Tufti the Priestess by Vadim Zeland Audiobook 2 - Reality Transurfing

Metapower. So, how are you, my dears? Are you beginning to shine, or do you continue to be wet? Quick, quick, transform! You were originally conceived to be luminescent creatures looking ahead. Illuminating the frame successfully requires concentration, not effort. If the muscles are strained, the inner intention center has been triggered. Follow the illumination method in a calm, relaxed manner. Principle: Do not force reality, allow it to be. Allow reality to carry out your assignment. Don't forget, you are just illuminating the frame. It materializes by itself. Very little is required of you. Compose reality and stand aside, like a third-party observer. Don't interrupt or get in the way. It is customary for you to think that all you have to do is apply some effort and the future will yield, but this requires a different approach. Physical strength, like willpower, only works within the reality of the current frame. You can fight manifest reality with all your stupid strength as much as you like, but that won't work with forthcoming reality. This requires something else. You, my little maniacs, must understand, just as I must explain, that there is a flip side to power—metapower. It is, in a sense, the opposite of force—not weakness or apathy, but the power which acts from the other side of reality. For ease of understanding, take a look in a mirror. From the side where you are standing, everything is material and can be touched. On the other side, in the reflection, everything is intangible but equally as real. If there is an object, then there will be a reflection. Is the object real? Then the reflection must be real too. I'm explaining this to you so that you will understand that it is not only the things that can be touched that are real. The reality mirror is like a normal mirror, only it works the other way around. The image being reflected and the reflection itself change places. You can touch the reflection, but you can't touch the image. The reflection is on the front side facing the mirror glass, and the image is on the other side. The frontal side is physical reality, while the other side is the dream space of the film roll archive. As you already know, physical reality is like a frame which moves along a film roll, only the film roll is primary and the film itself is secondary. And so physical reality is a reflection of the object located somewhere there on the other side. And there in the film reel archive, there are multiple versions of the future. Judge for yourself: if the future is located on the other side of the reality mirror, can one somehow influence it with usual force, which only works here on the front side of the mirror? Not an option. You could bust a gut with effort, but it still wouldn't work. Can you? Yes, yes, yes, you can, you can. So as not to explode and to have the future you want, you must act from the other side of the mirror in accordance with the reality mirror rules, not the ordinary rules. So how do you get there, to the other side, or the mirror glass? I have not mentioned it before, but but you have in fact been there already. When in the process of waking up, you disengage from the script and practically fall into the world behind the glass. This cannot be seen overtly, and the reason it can't be seen is that the surface of the reality mirror is not a surface or wall as such, so much as an intangible transitional boundary between the object and the reflection. Everything is the same on both sides, and they look identical. Only one side, the image, is material, and on the other, it is not. On the frontal side of the mirror, there is your material mannequin, and on the other side, a virtual one. When you wake up, your attention passes through the mirror boundary into your virtual mannequin. It is your attention that moves, not your body, but this is sufficient because you are your attention. Both bodies, virtual and material, each on either side of the mirror, move in unison. It's a matter of where your attention is focused. If it is focused on the manifest frame, then you are totally engrossed in the script. If it is focused on the other side of the mirror, in the image frame, then you are free to move, both yourself and impending reality. When I say to propel yourself, I mean it in the sense that you are self-aware and arbitrarily in control of your own motives and actions. Inside the frame, you move in the usual way, with your hands and feet using physical force. However, you move reality in a completely different way, with attention, intention, and Meta Power. You will gradually come to understand what Meta Power is when you start to sense it. I would not be able to explain to you what physical force is if you had never tried using it. The same goes for Meta Power. You have to feel it and develop it. Your Plate is your Meta Power tool. The Frame Illumination Method is an exercise for developing Meta Power at the same time as being a way of composing the reality you desire. Next, I will describe in more detail the rules and principles of the world beyond the mirror glass. You will suss it all out, eventually fathom it all, but for now, don't forget to carry out the method more often. Do you want to learn to compose your own reality? Perhaps you don't want to. How could you not want to? What's this, a slave uprising? If that's the case, there will be sacrifices and offerings made, and very happy ones. Look at me, I am Tufti, your priestess. You will tolerate my despotism just as I tolerate the fact that I have to spend my time with snails, frogs, and other amphibians. Ooh la la. Imitating Action. So, my songsters and dancers, let's carry on learning whose tune you are dancing to. Not only that which can be touched is real. Reality is a reverse mirror. Here the reflection, there the image. Physical reality is on the frontal side, whereas the film roll archive is on the reverse side. Physical force works in physical reality. Meta Power works inside the mirror glass. On awakening, attention shifts to its virtual mannequin in the world inside the mirror. You must be a little confused by the notion of falling into some world beyond the mirror glass without even noticing it, and perhaps not just a little confused, but quite a lot. Don't worry, my trembling ones, you actually fall into the mirror world every night when you go to sleep. When you awaken in waking life, your attention stands at the awareness center. You, or more specifically, your self, appears in the body of a virtual mannequin on the other side of reality. In