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Illusion Conclusion
Jerry Stocking
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VIP Course – CD 9
VIP Course – CD 9
VIP_CD_09
1:09:56
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499 utterances · click to jump
00:00
S0
My my thing that I say nowadays, which you you all have probably heard me say or some of you have anyway, there are only three things you need to know about someone.
00:11
S0
What does it take to sell them?
00:15
S0
How long do they stay sold?
00:20
S0
And what does it take to resell them? Those are the only three things you need to know about someone that gets right to the heart of this. You get it? What does it take to convince you?
00:34
S0
Thus, embedded in that is what does it take to unconvince you?
00:41
S0
This is your question about how do you know when you're done with a mentor? How do you know when you're done with anything? How do you know when you're done with your spouse? How do you know when it's time to marry your spouse? How do you know when it's time to buy the house? How do you know when it's time to leave? How do you know when it's how do you know anything is what this addresses? That's part of why it's so weird in here right now. You get it? Because we're getting at the heart of epistemology here.
01:14
S0
You know what epistemology is? It's a philosophical study of knowledge. How do you know? So we're getting at the how do you know, how do you know thing. That's what this is. So proximity is how long it counts and where it wears out. Lifetime home runs, I think I'll count Babe Ruth's as mine. Oh, no. That's not fair.
01:44
S1
Get it? You need the Babe Ruth thing.
01:48
S0
Well, they make you're allowed to only count home runs that you do in your lifetime, not ones that somebody else does in some other lifetime. Otherwise, you could just put whatever number you wanted up there and pretty soon people would have very high numbers.
02:05
S0
The problem with home runs is they want some sort of evidence
02:07
S1
for it.
02:11
S0
The question here, the only question really of utmost relevance is how short can your resume be?
02:21
S0
What does it take for you to learn and unlearn?
02:26
S0
How fast can you learn and unlearn? And there's a in the conspiracies section, there's something that relates to this which is the yes with the line drawn to the no.
02:43
S0
How quickly can you move from yes to no? How fast can you move from hot to tepid to cold?
02:57
S0
Why doesn't alpine exist in Alaska?
03:07
S0
At what point can caribou no longer survive?
03:14
S0
You follow?
03:18
S0
It it's
03:21
S0
here we are, Pat and Karen and I sitting by the swimming hole there that was made a month and a half earlier maybe. And this little green heron flies in.
03:36
S0
Now remember that it was just two springs kind of meeting and then flowing off the property, a little green heron would not have given another look. There is no way.
03:49
S0
And what's happened is that we've dug a hole and there's now deep enough water that the little minnows and the frogs are congregating there. So now the heron can come in.
04:02
S0
We've we've created a system in which he can play. What does it take to create a system in which you can play? And I was I I just I got it. Here's the heron.
04:15
S0
We have dug a hole which created a place where he could play.
04:23
S0
A friend of our families many years ago
04:29
S0
went out to some of the forest preserves in the Chicago Suburbs and would put out plaster kind of or slow drying no, not slow drying plaster, but a a sort of material wherein if an animal walked by, it would leave an impression and then he could take a plaster cast of the impression. They found Canada lynx.
04:51
S0
They found bobcats. They found all sorts of things in the suburban.
04:58
S0
These critters were finding their way down, and they can range quite a distance in the night, and we never see them. But they're there. Or somebody was running around with tracks of theirs and found his spots and put them in them.
05:19
S0
One day, we're driving to do a course. This was in Milwaukee, and we did them on the lakefront down at an art center down there. And we're driving just about ready to go down this hill by the lake to go to the place, and there are houses everywhere. And here's an eight point buck standing there regally in the park, not behind the fence or anything and say, eight point buck. Nice size there. And people are jogging around and walking around and they aren't seeing it
05:54
S0
because there can't be the 8 point bucks standing here downtown Milwaukee, and here he is.
06:02
S0
That's what this program does for you.
06:06
S0
What can't you see? What do you assume you found
06:13
S0
rather than made up? That's what this program does for you. What do you assume is true rather than made true by you? And what does it take to make it true? So
06:32
S0
when Peggy says intensity, what that means is a piece that came in and did so much damage to the other pieces in there that she had to take notice.
06:45
S0
You get it? It it's like an alienation index.
06:52
S0
That's not majority rules. That's majority rules is frequency.
07:01
S0
Get it?
07:03
S0
Now tempo gets very interesting. Tempo gets very interesting, and it gets very interesting due to the number of parameters at samples in order to convince one.
07:22
S0
It's a much smaller combination of what can get through and thus it's also harder for them to get out.
07:32
S0
Let's say it takes one time and you're convinced. Okay?
07:39
S0
You become convinced of a lot, wouldn't you?
07:43
S0
What if it took 4,000 times for you to become convinced? Who's gonna stick around you long enough?
07:57
S0
So who you want if you're gonna want followers? You know where you go to find followers? To some place where there are followers.
08:08
S0
Because they could change what they're following pretty easy. They've got the technique of following down. You just go to where they're followers. You go to a reborn Christian revival. And you show them a few counter examples of why this doesn't work and make a few offers here of why yours will and they'll go, oh, praise you.
08:33
S0
It isn't Jesus. It's just that they were adulpated sufficiently to follow something. They have such low
08:43
S0
borders that took them over into the that's true.
08:50
S0
Now remember, though, that you're gonna lose those.
08:55
S0
Should they see, an ad for a new peanut butter on TV,
09:00
S0
they're gonna be gone.
09:03
S0
So you gotta make sure that you monitor the amount of input that they get.
