this equals this. And the mismatcher says, well, yeah, it equals that and this and this and this.
05:21
S1
It's creativity big time.
05:23
S0
It's creativity big time.
05:26
S0
Yeah. It's just plain pulling something from the universe rather than from your own database. It's accessing the big database instead of the little database is what it is. And that's not what irrelevancy is. Somebody's talking about a car and you start talking about a boat. That's not it. That's just kinda goofy. Mhmm. That's not what they do. They create and they carry it along with it. What are we what are we
05:57
S1
intelligent. Yeah.
06:00
S0
Mismatching may be one of the definitions of intelligent. It's discovering how something is connected that the other people didn't get was connected.
06:11
S1
That's how genius is defined. It's diametrically opposed things and finding a relationship in chemical engineering or comedy or anything.
06:17
S0
That's it. And that's what you watch me do all day every day that you're around me. And it's not because I'm trying to. It's just what happens.
06:32
S0
And it's a step on the way to novelty.
06:37
S1
It's like when Roshani was doing when I was just in it. Like, I went there with her, like, 18
06:43
S0
I watched you go there with her, and you got everything.
06:47
S1
Yeah. And it's like I could see a connection between the space shuttle and the color of a tulip.
06:53
S0
Sure.
06:53
S1
Like like like that was all there.
06:55
S0
Sure. So one of the things you're doing in order to do irrelevancies, those matches here, you're pretending like there is some real connection and that you're just pretend and you're coming up with some unreal something. Well, is no real connection. You goofballs, there's no such thing as some real connection of this equals this. There isn't. And as long as you hold that in place, at least 40 to 60% of every perception you have, remember Friday night, will have to be an orientation and a rechecking of your database. It has to be. So let's get a little more curious about what mismatch is.
07:45
S0
So it's less dead ends. Match is a dead end. This is that.
07:53
S0
Mismatches of this, it spreads out. Like Margaret said, it's not taking the first response. It goes
08:02
S0
further out.
08:03
S1
I was just thinking
08:04
S0
It just keeps going further out.
08:06
S1
It's like you you wait and you see you see it all, and you that's why I say it feels more like getting No.
08:14
S0
You don't see it all.
08:16
S1
Well, you see a bigger piece
08:18
S0
of But you yes. Yeah. Bigger piece. And you also see that you don't see it all. That's one of
08:23
S1
the That's the funny part.
08:25
S0
Important elements of it is you see that you don't see it all. And you go, ah. And you're more interested in what you don't see than what you do see. And to do match, you're more interested in what you do see than what you don't see, Lucy.
08:46
S0
That was novelty.
08:49
S1
It makes for such a passionate existence.
08:51
S0
What makes for humor? If you listen to the tapes of Thursday night, you would hear this over and over and over and over again. The guy says, and I told you this already, the guy says, you know, I was with this Chinese guy, and I got to know him and really know him. And even though we didn't speak the same language, and I say, are you married? And he goes, no.
09:19
S0
So he's saying, what does this have to do? And everybody in the group is going, what does that have to do with something? What in the world does that weren't you saying that at the time you're saying, why is he saying you know, some of you who trust me weren't probably saying that. But the rest of the people are going, why is he asking if if he's married? That has nothing to do with it. And then I say, because you need to find a spouse who doesn't speak your language. It's not exactly what John Gray is saying.
09:54
S0
You follow? But then what happened then is I showed I said something that they went that doesn't make any sense. It doesn't fit. It doesn't do anything. And then I in almost no words,
10:10
S0
and and very few words showed them how those two were connected. And then they went, oh,
10:18
S0
I get it. And then what did I do?
10:23
S0
Then they had it. Right? And I said, and kids who don't speak your language either. And they went, I thought I had it, and it could get even bigger than that.
10:40
S1
And see what I assumed because I know that guy, and I assumed that you looked into him when he asked that question, and you saw who he was and what he needed, and he went all the way to the end of that and asked what he really was at. Of course. What he really was asking.
10:57
S0
Of course.
10:58
S1
Which is for him, it's about relationship and how does he get into relationship.
11:03
S0
Of course. That's what I did. Yeah. But that's all since they're obvious if you don't get caught on the this equals this. But if you get caught on the this equals this, you don't get to get I mean,
11:17
S0
if you're worth what you're worth now to a company, imagine what be you'd be worth if you were doing this.
11:27
S1
Oh my
11:27
S0
gosh. Amazon.com. Just did it again. And there it goes.
11:41
S0
You have any idea how many ideas we have not pursued that are million dollar ideas and we just plain out don't bother? And I promise you that I could
11:55
S0
leaf through my books or sit and talk to you for two or three days and give you at least a 100 ideas that you could absolutely guaranteed make at least several million dollars on.
12:12
S0
Do you think my total
12:14
S1
misunderstanding is because I've tried so hard to become a match to fit in?
12:19
S0
Well, there's that possibility, but there's also that
12:27
S0
you're trying to nail that sucker down, aren't you? Yes. Yeah.
12:32
S1
I'll just hang.
12:32
S0
Doesn't she look like somebody who's tried hard to fit in?
12:38
S0
I mean, is this a ridiculous thing to say or what? Stand up, would you? Doesn't she look like somebody who's tried hard to fit in?
12:49
S0
I mean, look around the group and find somebody who's tried harder not to fit in.
12:56
S0
I don't see anybody. She's odd by definition,
13:01
S0
and she thinks she tries hard to fit in.
13:06
S0
Sharon knows what trying hard to fit in is. This is not it.
13:12
S0
Let me guess.
13:15
S0
I think I'll have these strange little things all over me so that you can look at those. And I'll have weird hair coming out, and I'll have look at my outfit.
13:27
S0
This is not really one outfit. It's true. Is this is several. I
13:35
S0
mean, I don't know that much about fashion, but I know what doesn't go together.