the moment that you become immersed in a dream, the same thing happens. The difference is that in waking, you have the reality on both sides of the mirror, the material and the virtual side. In a dream, reality and the mirror world are not concordant. The material world remains in place, whereas your attention flies far away into other worlds. Plus, the difference is that in a dream, you sink ever more deeply into the script. Whereas you awaken in waking life, I see myself and I see reality, you free yourself from it. Remember we talked about the fact that when you are not self-aware, the script pulls you along by the tip of your plate? So who or what pulls about your physical mannequin on this side when your hook is at your disposal and you are simultaneously in a virtual mannequin in the mirror world? You pull yourself about. You acquire the ability to move things freely, both yourself and impending reality, precisely because you are in the mirror world, beyond the glass, on the same side as the image. Only the image can propel the reflection, and not the other way around, you see. Strictly speaking, the physical mannequin and material reality are not so much a reflection as a materialization of the image. One way or another, you can manage manifest reality —already occurred—from within the realization frame, from in front of the mirror. However, the impending reality is still just an image. The image can only be propelled from within the frame of the image, from the other side where the image is located. This requires shifting into the mirror world. Now the whole scenario should be clear to you. Here, in this manifest frame, we have to manage. There we can direct. And now we come right to the notion of meta-power. I feed my hope of even the faintest glimmer of understanding from you, my feeble-minded ones. Okay, okay, don't complain, don't cry, my little whip-smarts. What is the main difference between reality and the mirror world? Here everything is material. There it's all virtual. As far as force is concerned, you won't be able to apply it to an immaterial object or space Which is why here, what works is force, and there, what works is meta-power. From this side of the mirror, action. From the other side of the mirror glass, the motion illusion. So what does this mean? The whole point of imitation is that you don't have the right to disrupt the established order of things. The order of things is such that you have to participate in the action and obey the script. Not a single character is permitted to jump out of the film strip or do whatever they please in the film. The script is not the result of any individual's subjective will. It is objective reality, which is something you're stuck with. Objective reality is such that you are doomed to exist within it, like characters in a film strip. You may not agree, you may complain, but there's nothing you can do about it. You may even try to defy it, but nothing will come of it. Whatever is shot on the film strip is what will occur. It is impossible to avoid the action, but you can imitate it. You can deceive reality. Imagine that you have entered the awareness point and found yourself on the other side of the mirror glass. Everything around you looks just the same as it did before. You don't feel as if you were observing events from somewhere beyond the glass. And yet, there you are. But now that you are there, you acquire the ability to compose reality and choose the film roll. Not change the one you are in, not refuse to participate in the action, but choose a different one, the one you want. Do you understand? As before, you will still continue to play the role prescribed for you in the script and to perform your daily functions. But unlike the other characters, while you remain in a state of awareness, you will get something more: the ability to replace the current film role. At the same time, you retain a certain perspective as if none of it were anything to do with you. The order of things has not been disrupted. You are neither spotted nor caught, and everything has turned out the way you want. This is the imitation game. You wander round a motion picture like a live character, making yourself out to be inert, and you change the reel as you see fit, and nobody suspects anything, neither the script nor the other characters. Besides, you can never avoid the script. It is just that by setting reality, you initiate a new one. The new script is not yours either. You are still within its power, but it will lead you to the desired result. Should you hide from the other characters? However much you may like to stand out, I do not advise that you advertise your abilities. In the Middle Ages, people were burned at the stake for such things, and today you could get tucked away in a quiet shelter somewhere. You are already a little loopy, so don't be sleepers. Don't give your presence away. Obey your priestess. I love you so much I could kill you all. Being present. Hey, hey, in a way. Come to me, my cunning imitators and artful pretenders, secret maniacs and hidden super freaks. Did you enjoy the imitation game? Let's repeat what we've covered so far. Physical reality is accessible here in the materialization frame. Access to the future is open only from the other side, in the image frame. You are doomed to exist in reality like characters in a film role. You cannot circumvent the script, but you can wake up and start another one. You change the film strip but continue playing a role while hiding your presence. Presence in a motion picture—what does that mean? Mostly it refers to the presence of your conscious awareness of being. Yourself, your presence as a living, competent, and rational individual in an immutable motion picture. Although the film is spinning fast, it is already as predestined, as the behavior of all its characters is predetermined. Your presence there highlights you as awakened among the unawakened. You are consciously aware of your individuality and are aware of what is happening. Your behavior inside the film is also predetermined by the scenario. However, your presence gives you the opportunity to change the film roll and switch from one to another. To achieve presence, you have to come alive, give yourself a shake, and determine your location, the image frame or the materialization frame. In other words, where is your attention focused? At the central awareness point or on one of the screens? In essence, you are dual beings that can be both on this side of the mirror and the other. You are present here when you are there. It's a paradox. Failing that, you are