09:08
S1
Sure. Then you have a
09:12
S0
Yes. Then you have a cold.
09:15
S0
A bunch of really
09:19
S0
shallow things hanging around is a cult. What does it take to convince you?
09:31
S0
You get that this one's a little more problematic than some of the other ones? You get that it's relevant? You understand why we've only covered it once before in a workshop?
09:47
S0
Karen will work through it with you. What do you do?
09:55
S1
One thing I'm I'm looking at that you may wanna go look at when you're determining which one you do is without thinking about these names, think about what it takes to convince you
10:08
S1
and find out what you come up with it.
10:11
S0
Jeff, I've got a a a new workshop. This new guy just is coming to town to do a workshop for the weekend.
10:22
S0
What's it gonna take to convince you to come do it?
10:26
S1
If you recommend us, you know,
10:28
S0
do it. Okay.
10:32
S0
So that's appealing to a higher power.
10:35
S1
Mhmm. Is that on here?
10:36
S0
It's a joke. It
10:41
S0
was strictly a joke. Oh my god. Should we have a believer? I
10:52
S0
I I think that what that has to do with is trusting my pattern of these. Okay. Let's say I don't know anything about it and I'm not around and I'm not available.
11:10
S0
What would it take to have you do the weekend workshop?
11:15
S0
Is it the size of the results you would get? Is it the number of results that you would get?
11:22
S1
The size.
11:26
S0
I don't get it.
11:29
S0
Anybody get it?
11:30
S1
Need to talk a little bit more. So the size would influence me.
11:34
S0
I don't doubt it would influence you.
11:40
S1
If you could set up a a way that I can continue to grow
11:46
S0
See, he's telling you right here. Yeah. Boom. Boom. Boom. Boom. Boom. What's this? Frequency. Boom. Boom. Boom. Boom. Boom. He's having it's it's graphic gestures we need to see. K. That's frequency. Beautiful demonstration.
12:04
S1
Have to for me to distinguish frequency from tempo, is
12:08
S0
that For for now and this this is the this will make it easy. Don't worry about tempo.
12:15
S0
It's really need to give somebody a compliment a year later, isn't it?
12:21
S1
I didn't like you then.
12:22
S0
What? You hated me then.
12:25
S1
The other side of that's the insult that she didn't get it this time.
12:28
S0
Yeah. Yes. Oh, believe me. I got that. God, you used to be able to explain this. Mhmm. Thanks.
12:39
S0
Yeah. Okay. Okay. What does he do?
12:44
S1
Intensely.
12:46
S0
You doesn't have to even understand this
12:54
S0
to get a reading from yourself on whether or not he does what he says he does. He sits here and he says intensity. How intense is his life? Not. Zip. Absolute
13:14
S0
zip. It's not intensity.
13:22
S0
Well, it's looking an awful lot like duration, isn't it? Yeah. It takes exposure over time to have him get it. And then once he's got it, he's got it.
13:34
S0
So I don't think it's frequency.
13:36
S1
Repetition. How does the text Frequency. It's
13:41
S0
duration. Right? Duration. Duration. Duration. It's like think of it, you guys. Who said you couldn't make up your own explanations for what this is? Let's think of duration if you want or make up your own thing of that there's a shield here and it has to get through. And it takes time for it to get in.
14:08
S0
I get it.
14:14
S0
Whereas intensity would be like a car crashes him. Pow. You don't like those. You you see, he doesn't even get those.
14:22
S1
Yeah. He doesn't.
14:23
S0
You know, whack, and he doesn't even get it because it didn't take long enough.
14:30
S1
And
14:33
S0
the repetition like this, it's a very short period of time between incidences that he loses that as an incident. It has to stay in his face. You get it?
14:45
S1
Uh-huh. Yeah.
14:46
S0
Because he checks out. So this will let you know a lot of other things. For frequency, you have to not check out for too long in between. You have to check out for just long enough to have them be separate incidences. You see one of the things that's bugging you here is that these are all the same.
15:08
S0
Duration is just a long incident.
15:16
S0
Frequency is just duration with intermittent breaks.
15:24
S0
Intensity is just a high frequency at once. Wham. Just write off the it's like an amplitude thing. Get it? And yet, distinguishing which of these gets you will have you drastically influence the rate at which you can learn.
15:47
S0
The rate at which you can let go of what you ought to be letting go of and the length of time that you can hold on to what you should be holding on to.
15:58
S1
Do these also have to do with how long you'll tolerate something before you'll leave it? Yes.
16:05
S0
How long
16:07
S1
How frequent yeah. Well, I was thinking how long his duration. I mean, he seems like he'll stay with something a long time before you bail out.
16:15
S0
This duration has encumbered his speed in life. You get it?
16:24
S0
Because it has to go on for long enough to hit a certain level. Joe? So
16:33
S1
some of these can look
16:35
S0
like it could be the other one.
16:37
S1
For instance, duration could They can be confused. Duration and frequency and possibly proximity. How close the incidents are could be confused with frequency.
16:50
S0
Any of them could be confused. Sure. And if you tease down a little further, it'll become clear which is which. And it's in your body regarding them that it will become clear which is which.
17:04
S0
You get how vital one this is? Yes. To Robert, please? And then to Judy?
17:13
S1
Alright. Now we know we think I'm duration. Then what? Just just just know it.
17:20
S0
I want you to be able to perceive what everybody else in the group is, and then we're gonna have you play with doing the other ones. What if I could, in one intense instance, get it? See, this I want you to get be hell. Yeah. That would be Peggy. But I want you to get it. What? His girlfriend says to him, I don't like what you're doing. You were already selfish enough already. He says you're gonna get more of it.