13:47
S0
Yeah. That's what matchers usually do. Right? They get several completely different outfits and wear different things from them. If she had socks on, she'd have one blue and one brown, I suspect. That's the way it works. Leading a course years many years ago in Milwaukee, there were two water things in the back of the room. One was yellow and one was red. And I looked back and I thought, well, I don't have to wonder who put the water in those because the yellow one had the red top and the red one had the yellow top. It was me.
14:26
S0
And I never thought of it at the time, but that's of course what I did. If there had been three, I'm not sure what I would have done.
14:36
S0
So take another five minutes or so and and get mismatch as what it is, which and if you're doing mismatch, it will raise the energy. And if you're doing just some irrelevancy, it'll drop the energy. Go.
14:54
S1
So I like them all too.
14:57
S0
Microsoft Explorer. You put it on your computer. I I I swear it goes to dog on a stick and puts a tentacle there. It goes to every single little whatever and puts a tentacle there so you can never take it off without severe problems. That's the way this one works.
15:17
S0
You have to be awake to mismatch and match put you to sleep. It's like that. It's done. Your work is always done. You got it? It's done. Mhmm. Mismatch, you go, yeah, but out here, it keeps growing. So the question is, do we live in an expanding universe or one that's just the way it is?
15:45
S0
The only point here the only point in even exploring the VIPs I'm gonna give you another only point. It's
15:55
S1
And only point.
15:57
S0
Is for you to match the universe.
16:02
S0
Universe is expanding. Yes?
16:04
S1
Mhmm.
16:05
S0
At least as far as we can tell, even though I think the red shift is just a joke. It's just my opinion. Although, it's true.
16:15
S0
So mismatch allows you to match the universe.
16:21
S0
Keep going. Two more minutes.
16:23
S1
I'll have it.
16:23
S0
Or or five more minutes.
16:28
S0
Okay.
16:31
S0
What did you notice? Other than that absolutely everybody in the room got a tremendous amount out of that one. Look around at the people in the room.
16:44
S0
Everybody much more here? Look at them.
16:48
S0
Show us. No.
16:55
S0
Any questions or comments or anything you noticed? Or
17:01
S1
This is an exciting one for me. I feel like if I could bust this one, I feel I sense if I could bust this one open, a lot of other things will just fall away.
17:10
S0
You'll be taller. You see she's taller already? Uh-huh. It works that way. It's all perception. You aren't any particular height. You project a height. She's taller. You get it? Look how tall she is. Uh-huh. I hadn't told you that VIPs change heights, did I? They change weights too.
17:38
S0
She's even taller sitting down. Yes. She's taller sitting down than she used to be standing up. You
17:48
S0
should see her lie down. She's taller than ever.
17:58
S1
My my sense is this isn't my way to get kinesthetic.
18:03
S0
Takes you right there. Yeah.
18:06
S0
So include the rest of your body now because you're still just on your face. Get the whole thing.
18:14
S0
Calvin Morgan?
18:18
S2
Well, I've realized that almost all my major relationships have been, with mismatches.
18:23
S0
I'm
18:24
S2
exciting, but I also found them extremely frustrating.
18:30
S0
Anybody believe that most of his relationships have been with mismatches?
18:40
S2
I just did mismatch.
18:47
S0
What he's referring to, I think, is that their set of matches didn't fit his set of matches.
18:55
S2
That's a mismatch.
19:03
S0
And it does have a bit of polarity. You can tell by the microphone. Can't you?
19:07
S3
Yeah. Yeah.
19:11
S0
I think they just have a different set.
19:16
S0
Anything else? Because we're gonna jump on to another one, so somebody might wanna say something here. How was that? Great.
19:29
S1
I didn't actually speak any words in doing mismatch, but I was thinking
19:35
S0
I was getting She just went a long distance without doing the polarity, and then she did it again right toward the end. Get it? No. Did that. Yeah.
19:44
S0
Okay.
19:45
S1
Yeah. Was great.
19:46
S0
Who else?
19:47
S3
Is miss is mismatching like the game we're playing with fourth, fifth, sixth picture?
19:52
S0
That's a piece of it. Okay. That's not necessarily sufficient, but it is a piece of it.
20:00
S2
That's how I
20:00
S3
was practicing.
20:01
S0
Yeah. So okay.
20:05
S0
Mismatch is also like the game we played where you paid attention to the spaces rather than the words. Mismatch is the time that the gymnast has let go of the bar and not grab back on yet. It's the letting go without the having gotten back on. And the longer you can fall, the more artistic your life becomes.
20:29
S0
Life is art.
20:32
S0
What you'll find fairly consistently with me is that I'm not particularly interested in what most people do.
20:41
S0
So I'm usually harsh on the one. When we go around the room and everybody says, yeah, that's the one I do. I know that that's gotten us right where we are.
20:51
S0
And they say, if it's gotten us where we are, I'm not sure it's sufficient to get us where we're really gonna go.
21:01
S0
Otherwise, we could just do extrapolation,
21:06
S0
and that's not sufficient to me to handle the future.
21:10
S4
It seems like an ultra big one.
21:12
S0
I want transportation or some sort of transmutation or some sort of trans something rather than extrapolation. Seems like a huge one and setting it off as the only one in comparison illustrates that because what does comparison mean? It means what's connected to what.
21:36
S0
Well, what is connected to what? That's how you build your whole world by what is connected to what and this is the only trick you needed to build that.
21:48
S0
It's a pretty big job for one trick, isn't it? Shucks. What do you expect of a magician? Let's say it's a one hour show and they have one trick. It better be a big one. Yes? If it's like telling you which card you picked,
22:09
S0
you'd think it was a dull show. But if it's producing the Eiffel Tower life size in Dayton, Ohio at noon with gigantic balloons on the top, it keep you going an hour, wouldn't it? What the heck? I mean, even if it didn't work, it would be better than the card trick. Even if at the end of the hour, they they pull up this big curtain and they're it isn't there. You still woulda had a heck of a fifty nine minutes if at any point in that fifty nine minutes you thought it was gonna be, wouldn't you? If you became a believer at points in that fifty nine minutes.