17:53
S0
He knows he needs to play with it more before it really is done. How many places in his life is that influenced him? Everywhere.
18:07
S0
Absolutely everywhere.
18:12
S0
See, what how come you're you need the training in these And how come you need the flexibility in these? It's because should you get brave enough to move a layer in or a layer out, you may as well be ready for all of these.
18:29
S0
That way they won't catch you by incredible surprise and you won't have to take five years to have no idea what they are. Because his next one may be frequency. What if he's practiced it a little bit before he gets there? Won't catch my
18:44
S1
question.
18:45
S0
Oh, he'll catch it. You'll what?
18:47
S1
It won't catch me by surprise.
18:49
S0
Right. Right. There it is. I got it. I've changed the frequency. And Barbara says
18:56
S1
I used to do I used to do duration when I was doing passive.
19:03
S0
Those two were locked in together. Yeah. Duration and passive were locked in together. Now she's pondering what in the world she does now that there's a bunch more active. Yeah. So this one is hooked in its little tentacles to everything just like associated and dissociated is.
19:19
S1
You know, I recall doing proximity. It was almost like that was an ad.
19:25
S0
Okay. Do you remember that?
19:28
S1
I just remember the four. I don't know.
19:30
S0
I believe we had four, not five.
19:33
S1
Yeah. We did. Mhmm.
19:34
S0
I think we did. Judy.
19:38
S1
I just want you to when you were saying a minute ago when you're describing them and you didn't do tempo and proximity the way the last description you gave, could you do those two also?
19:47
S0
Tempo and proximity?
19:48
S1
Yeah.
19:48
S0
In the last description I did. What was that?
19:50
S1
I'm trying to remember now.
19:52
S0
Because I went into proximity pretty aggressively for Jeff.
19:56
S1
Hit of you were saying they're all the same.
19:59
S0
Okay. Peggy says it's been a really hot week.
20:07
S0
That could mean it snowed four days, but one day it reached a 122.
20:16
S0
That's intensity. For some people, it would have to get hot every day. For
20:26
S0
some people, it would have to not even cool down at night.
20:31
S0
That's duration.
20:33
S0
You get it? Yeah. And with proximity, it would have to get hot and then cool and then hot again
20:44
S0
so that they knew it.
20:47
S0
They'd have to have the different instances close enough together so that the heat kind of it's related to frequency that way.
21:02
S0
Forget it. It's not worth pounding out the difference with that, and we're still gonna leave tempo a little bit out for right now. And we have
21:14
S0
how many people are the tempo in the room?
21:18
S0
K. She thinks three. I think two. Okay.
21:24
S0
Got it?
21:26
S0
Go for it. Work with us. Work with your group, and you'll get it. But remember, it may take a number of times for you to get it, or it may be a real deep, uh-huh.
21:40
S0
Or we may have to give you at least an hour on this one.
21:47
S0
Or you may have to notice a number of people within a certain specific period of time before you can get it.
21:57
S0
Or you may need somebody, two people in a row to be running frequency and then one person to be running intensity and then two people to be running proximity, that's tempo before you get it.
22:19
S0
I believe.
22:22
S1
The temple has a makes a difference what two things are together.
22:25
S0
Sure. Okay. It's the relating of relating. Go.
22:37
S0
Pat, tell us something true about diet or food, and she says you need a certain balance of carbohydrate and protein, and each person is different. And I said, is is that really true? How do you know that? And she went
22:53
S0
she's counting people the number of people that she's observed that this is the case for. You get it? It's frequency. It's not if it was duration, it would be something like this.
23:11
S0
Not
23:14
S0
it's not the number of pic if it's frequency, it's the number of pictures.
23:21
S0
Not how long one picture maintains. You follow? So they're gonna show you in their behavioral indications what they're doing.
23:32
S0
So I just asked for something that she knows for sure. She tells me something she knows for sure. I say, how do you know it? And she counts.
23:43
S0
Now it may take a certain length of time to see that many people, but that's a red herring to what convinces her.
23:52
S0
Okay? So watch what they do. Are they moving things? Are they keeping it constant? Are they you can find out. Or does it seem more like they're whistling the tune? They go right to Roshani, and they're gonna go down the tubes with it because she does tempo.
24:33
S0
Now I know.
24:39
S0
Finally, I know.
24:46
S0
I mean, you can tell by the kind of music you like. Do you like the blues?
24:52
S0
What's this? Frequency. Frequency. What kind of music do you like? What kind of music do you like? I like all just as long as there's kind of a beat there. What?
25:07
S1
Rock and roll. Yeah. Hard rock.
25:09
S0
Is that what you like? Classic. Yeah. Classic. Yeah. In country. Mhmm. A little bit.
25:15
S1
Maybe a little Cajun, maybe some folk thrown in.
25:19
S0
As long as there's a beat.
25:24
S1
It ties in with the auditory too. It's like Yes. It
25:27
S0
ties in with all sorts of programs here.
25:30
S1
It's my favorite stage.
25:32
S0
It does. She's gotta be justified in going from person to person. That's activity, isn't it?
25:41
S0
This this one pulls them together somewhat. Most of the ones we've done.
25:48
S1
Using your picture analogy, what does proximity look like?
25:53
S0
You have to be able to see it from here.
26:00
S0
You have to not lose sight of that one before you see the next one.
26:07
S0
And then you hold on to the next one visually, and then it it has to be close enough so you can still see that one while you bump into this one.
26:18
S0
Now what would this tell you? Let's say, how many of you are have ever been married and divorced? Raise your hand. What would this tell you about how long you have to stay divorced before you get remarried or what it takes to get you remarried or what it you get it? This is all been defined in big terms and in little terms.
26:44
S0
And you get how it plays with mismatch too. Self. Self. This yeah.
26:53
S1
Gotta do it in my own time.
26:56
S0
Don't you?
26:56
S1
Own way.
26:57
S0
In your own way. That's it.
26:59
S1
I cannot relate to that.
27:01
S0
And that
27:04
S0
at least not yet. You
27:10
S0
get it? You talk about these. I'm not ready yet.
27:17
S0
And then they don't say, what's it gonna take?
27:23
S0
Well, he's the first guy I've dated since I was divorced.
27:28
S0
How many times have you dated him? Well, 800 times, but he's just the first guy still. And she
27:37
S1
has to get to the
27:38
S0
third guy before she can get married again.
27:42
S1
I don't understand that.
27:44
S0
No. But you do. But you don't.
27:46
S1
I don't. She has to get to
27:48
S0
the third guy. Do you think this is relevant to advertisers?
27:54
S1
Yeah. Yes.
27:57
S0
How long do they rent the billboard for? How many billboards do they need around town based on what their ad is? How intense does the billboard need to be? How many different media do they need to hit you with? Radio, TV, billboard, handout, and a friend pointing it out to you.
28:23
S0
That'd be tempo.
28:26
S1
And how long they have to run it for some people to even notice it?
28:32
S0
To even get any idea that it or believe it. You know, that company's for real. That billboard is looking old.
28:42
S0
That's another thing. I mean, here's part of the humor of it. You come out with a billboard for a brand new product to make it look old. Make the billboard look like it's weathered. And they go, god. You know, I've never heard of that before. What have I missed?
29:00
S0
Where have I been? I gotta catch up with this one.
29:07
S1
Someone's been paying for it all this time.
29:08
S0
Yeah. And, you know, the classic contemporary.
29:16
S0
Ancient history as opposed to the new history.
29:26
S1
In Atlanta, there was a billboard that said, Winston says, finally a butt worth kissing. You know, all the way back from Clarksville, I saw that from the pod. It interesting. Soon as I had forgotten it, there was another one. Boom. It hit me again. Did it. Boom. It hit me again. Proximity. It it would be proximity. It was
29:43
S0
perfectly timed. Yes. And that's from the external. You have set your whole life up with this internally. As soon as you forget that you're stupid, you do something stupid.
30:00
S0
And as soon as then you go on for a while and then you forget that you're stupid and then something comes up. Who set that up? It wasn't him. It was you.
30:13
S0
And if you and if and you set it up, who can take it apart? But you can't take it apart if you don't know it's there. And you have an instance in your auditory that comes through every so often as soon as you forget the party line, it comes in and smacks you one, doesn't it?
30:38
S0
And if you don't know what auditory is,
30:42
S0
then you don't even know that it's coming and smacking you and you just get stuck with the truth.
30:49
S0
What truth is that?
30:52
S0
Well, the truth that happened to fit my patterns.
30:57
S0
This has made you what you aren't
31:01
S0
convinced that you are that.
31:04
S0
Get it?
31:07
S0
This one you could play with for a long time and take anything you wanted apart in there with and it fits right at at their self. The the your tempo demanded self in order to survive in the same unit. It required it.
31:30
S0
Pilar had to do tempo.
31:35
S0
She had to. There was no option. Not really she had to do tempo, but she had to set all of the other ones up to fit in with the tempo which showed up first.
31:51
S0
This is like a code that it's gonna get built that way. And as soon as you notice that it's predictable,
32:02
S0
it becomes entertaining and humor rather than true.
32:09
S0
You get it? As soon as you get if if out of this weekend you get that it is predictable even if you can't yet quite predict it, you go, There's absolutely nothing that I need to be forced to do
32:27
S0
from in here.
32:30
S0
And the idea of anybody else getting in the way of your patterns is a joke.
32:37
S0
Who's that good? Well, if they are that good, believe me, they're not interested in getting in the way of your patterns. There is no way they got something I mean, they're as interested in smelling your farts as getting in the way of your patterns. There's absolutely no way.
32:58
S0
If you really get that it's patterned in there, then you'll know it's not true.
33:07
S0
And that's good news because then who can you be? Anybody or
33:17
S0
nobody at all depending on what the situation provides. This is why people get millions and billions of dollars and still aren't happy because this thing is still running.
33:32
S0
The system is still running. The whole thing is still this is like a lockout.
33:38
S0
You get it? Your consciousness has been locked out of where all of the decisions get made.
33:48
S0
That's no fun. You just get handed the little envelope with all the decisions on it and you go, okay. I'll do that and do that and do that. Okay. Okay. I'll do that. And they're all dictates. They're all you don't have any option. Now you can have beans or beans.
34:11
S0
Like Judson would say, guess I'll take the first beans. You
34:16
S0
get it? It's all patterned.
34:21
S0
So it doesn't mean anything.
34:27
S0
It's just the patterns,
34:31
S0
and it can get in the way of almost everything.
34:35
S0
Who are you gonna blame if it's all patterns? There's nobody to blame. Yeah. There's nobody to blame. There's nothing to blame. And anytime you say it's somebody out here, you're just distracting yourself from getting your own patterns. So your own patterns are getting you.
34:57
S0
That's the message here. You get the message?