22:57
S0
So what I'm suggesting is that match has to do with what you can produce
23:03
S0
and mismatch has to do with what you can't yet perceive
23:09
S0
but go back and forth about whether it can be produced. So it contains an awful lot more letting go and an awful lot more not knowing.
23:20
S0
And if you can do all three of these,
23:25
S0
you just might be able to do novelty. Novelty is it's all done already. Oh, shocks. Nothing to do?
23:35
S0
You can celebrate if you want.
23:40
S0
Now it's all done.
23:47
S0
Anything else?
23:49
S1
During the exercise, when I would attempt to mismatch, it was the irrelevant. And I noticed I was frustrated, and I'm frustrated. And I just saw in your conversation or I observed in your conversation with Peggy that my frustration is that I live so much and match to the logic to the logic to what point equals what point.
24:14
S0
Holding on. Holding on
24:16
S1
at every point. It's like
24:18
S0
Never one hand letting go until the other one's got a good grip.
24:21
S1
It's being on the monkey bars and climbing, and it's like you know? And this hand has to be so much in place so hard, so tight before I let go of the other hand.
24:32
S0
Doesn't work well in white water.
24:36
S0
And have you ever been white water rafting? Stiffness just doesn't work well there because you'll break yourself.
24:43
S1
And I
24:44
S0
and what I'm suggesting is the universe is a whole lot more like white water than some place where you can hold on.
24:55
S0
It's an awful lot more like falling than yeah. It makes life a little difficult.
25:02
S1
I'm frustrated because I can't it's like I can't even grasp that right now.
25:07
S0
I have a theory.
25:09
S0
It's it's it's not really a theory. It's a suggestion for a regulation. I think that people should have to have a license before they're allowed to get frustrated. I think you should have to have a frustration license before you're allowed to get frustrated. Like the idea of that? No. And
25:35
S0
it's a really long line.
25:49
S0
My because there are an awful lot of people that want this license. I'm not even sure. I can't even tell if the window's open yet.
25:55
S1
My sense is there's something really rich here for me to get that could really change my life, and I I'm it's like I can't get it. It's like it's just it feels out of reach.
26:06
S0
Guys are missing the she's saying she can't grasp the ungraspable. She's saying she's trying to do match with he just got it. She's trying to do match with mismatch. She's trying to grasp this ungraspable thing.
26:23
S2
You're trying to mismatch with match?
26:25
S1
No. I'm trying to match. I'm trying to to grasp mismatch by matching.
26:31
S0
Trying to match. You're trying to get a handle on letting go.
26:35
S1
Right. That's
26:38
S0
what you're trying to do. It's gonna take moving a level to do that. So don't worry.
26:49
S0
If you doggedly go after this one, it will not work.
26:53
S1
Which is how I do everything.
26:55
S0
Precisely. That's why it won't work. What you just did is not about growth. That that
27:06
S0
that's your pattern.
27:10
S0
So you say, what word might fit here? What word couldn't coincide with the emotion there and the frustration and all of that stuff there? The word I come up with is curiosity
27:26
S0
which just might be useful. See, with your patterns, if you come up against something that you can't grasp yet,
27:35
S0
given the passive and given the other stuff, you go, oh, it's bad news. Somebody with different patterns says, I found something I can't grasp yet. I did. I found something I absolutely don't understand and can't grasp.
27:57
S0
Do you have any idea what that does for me?
27:59
S1
He's pretty.
28:00
S0
When I come up with something I cannot grasp and I can't make any sense of at all, all I have to do is say the words external kinesthetic.
28:13
S0
What do you do when you get out on the edge? Do you long for getting back in? Do you close your eyes and jump off the edge?
28:24
S0
Or do you continue to walk along the edge? Your I'm frustrated.
28:32
S0
It's not sufficient anymore.
28:36
S0
You keep your eyes open,
28:41
S0
and you stay tuned.
28:46
S0
That's more than sufficient.
28:50
S0
And a side long thing with that is you'll grow up in the process.
28:57
S0
It's pretty neat. If you start doing the programs that you really do, you'll grow up.
29:06
S0
And then your actual age will fit your chronological age. And then at that, everybody gets beautiful.
29:14
S0
Not only just the person doing but but everybody they see. You
29:20
S0
arrive in time where you are. It's a
29:24
S2
pretty neat thing. Get it? Yeah. That's it.
29:30
S0
If you throw any reaction in the works, it just gets in the
29:34
S2
way of it And
29:37
S0
this or frustration, that's all a reaction. That guarantees that you won't take care of it this time. That's making an exceptional case like what I spoke of earlier. No. You say, uh-huh. I don't get it.
29:53
S0
Anything else? I think we do lunch with them and just crush them after lunch.
29:59
S2
Does that make sense? Is
30:00
S0
that okay? Sure. Over lunch,
30:06
S0
I want you to fiddle with one of these.
30:10
S0
Not just all the ones that we've done so far, but one other one too.
30:18
S0
Associated is seeing or hearing or feeling from where you are. It's seeing through your own eyes
30:29
S0
or hearing through your own ears.
30:33
S0
In other words, it's more or less the pretense of being there.
30:40
S0
Dissociated, is
30:49
S0
you didn't think that was funny either.
30:51
S1
I did. I did.
30:52
S0
And that's kinda weird because
30:53
S1
I was the only one.
30:54
S0
Yeah. I'm used to that.
30:57
S1
Cute your way.
31:00
S0
Isn't this what they do, though? No. Isn't this what the Gestalt Yeah. Gestalt therapists do?
31:08
S0
This is something. Yeah. Put your mother in the chair and what whatever.
31:14
S1
And then we have a perforated
31:16
S0
Yes.
31:16
S1
In your lap.
31:17
S0
Yeah. Right. Put her back in there where you didn't ever want her to be and still don't.