35:03
S0
Until you can bring consciousness to your patterns, it's all a setup.
35:12
S0
And anybody who knows patterns will be able to predict it.
35:17
S0
There it is. There it is. Here you go. There you go. Away it goes. But you don't have to be pattern.
35:28
S0
But go ahead and figure out a few more people then we're gonna have you play with these and.
35:40
S0
You guys? It's pretty simple here. Okay? He's works with concrete sometimes.
35:50
S0
How does he know how to get it level? Well, he used the level. Well, how does the level know to be level? What's the bubble? Well, how does the bubble know to be level?
36:04
S1
It don't. It just gravity amount of water on your stomach.
36:08
S0
It's proximity to the lines. How does it know that that's the point?
36:12
S1
It just does.
36:13
S0
How? Gravity. Gravity. How does gravity know?
36:19
S1
The universe. It's I oh, I didn't It's relationship. It's a
36:24
S0
relationship. Joe.
36:25
S1
It just not.
36:26
S0
Joe, you're not deepening this conversation. You're trying to do it by quantity, not by quality.
36:32
S1
Is it two points?
36:33
S0
How does it know?
36:34
S1
East West.
36:35
S0
But how does it know where the point is in between the points?
36:42
S0
It's good.
36:42
S1
It's good. Relationship. Yeah. How does the bubble know between the
36:45
S0
Yeah.
36:46
S1
Left and right? Yeah. It doesn't care, does it?
36:49
S0
I understand. But when it's level
36:52
S1
When it
36:52
S0
stops does it know what level is?
36:56
S1
It's reached in the blood brain. Our perception.
37:00
S0
See, where you hate what you hate is when it's not related to anything. It is it.
37:07
S1
Like it's always
37:08
S0
there? It is it. And Judy runs proximity, and that's bathing oneself in it isn't it.
37:20
S1
Started to sell my finger. It
37:29
S0
wasn't?
37:34
S1
That I love it.
37:35
S0
It it is to me. Do you have any idea the lengths I go to have this be understandable to y'all?
37:47
S0
It is highly likely I will be tired at the end of tonight.
37:54
S0
Filling in the blanks.
37:59
S0
Where there aren't any blanks.
38:03
S0
I have one piece of advice for you. If you're gonna commit suicide,
38:13
S0
use blanks.
38:20
S0
That way, at least momentarily, the conversations in your head will be outweighed by the loudness of the blank. So at least you'll get a little break.
38:33
S0
And the neat thing is it doesn't really matter how well you aim. Just make sure the kids aren't asleep when you do it because it will wake wake them up probably. And they'd come in and think some good game was going on, and then you'd have to play with them, and then you could go off.
38:50
S0
Whole plan could go right down the tubes there, and pretty soon you're old and you had a good life, and you messed up that one attempt that you really had at having things work.
39:11
S0
Yeah. Something like that. Okay? That's how simple it gets. Thanks.
39:22
S0
Explained it for me.
39:25
S1
It was good for you?
39:26
S0
Yeah. It was. So
39:29
S0
what she does is she's arguing that it's a discontinuous universe, and she has to return it to zero at a certain point and start over.
39:42
S0
It doesn't aggregate? Precisely. It doesn't accumulate.
39:46
S1
It doesn't go in the line. Always goes back to Yes.
39:52
S0
Well, think think of well, no. Think of kids playing tag,
39:57
S0
and they've got one spot that you aren't allowed to touch them. And the question is how far are you gonna get from that spot? Judy has a certain you've seen it. You've seen the doghouse with the worn
40:15
S1
Ring.
40:15
S0
Ring of dirt around it, haven't you?
40:20
S0
This is like a conservative dog. The chain really goes further out, but he just stopped there every time. That's Judy.
40:32
S0
So shed your chains.
40:35
S0
Release yourself.
40:38
S1
Are you preaching? Are
40:39
S0
you preaching? Am I preaching or preaching? I'll take
40:44
S1
the first one. Alright. Then I must be preaching here. Take that collar off, girl.
40:56
S1
So you'll never do it.
40:57
S0
Release yourself from that ball and chain right now. Right now. Nothing. Right now. Right? Oops. She just went away.
41:06
S0
She did. Did you watch it? Yeah. Came in and we got too much proximity, and she went away.
41:14
S0
So what happens is we have to start all over again.
41:19
S0
Who wants to teach her her a?
41:25
S0
You know, lots of kids learn their ABCs. You have to teach her hooray.
41:32
S0
Sing with me. Hey.
41:38
S0
Hey. That's it. A. You work on that for a few years, then you go to No. A B. A B.
41:52
S0
And pretty soon, she can spell all the words with that one letter. A b c d f g h j k l. That's proximity. You're doing, miss Matt. It's fun, ain't it? Is there any energy in it? Yeah.
42:06
S1
A lot.
42:07
S0
Yeah. A lot.
42:10
S0
What time is it?
42:12
S1
04:20. Yeah. Can we do the rest of them before they go? Yes. Yes. Yes.
42:17
S0
Okay. How many more do we have to go? About 12?
42:28
S0
I think you have to work on this one. I we could do more here, but I think it's a
42:35
S0
I think we'll get better benefit by touching on one more rather than going on with this one.
42:42
S0
But
42:45
S0
make a picture of this one.
42:48
S0
Got it? And attach something really favorable to it. So you'll may maybe driven to do it later.
42:58
S0
Get really energetic and pretend that this one was fun.
43:03
S0
Pretend that you really kind of understood this one guy and got a grasp on it, and it made a huge difference to your life. As a matter of fact, this is really a reference experience for you, this one right here, isn't it?
43:18
S0
Amen. Amen. Hallelujah. So pretend you've been faithful and honest and true and loyal, and this one is what did it. Pretend that everyone likes you, and this is why.
43:37
S0
Pretend that you just got a raise, and it's because you practice this pattern.
43:43
S0
Okay. You just got news. The mechanic is paying you to work on your car from now on, and it's this pattern.
43:53
S0
He couldn't resist it.
43:58
S0
The doctor has just discovered the first immortal person. It's you, and it's because of this pattern
44:04
S0
that he discovered it. It's just not really true.
44:09
S0
Take four minutes. Get a breath of air outside. Sit on the toilet
44:18
S0
and do a tiny jig out in the parking lot. Everybody, Go.
44:29
S0
Go. I mean it. Do all of those, please. In what order? I don't
44:40
S0
Any questions left over about that little rascal?
44:47
S0
You understand it needs more work.
44:55
S1
So did you say that we could practice those to practice that?
44:59
S0
Sure. Practice checking them out with other people, find out what they do.
45:09
S0
When do you fly home? Tonight. K. Yell at the stewardess. Make it really intense and find out what she does,
45:19
S0
and find out what you do. Making it intense.
45:26
S0
You don't have to yell at her like she did something wrong. You can yell at her, hi. I'm glad I'm on the plane,
45:34
S0
and find out what she does.
45:37
S1
I think I'll do that one.
45:40
S0
No. No. You need to walk on the plane and say, I apologize for my existence
45:50
S0
and that of my mother,
45:54
S0
and I'm sorry for what I've done to your kin.
46:02
S0
I beg your forgiveness
46:07
S0
and hope that you have bags of salted nuts.
46:15
S1
Right. And
46:16
S0
if you don't, I volunteer mine.
46:25
S0
You guys ever seen a nut mine?
46:39
S0
That's a picture you can have for as long as you want it.
46:48
S0
Yeah. Practice it.
46:52
S0
He doesn't need per my permission to practice these things, do you? Just for those of you who might need my permission, I grant it.
47:03
S1
I did have a question about these
47:05
S0
around Still do?
47:07
S1
Still around not about the content of them, but around if they're so early and so upstream,
47:17
S1
can you really change it? And do you want and to change it? Is or is it to
47:22
S0
have flexibility? To perceive it. That's it.
47:25
S1
You play with it so that you can
47:29
S0
You play with it. If you're playing with it, that presupposes that you perceive it. And
47:39
S0
I don't want you to go in trying to change them. Remember, the next layer in or the next layer out has a whole new set of these for you. So anything that you learn regarding it isn't gonna hurt you later. As a matter of fact, it's gonna do nothing but help you later.
48:02
S0
So don't please try and change them. Don't think, oh my gosh. I'm doing this. I'm I gotta no. Pick one of these and practice doing the different ones. And practice them until you can do all of them.
48:20
S0
And once you can do all of them, you will do the appropriate one in the appropriate place.
48:28
S0
You will. Yes.
48:31
S1
I have a little bit of a problem practicing the intensity duration because that the other seems to be something that I instigate, and that seems to be something that comes from
48:43
S0
the outside. No more for now, please, Terry. Thanks.
48:50
S0
Seems to be something that comes from the inside.
48:52
S1
Outside rather than my
48:54
S0
in other words,
48:54
S1
if if I'm frequency, then I'm responding to frequency as it comes in. Are you suggesting that I look around for intense things if I'm frequency and and respond? I mean, it just kinda am making sense?
49:09
S0
I don't get it. Okay. Yep. Sure. I can I'm suggesting that Judy explore intensity and frequency and then to get some real humor in her life that she play around with tempo also so that soon she can believe anything.
49:34
S0
Until you can believe anything, you don't get to pick what you believe. You get stuck with it. You get stuck with you're like a an inverted porcupine.
49:48
S0
You know those things don't hurt the porcupine? Well, you're like one with the quills reversed. And I want you to get some of those things unstuck
50:00
S0
by playing around with them. Play around with them, and you'll be ready for anything that shows up. And as you're ready for anything that shows up,
50:12
S0
you can do whatever you want. It's a door to massive flexibility.
50:22
S0
It's spreading your existence all over the place rather than just in one tiny little limited cell in one tiny little spot. So, yeah, I suggest since you do a lot of intensity, that you fiddle around with the other four.
50:43
S0
How to, you're wondering?
50:45
S1
The others seem to be something that I instigate. This is something that happens to me.
50:50
S0
I've I've addressed this.
50:55
S0
It will seem that way.
50:59
S0
And I'm telling you that as you play with the others, you will discover that the one that is real isn't real. It's real to you just because you haven't played with the others enough. As you play with the others, it will become unreal.
51:16
S0
The one the one that looks real will be will reveal itself as just a fairly persistent joke. This happens so often that you don't think it's funny anymore.
51:26
S1
There always is frequency in my life. There always is frequency in my life. I'm just not seeing it.
51:31
S0
Yes. Okay.
51:34
S0
Gotcha. I'm sorry. And you may need to search it out to find it there.
51:45
S0
The problem isn't finding something. It's starting to notice what you consistently overlook.
51:54
S0
It's not you don't need something new or something borrowed or something blue. Sorry.
52:06
S0
You don't need you just need to stop overlooking things. And currently, there's so much that you have to overlook that both of your arms are twisted up behind your back and your back is twisted and tight and you're like this because you have to overlook it. And what if you didn't have to overlook it?