31:24
S0
And it's a a weird play on with Gestalt at the appropriate time. That was the whole
31:30
S1
understand Gestalt. I knew you said something. I've got that word for this. Is it, like, irrelevant
31:36
S0
It's just, like, really clever humor.
31:41
S0
It's a lot like really clever humor. It just isn't really yeah. All it lacks is the funny part.
31:52
S0
If it had the funny part, it would be really clever humor. But it's
31:59
S1
A metaphor. Yeah.
32:01
S0
It's a metaphor for humor.
32:08
S0
Dissociated is being removed and seeing
32:15
S0
yourself.
32:18
S0
Seeing myself now with the room in it.
32:22
S0
Seeing yourself now with the room in it? See. That kinda gets me.
32:27
S1
That's what that's like that's like the metaphor for watching.
32:34
S0
And that's what you've been searching for your whole life.
32:38
S0
She finally has found a metaphor for logic. It's time. God, I'm so pleased. Now I would outscore you.
32:50
S0
Because she'd get on the first question and never make it to number two. I can I can perceive how a could be the right answer here or b or c?
33:04
S0
K. What was
33:08
S0
your question bears no relevancy to what I'm saying here because it has nothing to do with placement in time. And your question was regarding time. This has nothing to do with time. Okay. That has something to do with, think of something you did yesterday. Got it?
33:30
S0
Are you seeing what you would have seen there, or are you seeing yourself there? That's the question.
33:37
S1
Like, I chose myself washing my hands, but I see my hands.
33:40
S0
That means you're associated.
33:43
S1
And if I was dissociated, what would I see?
33:46
S0
You washing your hands. Yes. All of you washing your hands. You'd see Zoe washing her hands. Because if you were right there at the time, you'd see your hands.
33:59
S1
Yeah.
33:59
S0
But you wouldn't see the back of your head or the side of your head or your Yeah. It's about focus. Dissociated broadens the focus. Associated narrows the focus. This may not seem as relevant as the one we just did, But that's just because you're holding to the one we just did. This is absolutely relevant because every single perception you have ever had has it.
34:37
S0
Just because the last one was really relevant doesn't mean this one has to be a little less relevant. This one has nothing to do with the last one. Anybody running comparison?
34:47
S1
No. Skip it.
34:50
S2
The one IC course you suggested we
34:53
S0
put ourselves on all of our pictures. Yes. Would you value to put ourselves associated
34:58
S2
in the pictures? Or
35:00
S0
No. We're all associated. They already do associated. Generally, you do associated in them. That's the major one you already do.
35:14
S0
Could he just have it until he's done? Okay.
35:21
S0
Sorry.
35:23
S0
Friends just did something you never are supposed to do. She said to a man, are you done?
35:38
S0
So you also can
35:41
S0
she kinda has to.
35:44
S0
It's but it's the assertion underlying it that she will never get satisfied that I'm worried about.
35:55
S1
So
36:01
S2
is there a recommendation when we're doing
36:04
S0
visual associated, dissociated?
36:11
S0
Yes. Fifty fifty. Or any picture that presents any troublesome conversations with it at all, any troublesome conversations, any picture like of how you don't wanna be or any picture that you have those conversations that are just smacked into it, I want you to be able to do a 100% associated and a 100% dissociated either one. Because
36:43
S0
it is the imbalance of those two that requires that same auditory to come in.
36:53
S0
So it's this gives you the perspective. This has you lose the perspective. You get it? And you need to on any topic that you're stuck with, you need to be able to completely lose all the perspective and completely gain all the perspective because that has you be there totally and be gone completely. And once you've done that a couple times with the situation, what's to be afraid of?
37:20
S0
There's nothing. What this does is this cleans it. This totally cleans the you get it? It just cleans it. It's kind of a neat thing to be able to do, isn't it? It just cleans it. Because if there's no location that you need to be in regarding it in order to have the interpretation, you're taken care of. And distance is generally safety.
37:50
S0
You wanna be that specific distance.
37:54
S0
So this has you be it and absolutely not beat. It just takes care of the whole thing.
38:03
S0
And chances are very, very good that you have a specific proportion of these right now in your head and probably far more associated than dissociated.
38:17
S0
In most cases of people in the room, that's the case and I'm not saying that's the case with you. But with most people in the room and most people that you deal with, Cynthia, in any given day, that's the case. And so it's gonna take some more work on this, seeing yourself in all your pictures. That's why I suggest in the IC, you learn to see yourself in those so you could here I am.
38:45
S2
This has been getting so easy over the last
38:49
S2
putting myself in the pictures and then taking myself out of doing the exercise that Jeff just talked about and doing that for the last couple of months.
38:57
S0
Yeah.
38:57
S2
Easier and easier. It
39:01
S0
would be useful to be able to clean any perception, wouldn't it, Or any thought that you have? This is the way you clean it. This is the way you get rid of the spin. Spin is almost always a factor of location.
39:16
S0
You probably didn't think of this. Well, maybe you did. Well, Cynthia did. Well, Cynthia thought briefly about it, but then if you're gonna draw a diagram like that, which you may have seen me do from time to time, there's a location, isn't there?
39:37
S1
You are here.
39:38
S0
You are here.
39:41
S0
This is the way of doing the way with that location. And you know what happens if you do it with the way with the location?
39:49
S0
You're not there?
39:50
S2
You're not
39:50
S0
Physics teaches us.
39:54
S0
You cannot know both
39:58
S0
where it is and the speed at the same time. Yes?
40:05
S0
So guess what happens if you do away with where it is?
40:09
S3
Away. It speeds up.
40:11
S0
It speeds up, and you can deal with speed. And you are a creature of speed. So this is the way to speed.
40:21
S0
This is a way, a really easy way to let go of what you currently can't let go of. Because if you think of something in your life that you're holding on to and can't let go of, you will discover that by associating and dissociating in degrees in relation to it,
40:45
S0
that not only are you not where you stuck is you're there. You aren't where you thought you were, but it isn't where
40:55
S0
does a tree make a sound in the forest if you're stuck?