52:28
S0
Shucks. What if you could look at absolutely anything? What if somebody saying turkey to you didn't upset you or chicken or whatever? What if that didn't upset you?
52:46
S0
Well, then they'd probably go to different words. You amoeba.
52:52
S0
I mean, we may as well go to one celled little animals. Right?
52:58
S0
A newt's still pretty complicated compared to an amoeba, though. That's true. You newt in concrete. Now there's your million dollar product, ain't it? There's really your million dollar product.
53:14
S0
Things of concrete with different things inside. You know, they do it in plexiglass. They do it in crystal.
53:25
S1
And candles.
53:26
S0
Things with concrete with things inside.
53:30
S1
Is it like you can't see them, but you have to have faith that's
53:32
S0
in there? Absolutely. Somebody's breaking up right now. And you could break them open, but then it's not really faith anymore. We call them recast fossils. Yes.
53:45
S1
Or how about selling
53:46
S0
And after you've sold enough of those, you start selling do it yourself kits.
53:52
S0
Little sand, little water, little concrete. And you start doing groups. And you could put your kids in them or your kids' feet.
54:04
S0
I mean, pretty soon you'd be driving along the road and somebody who's an overachiever would have a, let's say, eight by eight by eight concrete thing in their yard and you'd go, I wonder what's in that. Wow.
54:23
S1
Do
54:31
S0
you think you couldn't market that?
54:33
S1
It sounds good to me.
54:34
S0
Absolutely. You could mark I mean, if they can market pet rocks, this is marketing pure possibility. It's where the past meets the future.
54:49
S0
It's a fossil of things to come. You you get you get we can work this up pretty well.
54:58
S0
How if you're selling them by the pound, how much more could you get for this than a stinking foundation?
55:05
S0
A lot more.
55:09
S0
I mean, they sold pieces of the Berlin Wall, didn't they? Big bucks.
55:17
S0
There's a moon rock in this one.
55:20
S0
It just looks a lot like the concrete that it's in.
55:26
S0
You know? And then you have somebody reveal that really it was something completely different in there than you had said it was, and you get on 2020 and they run exposes of
55:37
S1
You know?
55:39
S0
And somebody finds a diamond in theirs
55:43
S0
and somebody finds a chunk of a human bone, and then pretty soon everybody wants all of these and they're collecting them. Beanie boxes.
55:57
S0
You think we couldn't find a way to play this up that it would sell? I promise you, you could find a play. And not only that, a chunk of concrete perfectly square is a pretty neat thing, isn't it? Mhmm.
56:09
S1
There it is. Very hard to do. You
56:12
S0
can use it till it reveals itself.
56:19
S0
You can start rumors about things coming out at night from it when you aren't looking.
56:25
S1
Coin paperweights? Sure.
56:30
S0
And one out of every 2,000 has a diamond in it or an ancient coin worth
56:38
S0
whatever.
56:39
S1
True, but
56:43
S1
And you thought you'd be And
56:45
S0
they only cost $2.50, so that would be a 50¢ increase on your investment.
56:55
S0
A prize of $40,000,000 for whoever goes the longest without breaking theirs open.
57:04
S0
And
57:08
S0
we'll pay it over time.
57:11
S0
What
57:16
S0
should I charge an hour for brainstorming in a company?
57:22
S1
Plus one.
57:22
S0
I won't do it. But would it be fun for them or what?
57:32
S0
Any other questions? Is that it? That business would work. With a little marketing, that business would fly. And there's so many possible variations because you're selling something that's nothing.
57:49
S0
And its only attribute is shape and possibility. That's hot.
57:58
S0
Okay. One more quickie. Mhmm. Five minutes we got. Which one should we do?
58:11
S0
Five minutes?
58:13
S1
No. I'm set.
58:15
S0
How about how you're gonna play with this and practice this? Yeah.
58:25
S0
It's time with five minutes left, it's time for you guys to start creating the thing because you're heading out there. You got it? I could launch into a few more. Take a little longer than five minutes.
58:39
S1
I'd like to know which one is one of my big rocks in the street.
58:45
S0
I'd like you to tell us based on what you did this weekend instead of rely on us. Okay.
58:53
S0
You've got an extreme indication of which ones you should practice.
58:57
S1
Right. The one miss match and mismatches. Absolutely. And, also, the last one we did with because I noticed, you know, when Peggy was talking about intensity, on intensity, I feel like there's all this other information that comes my way, but it it doesn't come in a certain way. I I ignore it.
59:13
S0
So I think
59:14
S1
that's another one.
59:16
S0
So I think you use your notebook and you look at them and you could practice all of them, but certain ones will jump out at you and and do those. But if you get up to mismatch, I saw what happened when you ran mismatch for a fraction of a second. That was an awfully big payoff for a fraction of a second. Okay? So you need to learn mismatch, and then there's plenty of juice in the other ones too, but that's a major one for you. Now it may be that in the process of doing that, you discover some other ones that you need to mess around with in order to have that one come about because dissociated will hold a lot of wonder for you so you can see yourself
1:00:04
S0
so that you can have a reference outside yourself.
1:00:08
S1
Earlier today, said something about if you could do the patterns that you really do, then things start shifting.
1:00:14
S0
Yeah. Because then then you're where you are. If you can perceive the patterns that you do instead of perceive your preferences for what patterns that you wish you did.