41:01
S0
That's the age old question. I think that's how it goes. I'm gonna jump on you.
41:11
S2
It's fine. I
41:19
S2
If she was talking about being able to see you the next week, I can have flash on something that if you can go back if I could go back and forth between these things and put myself in these situations back and forth into seeing myself next week or a day or an hour ahead, that kind of, to me,
41:40
S2
would eliminate the setup for upset Mhmm. In my thinking. Because I would see that it's coming and and be more aware of it.
41:52
S0
That's all well and good if there's a reality there.
41:57
S0
But see, that isn't what you're gonna do with it. What you're probably gonna do with that is you're gonna build an expectation instead, and you're gonna get ready for something that probably is never gonna happen.
42:12
S2
So you'd be stuck in waiting.
42:14
S0
I would be stuck in waiting.
42:15
S2
Yes. So that's my pattern.
42:18
S0
You'd be like a lady in waiting.
42:19
S2
Yeah. Wait.
42:20
S0
Forget it. This is like we're gonna figure out how to do the control thing and use these to do it. Okay.
42:28
S0
Do you wanna know what's gonna happen?
42:30
S2
No. I don't.
42:32
S0
But your question implied that it would be useful to know.
42:35
S2
It would be useful to
42:37
S0
It would be hell to know.
42:39
S2
Not not necessarily to know, but to just erase it. I mean, it would be to me, if I'm going back and forth in this stuff, it's not gonna be
42:47
S0
If you go back and forth with the future rather than nailing it down, it'll work.
42:54
S0
Because what you'll you'll do is you'll take all potential problems out of your future.
43:01
S2
That's what I see.
43:02
S0
Yeah. Okay. It sounded like you're asking something else.
43:06
S2
That's basically what I was getting at.
43:08
S0
Yeah. You gotta strip them, but not get prepared for it by getting prepared in some way. You gotta get prepared by having yourself be a sufficiently rapidly moving object
43:22
S0
so that you may have already been there.
43:26
S2
The way if I'm doing that, it's not gonna give me any time for upset.
43:32
S0
Why bother?
43:34
S2
Period.
43:37
S0
No periods?
43:38
S2
Yeah. No period.
43:39
S0
Period means the end of a complete thought.
43:41
S2
Yeah. It'd be the end.
43:44
S0
It might
43:44
S1
be a
43:44
S2
four in
43:45
S1
a row.
43:46
S0
Right. Or how about three in a row?
43:50
S1
Three in a row.
43:52
S0
Four in a row still means the end of a complete thought.
43:56
S0
We're talking total lunar ellipse here.
44:06
S0
Isn't that what we were talking? During
44:10
S0
a total lunar ellipse, you can't tell what's gonna happen next because you really can't see that well.
44:20
S1
Sometimes
44:24
S0
you just have to wait. Let me know if after lunch y'all got it.
44:31
S1
Got it.
44:33
S0
So play around with this over lunch with associating and dissociating. K? We're gonna do ellipses after lunch, aren't we? Eclipses after lunch. Anyway.
44:46
S1
Changes the joke.
44:48
S0
Pictures, sounds, I want you to hear it from outside. And, oh my god, don't go into dissociative kinesthetic because that'll take you to external kinesthetic, and that would be a little much for most of you.
45:05
S1
I haven't heard
45:06
S2
of this before,
45:07
S1
external kinesthetic. Yeah.
45:09
S0
It's a fairly recent event that I've discovered it, and it runs the whole game.
45:18
S0
It runs every bit of it. So have lunch. Play with this. Play with whatever else. Get intimate with people in the group, and we'll start again after lunch. But you keep going during lunch.
45:41
S0
Any questions? Comments? What you noticed? What you practiced? How you did with us, associated or dissociated?
45:52
S0
Yeah. Robert.
45:56
S0
I'm setting up a certain surface tension here.
45:59
S3
I'm typically associated automatically. When I went to when I went to dissociate it, I could look from any angle, stop the picture, move it around, and it's pretty cool.
46:16
S0
Gives you all different perspectives, doesn't it?
46:18
S3
Uh-huh. That was pretty cool.
46:20
S0
Yeah. And you can look at your girlfriend, and you can say, you can go ahead and argue with Robert if you want to. I'll watch. Yeah. I like to watch. Go ahead.
46:33
S0
K. Times not to dissociate. Driving,
46:40
S0
meditating, operating heavy equipment.
46:44
S0
Other than that, let it rip. So it gives you all different angles.
46:52
S0
It's amazing how limited one becomes if one stays in the same exact position. Your your pictures at a certain point become fairly repetitious.
47:06
S0
You know, you gotta wait for the subjects to move.
47:11
S0
Saw a comedian the other day, and she said that her husband got a stapler.
47:19
S0
And now everything in the house is pretty secure.
47:25
S0
And there are some things that have changed. They now have to take the food to the cat.
47:42
S0
It's just a picture.
47:46
S0
But the cat apparently has become associated.
47:50
S3
Right there.
47:51
S0
Right there. Where's the cat? You know.
48:00
S2
Okay. What else?
48:04
S1
When I dissociated, I was able to monitor and attend to people I couldn't see when I was associated. So it increased my awareness of what was happening in the group. Whereas I was sitting and eating lunch and just looking at a couple of people when I disassociated, I got the whole group and who was interacting with who. So it was real entertaining for me.
48:28
S0
Yeah. A lot of inclusion. Yeah. Like a wide angle lens.
48:36
S0
So if you got anything that's a bad time, dissociate. Learn what you need to first, though.
48:45
S0
Always learn what you need to first. There's a balance between how much you can stand and what you can learn.
48:54
S0
So take as much as you can stand before you take off.
49:00
S0
That way you'll learn the most that you can learn.
49:04
S0
And don't
49:06
S0
forget to take off right at the moment that you know almost have lost the option to take off.