1:00:27
S0
In other words, if you can be right there, now what? Now you're at the party. Now you aren't pulling the wool over your own eyes and misreading what you're doing. Now you're just there. And from there, you can say, I guess I'll practice this. But also from there, you can factor out your patterns in dealing with somebody else. See, one of the things this does for you is it opens up a world in which everybody's your teacher because they've got patterns and you can learn from their limitations.
1:01:05
S0
Because chances are pretty good they have different ones than you. Try on theirs and then shed theirs right in front of them.
1:01:15
S0
My god. That's a contribution, isn't it?
1:01:20
S0
Because they're they're they've only got the ones that they aren't able to shed.
1:01:30
S0
What if you showed up where you are?
1:01:35
S0
One of the things that would happen is you would never beat yourself up in here again ever. Why would you bother? Because this is just what you do. These patterns are neutral. They don't care.
1:01:48
S0
But if you resist them, all of a sudden they become bad. And if they become bad since most of the time they operate below the level of your consciousness, you become bad.
1:02:02
S0
See, to blame yourself for anything you ever have done or anything you've ever thought is obscene given that it all was set up behind the scenes.
1:02:17
S0
It's it's it's the stupidness comes out sometimes. That's all dictated by the patterns. That's not you. None of that none of this is you, you guys.
1:02:36
S0
It couldn't be.
1:02:40
S0
You take a look at Rajneesh. Was there anything there? Just everything there.
1:02:48
S0
That's you.
1:02:54
S0
The playing with these patterns, which don't even really exist by the way. This is just some brilliant peoples breaking down of how to break things down and it works. Have you watched people in the group change drastically in this course? Go from looking stunningly beautiful to looking broken down to looking high as a kite to looking if you watch this,
1:03:22
S0
ever been in a group where you saw more mood shifts than this? These things are very powerful.
1:03:30
S0
And they're that powerful because you've wrapped up the energy in them. And so if one gets shown a little bit, outcomes the energy. Pow. Just like that.
1:03:45
S0
You want work to work?
1:03:49
S0
Sure. Here it comes. Active,
1:03:54
S0
internally referenced, simultaneous,
1:04:01
S0
and that's just Tuesday and Wednesday.
1:04:06
S0
And that's just with three of his five employees. With two, he needs to run Polarity and tell them they can't do it.
1:04:18
S0
I mean, imagine if you got a polarity person at work and you say, come on, you can do it. What do they say? No. I can't. And you keep giving them pep talks and you wonder why their performance keeps going. I mean, that's just an obvious example. How many other examples I mean, you get it? You wanna know how many other examples? Your life.
1:04:42
S0
That's how many other examples.
1:04:47
S1
You never talk about anger much. Seems and it seems like it's never
1:04:50
S0
You know why?
1:04:51
S1
Well, that's my point. And I seem to have a little bit of it going around, and I was kinda curious about what emphasis you put on it. It.
1:05:06
S0
Emotions are strictly and this is out of the bounds of the course, but it won't hurt anybody to deal with it here. Emotions are strictly an opportunity to have a storm come in and knock things down and get rid of it. Anger is an emotion.
1:05:30
S0
You currently want love and you don't want hate?
1:05:36
S0
Yes? Yes. The two are the same.
1:05:43
S0
The two are identical. How many people have the picture in your book? Is that picture in your book of the love hate stuff? Yeah.
1:05:53
S0
Is in about eight of the books. Not that one, I don't think. Let's see. Preference? Not that one. That
1:06:04
S0
one. Look down at the bottom. Love and hate are the same. You're pissed off because you want one but not the other, and they're the same. And because you don't know they're the same, you have a basic misunderstanding that keeps coming up and getting you.
1:06:25
S0
And that's enough to piss you off. And as far as I can tell in your case, that's the root of your anger, and something like that is the root of everybody's anger.
1:06:34
S1
Thank you.
1:06:35
S0
Yeah. So you need to when those two become the same, it comes back to your black and white question. When those two become the same, the anger will have disappeared.
1:06:49
S1
Thank you.
1:06:50
S0
You're welcome.
1:06:57
S0
One of the blessings that I got a note a while back
1:07:07
S0
was a reprieve from a pattern. I used to think if the results didn't show up right away, that they kind of didn't count and probably were never gonna show up. And what we did this weekend is planted a whole lot of seeds, tons and tons and tons of seeds,
1:07:30
S0
water them, fertilize them, practice,
1:07:38
S0
get some rest tonight, take care of yourselves, please.
1:07:47
S0
And this is an awfully fast two and a half days, isn't
1:07:51
S1
it? And
1:07:55
S0
who knows? Maybe we'll do more with this if you all wanna cover the rest. I'd like to spend at least a weekend on the conspiracies in there. If you think you laughed during these, wait until the conspiracies are where the different VIPs come together. It's it's the junctions.
1:08:15
S0
And I can laugh just looking at them in there for extended periods of time. Part two. Part two. So play around with these and know that you don't know. In other words, flirt with these.
1:08:37
S0
Thanks
1:08:39
S0
to all of you for coming and playing. As Karen said, it's the best of the best. This is very forefront stuff you're playing with in a forefront way. And if you didn't have plenty of confusion, you weren't here.
1:08:59
S0
So thanks very much, everybody, and
1:09:03
S0
go out and play, please. Thanks all for so for the way you played between the end of the evening last night and this morning because it was obvious that people played. Yes? Pretty neat. Now take a break. Okay. Break's over.
1:09:30
S0
Now through at least the rest of the year, don't take another break from practicing with these.
1:09:38
S0
It's not tiring to practice with these. It is tiring to bind up more energy. It is not tiring to release it and that is what these are about is releasing it.