49:18
S0
And then right before you've lost the option, that's when you leave.
49:23
S2
Here we go.
49:28
S0
What'd you notice fiddling with this one? Anybody find that you're usually dissociated?
49:37
S0
I don't think so.
49:41
S1
When I go to disassociate, I I I think I can't see myself very well. And I don't know if it's that I'm pulling auditory to look
49:51
S2
at stuff. Or
49:52
S0
Yeah. See, what we're working on there is we're working on self image. And auditory is a self esteem issue. Yeah. And
50:05
S0
or I'm sorry. Self esteem is an auditory issue. Self image is a visual issue. And one of the things that you need to do is be able to see yourself more clearly at any point in time because then
50:23
S0
silence means presence
50:26
S0
rather than speaking meaning presence. So then you get known not by your ability to disturb but strictly by your being there. You follow? It
50:43
S0
becomes entertaining to see a calm lake rather than having to grab something and throw it in there so that you can watch the ripples.
50:56
S0
Maybe you've seen those things where there are lots of dots and stuff and you hold it close and you go out and at a certain point, you can see what's there. That's the way people are.
51:09
S0
You have to this is association and dissociation is a way of doing it till you at least get the third dimension in there.
51:21
S2
I don't see pictures. So in the IC course, you told me not to work on it. But should I work on this one?
51:26
S0
Sure. Okay.
51:31
S0
It appears to me that your ability to see pictures has increased without you working on it.
51:37
S0
Shocks. It has. Yeah.
51:45
S0
Anything else?
51:50
S2
Next, I guess.
51:52
S0
Whatever you write out, we'll find out.
51:58
S0
I like this. I may have to do this at some point in time. The person just writes the thing on the board, and then I get to find out what I get to talk about. I really would like to do this at some point in time, which is that we have different groups showing up at different times. And as I walk into the room, they tell me what I have to talk about for an hour or two. It doesn't matter any subject. I don't care. And then I could just do that until I fell over.
52:40
S0
Do you wanna know what was on TV over lunch? No. Let me tell you anyway.
52:48
S0
Animal house. No. You
52:52
S0
know what his humor was?
52:56
S0
He directed attention.
53:00
S0
Belushi directed your attention. It didn't matter where you wanted your attention to go. He was gonna tell you where to put it, and you had to put it there.
53:13
S0
Yeah. And you had to do it. You just went, woah. Okay.
53:19
S0
And he just threw the whole thing. Any scene that he's in virtually, he's directing attention, And he's making you put it where he I mean, if he walks across the lawn, he makes you go
53:33
S0
some actors should just kinda watch the whole thing or whatever, but he's making you focus on him and making you follow where he goes and making you do it in the way that he wants you to do it.
53:46
S0
I don't know if they knew that he did that, but that's I mean, it's just so obvious that that's what he's doing.
53:54
S0
Pretty neat trick.
53:57
S0
I just had to do a little homework over lunch.
54:04
S0
What is she doing?
54:08
S1
It doesn't even have a.
54:11
S0
What did you write? I'm gonna dive into this one without looking.
54:25
S0
This one is about patterning. It's frequency.
54:32
S0
Can
54:36
S2
I do that in a Does that
54:38
S0
correlate with what you wrote?
54:39
S1
Pretty close.
54:42
S0
At least in a mismatch sort of a way. What did you write? Did
54:48
S0
you write that? No. You really did? Do
55:01
S0
you know that this wasn't set up? Yes. And that I had absolutely no idea what she wrote, and that was had nothing to do with what she was supposed to write.
55:12
S0
We knew that. Mhmm. She had said earlier in the day what she wanted to cover after lunch, and it wasn't this one.
55:20
S0
Okay. Give her the mic, please, as long as she's made the daring stab.
55:29
S0
Watch. We just move spots, and then I run her patterns.
55:42
S1
Once upon a time,
55:46
S1
there were it was like in the olden days when there were dinosaurs and cavemen, and they had they didn't have many buildings or anything like that. They just had lots of rocks and caves Hard to be heard. Dirt, many streams, and they would roll on together. And they had there was that was, like, about the time where patterning started. And
56:17
S1
they had a rock that would drop out from far far above the sky, maybe from a high cliff, and it would fall down. And the caveman would look at it and it went Duration. And then another
56:32
S0
one would
56:32
S1
come down. And
56:37
S1
he would look at it, and he would say,
56:41
S1
frequency. So frequency is how we have all of these going on. How you doing?
56:53
S0
I I love your lead in. It's great.
56:56
S1
Okay.
56:57
S0
Can we just go a slightly different way with it?
56:59
S1
Sure. Yeah.
57:02
S0
And and then I'm gonna turn it back over to you. Okay? So this caveman was hungry, and he happened on this little bone. And he kinda worked on the bone a little bit with his fingernail and worked on it and worked on it until he had something kind of shaped like a hook. And then he took that hook and fastened a little piece of grass to it and put it in the water and he caught this fish.
57:30
S0
And when he caught the fish,
57:34
S0
he attributed the catching of the fish not to himself that may surprise you a lot but to the hook. So he painted a little design on the hook because this was the hook that caught that fish and he didn't want to under any circumstances forget that this was the hook that caught that fish. Expecting, of course, that the performance of the hook would be very similar the next time to how it had been this time. So he needed to label it for himself. So he drew a little design on there.
58:09
S0
Soon he had all different hooks with different designs on.
58:15
S0
Okay? I can go with that. K. Some hooks meant you had to fish for a long time.
58:23
S1
And he got hooked.
58:23
S0
Because they were the kind of hooks
58:25
S1
And he would try
58:26
S0
and put really
58:27
S1
them kind of around.
58:29
S0
Didn't catch something right away.
58:31
S1
And he would make huge
58:33
S0
You had to sit there for hours
58:34
S1
and
58:35
S0
and hours. But the payoff would be a very large fish.
58:40
S1
One kind
58:41
S0
Just a gigantic one. So that was worth it. So if he was, like, having company for dinner
58:46
S1
And fry.
58:47
S0
Then he would use the one that would catch the huge fish versus the one that would just catch the little one.
58:53
S1
From what?
58:53
S0
And then Cactuses. There was one that caught a fish that was absolutely nasty. Huge teeth out of this fish. And he marked that one accordingly so that he would know exactly which one that was.
59:07
S1
And he would have it
59:07
S0
And that was a ferocious fish.
59:09
S1
It was like
59:10
S0
And so it would scare him, but sometimes when he was particularly brave
59:14
S1
Such a way.
59:14
S0
That's exactly the one that he would use.
59:17
S1
We pat him. And he would drop it in. And then
59:19
S0
And this horrendous fish would come Wash
59:22
S1
off all of the hooks and he had
59:23
S0
and just rip after the hook. Yeah. It had to be much tougher than his normal hooks.
59:37
S0
Now if we were really good, I'd take over her story, and she'd take over mine right where we are. Oh, shoot. But I can't do that anymore. I used to be able to hear all sorts of tracks at the same time, but I can't do it anymore. I don't get any.
59:56
S0
Ready? One, two, three. Any questions?
1:00:07
S0
So break into groups and practice it.
1:00:13
S1
These are pretty deep. Really deep. Very deep. They go on
1:00:20
S0
We've only gotten to them at one course ever.
1:00:22
S1
Ask a question.
1:00:23
S0
And then that one, we didn't spend very long
1:00:25
S2
at it.
1:00:25
S1
Night when he did a presentation. And he Jerry was pointing out patterns, and he said, you know, what about those patterns that come about every two years? What are those? Can we talk about those? And Jerry mentioned that it'd probably be more useful to pay attention to one about every fifteen to seventeen seconds. These can be that kind of thing. They can go a long time, short time. You can look at them, like, with frequency. How often do you do something? Do you it's what it which one of these is the determining factor of your of what
1:00:58
S0
And to bottom line it,
1:01:02
S0
what does it take to convince you?
1:01:10
S0
That's the bottom line it. What does it take to convince you to shut the door or take the garbage out or mail the letter
1:01:24
S0
or make the phone call or get up in the morning?
1:01:30
S0
What does it take to convince you?
1:01:37
S0
That's what these are. Does it take something intense to convince you? Does it take a number of repetitions to convince you? Does it take a particular pattern to convince you? Does it take instances in a certain relation to each other to convince you?
1:02:01
S0
If you open the phone,
1:02:05
S0
a pay phone, the little thing on a pay phone and there was a thousand dollar bill folded up in there, would that now convince you to open every pay phone that you ever went by for the rest of your life?
1:02:18
S0
And how many would you have to open with nothing in there before you stop checking it out?
1:02:26
S0
The other question you might want to ask here is how superstitious are you?
1:02:34
S0
A word pops into my mind, Skinner.
1:02:40
S0
That makes sense here?
1:02:44
S0
What does it take to keep you pressing the bar?
1:02:56
S1
See, in in sitting here when we're going after patterns, these are determining how you go after find wrestling with the pattern, how when do you practice, when do you try and change your patterns. This is all underneath there.
1:03:08
S0
The complication with what's going on with you right now is you can't get under this.
1:03:21
S2
Do you understand that?
1:03:22
S1
No. In
1:03:26
S0
order to go after one of these, you have to find some spot at which you weren't doing it.
1:03:36
S0
It's almost entirely impossible with this one to find some purchase. This is like the sheer cliff because you're doing it all the time.
1:03:48
S0
You get the sense in the room of, like but what is this, and what does it mean, and how does that's the exact correct response to this.
1:03:59
S0
It's like talking to a fish about air versus water.
1:04:07
S0
You have never had one come through that hasn't been influenced by this. Never had one Perception
1:04:22
S0
that didn't contain some data regarding to what degree it influenced you, which is what this program addresses.
1:04:34
S0
You follow?
1:04:35
S1
To what degree of influences?
1:04:38
S0
You.
1:04:42
S0
In other words, how patterned are you?
1:04:49
S0
At what point do you say, yes, that's the case? At what point do you say, yes, that happened?
1:05:03
S0
I remember
1:05:06
S0
this is before I knew better having lunch with a dentist once,
1:05:14
S0
and
1:05:17
S0
the subject of walking on red hot coals came up and he said, you know, people can't do that. I said, how do how do you know that? He said, well, it's just not something that can be done and I said, well, what would it take to convince you that it could be done? And he said, there's nothing that convinced me that it could be done. And I said, what if your wife did it and she told you that she did it? And he said, no. That wouldn't convince me at all because she could just be duped. You know, she could she could think she did, but, obviously, she didn't because it can't be done. I said, how about if you did it?
1:05:58
S0
And I said, no, because I can easily be tricked too.
1:06:04
S0
So just me doing it I mean, I could be hypnotized or something like that and think that I'd done it when I hadn't done it. I said, what would convince you? And he thought for a while. Thought for a while. And he said, if there were at least four textbooks that mentioned this by known experts who were beyond reproach, and I read those four in a fairly short period of time,
1:06:41
S0
then and only then would I know that it could occur.
1:06:50
S0
What has it taken to convince you that you're sitting in the chair or on the floor right now?
1:06:59
S0
How long do you have to be sitting there before you know you're sitting there?
1:07:07
S0
It's tremendously valuable. How long does somebody have to lie on the table? It
1:07:15
S0
it's your place of business, at the chiropractic place before they know they're lying on the table.
1:07:24
S0
It varies tremendously, doesn't it? How long it takes them to get there?
1:07:33
S0
Some people go on vacation and never get there. In this last Let Yourself Glow course, the people left about three days early.
1:07:42
S0
Didn't you?
1:07:45
S0
How did you know that you'd left?
1:07:49
S0
Attention. I told you. And then you noticed.
1:07:57
S0
They left, and part of the nature of leaving is that you don't know that you left.
1:08:04
S0
Because the way that you would have known that you left is you've if you'd arrived somewhere else.
1:08:13
S0
How do you know when you arrive somewhere? How many references do you need or how intense does the reference need to be? Let's say you're in transit. How many how much of your life you figure you spend in transit?
1:08:28
S0
You know that in transit really doesn't count because you're not there and you're not here yet either.
1:08:39
S1
Like process?
1:08:43
S1
Isn't being in transit like being in process?
1:08:46
S0
No. Because your focus is elsewhere. Process is your focus is where you are. The two are totally different. I don't know how they could possibly be more different.
1:09:07
S0
So what do you know for sure?
1:09:12
S0
And you can't say there's nothing that I know for sure because I will say, are you sure?
1:09:21
S0
And if you say yes, then we found number one. And if you say no, then we know you were bluffing. There are so many things you know and this program is to find how you know them.
1:09:40
S0
Almost everybody has an element of frequency. If something happens often enough, then it's true. We went around and you talked about judgments you have about yourself.
1:09:57
S0
How many times did you have to think that before you thought it was true?
1:10:03
S0
Do you notice that the people who had some positive judgments about themselves and some negative judgments. Some people had some of each. Did you notice that there was a totally different element to the positive ones than there was to the negative ones as far as how convinced they were? We could call it a percentage of hope
1:10:27
S0
or Surprise. Or surprise that they would even say it in public.
1:10:33
S0
This has something to do with how many times you've been repeating the negative one to yourself
1:10:40
S0
or the intensity with which that was driven home at some point.
1:10:46
S0
You follow? Starting to is this starting to get in just a little bit or not?
1:10:51
S2
Yeah. Yeah.
1:10:53
S0
It's what does it take to convince you? How many I mean, in a in a tremendously superficial way, sales books will say they have to be able to say no this many times before they can.
1:11:06
S0
That's a very superficial cut on it. I'm saying that that operates down near the bottom level for you that influences everything from there up.
1:11:18
S0
This is how much fertilizer is there in your soil.
1:11:24
S2
Yes.
1:11:27
S1
Do we all have one of these that we run more than the other or do they change all the time? Is one of them more gonna be more predominant than the other
1:11:35
S0
four?
1:11:37
S0
Each one of them is going to determine they're all going on, and each one is going to determine determine a different sort of truth for you,
1:11:54
S0
a different level of reliability for you, a different level of convinced for you.
1:12:03
S0
And we've discovered fairly consistently, I think we did in the last VIP that you could sit and watch someone become convinced
1:12:15
S0
and discover which one of these was playing the major role in the process, didn't we?
1:12:21
S1
Yep. Well,
1:12:24
S0
how soon am I gonna know how we did that?
1:12:28
S0
Can you guys help? I did it. How did we do it in that course? Do you remember? Because it came through when you got it. And I
1:12:39
S0
You I I it appears to me that I'm lacking the ability to be thus patterned now. So you guys are gonna have to do this.
1:12:52
S0
I cannot currently conceive the relevance of this
1:12:57
S0
from where I am.
1:13:01
S0
Can you?
1:13:02
S4
You came in after a break and sat down in front of us and didn't say anything.
1:13:11
S4
And finally,
1:13:12
S2
somebody said
1:13:13
S0
Look at Barbara.
1:13:17
S4
And finally, somebody said something like, are we going to do another VIP? And you said maybe or no. You said something. And somebody else said something, and you said something. And someone else asked another question, and you responded. And someone else asked another question, and you responded loudly. And someone else answered another question. And
1:13:41
S1
I remember.
1:13:44
S4
That's that's how it it was taught.
1:13:46
S0
Okay. And you got it. I You did? Trust me. You did.
1:13:52
S4
Yeah. Okay. I don't mind this.
1:13:53
S2
Yeah.
1:13:57
S0
What does she do?
1:14:00
S1
Frequency.
1:14:02
S1
Intensity. Intensity.
1:14:10
S0
Frequency is how many lives do you have? Intensity is what do you have to drive through their heart to get the point across.
1:14:21
S0
Do you remember her sitting here and she went, I just did mismatch.
1:14:33
S0
That's intensity.
1:14:37
S0
She was willing to pound around and do a flounder around and everything until one incident, and there it was. And it was intense, And it typically is. So you can tell her as many times as you want,
1:14:54
S0
and it just goes right off her back
1:14:58
S0
until there's an incident which is intense enough
1:15:02
S0
to wrinkle something on the way in so that it stays wrinkled.
1:15:09
S1
And the the another clue to this is what other patterns have do they do? Because they all kind of work together a little bit. There's some there's a way. There's some passive. There's so the other this I'm trying to the other patterns that we've determined that the person does could play a part in how we determine which one of these they do.
1:15:31
S0
If you're passive, it may take a greater frequency or a greater intensity to make the impression. You get it? If you're active, it may take very little to there it is.
1:15:46
S3
Yeah.
1:15:47
S2
So these would have to underline all the patterns?
1:15:50
S0
Yes.
1:15:53
S0
These are the nature of pattern.
1:16:00
S0
Proximity has to do with how close together something occurs. Look. What?
1:16:20
S4
It sounds like frequency. I'm not really
1:16:22
S0
sure. No. Let me explain it.
1:16:23
S1
Thank
1:16:24
S0
Very simply, this
1:16:29
S0
comes back to one of my favorite lines nowadays, which we haven't ever really explained in a group.
1:16:39
S0
It's a diminishing returns. It's frequency but with diminishing returns. If it happens now, this is proximity in time or proximity in place. If it happens now and it happens anywhere in here, this one counts toward proving this point. But if if it happens past this point, it no longer counts. It's an it's it's how soon it gets set back to zero or at what point
1:17:13
S1
Or how
1:17:14
S0
how far you've walked away whether it gets set back to zero or not.