absent. That is, you are in an incompetent state of non-awareness and entirely at the mercy of the script. Remember I said when you are awakened in waking life, your attention crosses the mirror boundary and ends up in your virtual mannequin. When you fall asleep in bed and see a dream, the same thing happens, only the quality of it is different. In your sleep, you can only propel virtual reality. You can't influence physical reality. It would be more accurate to say that you can, but it is very difficult. Not a matter for snails. In a state of waking presence, you acquire the ability to compose impending reality, which will become physically manifest. You see, I keep repeating the thought so that you understand well that you can and should be composing your own reality. However, there is one thing which you must understand for yourselves. When you compose reality, you are determining the end goal, the impending frame, not a chain of events. Composing reality is about choosing the film roll, not about controlling the script. The script is beyond your power. You are not given to know what exactly the script should look like in order to bring you to your goal, and you don't need to know. You are working as a film projector. Once the goal frame is illuminated in your projector, the course of events will automatically turn out as they should. In choosing the film roll, you set a new script in motion. The script does not belong to you, but to the events that have been recorded on it, moreover, without your knowledge. Only the goal frame is yours. The film roll chooses itself in accordance with the specified frame. You don't have to understand exactly how this happens. Illuminate your frame again and again, and you will shift from one roll to another until you eventually arrive at your destination. In the Eternity Archive, film rolls are arranged in parallel. The scripts of the film rolls placed most closely differ only in minor nuances. In composing reality, you gradually shift from one to another. First, you appear on a film roll where the result is close to the set goal but not quite there yet. Then it gets closer and closer. All this takes place invisibly to the eye and at different realization speeds, depending on the complexity of the desired goal. Simple goals are reached almost immediately, whereas more challenging ones that require you to go far require time and patience. Your task is to focus your attention on the impending frame. The script is not a matter for your concern. If you try and set the script or resist it, you will get caught up in this trap. When trying to influence the course of events, you take the reality of the current frame in a death grip, which is pointless. The harder you hold on, the more tightly you will be gripped by the tail— by the plate, that is. Similarly, it is pointless trying to influence other people. Trying to manipulate others is a base, thankless task. It can end up knocking you sideways or even creating the opposite effect to the one you wanted. Characters act according to their own script. Trying to influence them, you fall into a trap again. Don't do it. They will come running to you themselves and do everything that you want them to. More on that later. I repeat that you need to influence the end result, the impending frame, not events or other people, although you will still try to do so, mainly out of habit. You always persist in having everything go according to your plan But I will win this habit off you as well. How stuffy and pushy you are! I would gladly dissect you all. I would staple you to watercolor paper like harmful insects, or roll you in a jar with formalin and make an example of you to all the other creatures. I advise you to behave decently. Don't forget, I am Tufdi, your priestess. Praise me, worship me, and do not dare anger me. Advantage. 'Oh, I'm so bored of you. You are so spoiled, so capricious. That's what you are. But just you so much as hint that you've had enough of me— let's repeat the lesson. Now, you are dual beings, capable of being on both sides of the mirror. You are present here when you are there. To be present, you have to shift your attention to the center. In the condition of being present, you are capable of jumping from one film roll to another. Composing reality is not about controlling the script, but choosing the film roll. The desire to influence the script binds you to it. Once again, let's consolidate what we've covered so far. You need to influence the final result, the forthcoming frame, not events and people. All you have to do is illuminate the goal frame, and the course of events will unfold as they should. The Script does not belong to you. It is never yours, even when you think that it is your idea. If you try to change it, or oppose it, the Script will trap you. The Script is like a spider's web. The more you wriggle, the more you become entwined. For the Script to let you go, you have to let go of the Script. You can never be entirely free of the Script. Remember when we spoke about imitation? I told you that the Script is not the result of anyone's subjective will, but an objective reality from which there is no escape. And yet there is no need to escape. The Script will always work towards your goal if you set one. When you compose reality, the Script rearranges itself to fit your composition, even if you cannot perceive this happening. All you have to do is systematically illuminate the goal frame. But you will persist in having everything run according to your plan, and in this, you hinder the implementation of what you have imagined. And even when you do not actively compose reality, passively drifting along the current of events, the Script isn't out to harm you, because causing harm is energetically costly. The Script always takes the path of least resistance, but you resist, and so you spoil everything. You spoil things inasmuch as you express non-acceptance. In this way, unconsciously and without deliberately meaning to, you compose for yourself a worse reality than the existing one, albeit not as effectively as you would with intention and awareness. You condescend to express your dislike every time something contradicts your expectations and plans. That's how you are— irritating and tedious. So to avoid distorting reality, instead of turning it into a wonderful world that is pleasant in all respects, you will need to make a habit of one simple principle: find the advantage in everything. Literally try and take the advantage from any disappointing situation, and generally from any event that causes you the slightest feeling of aversion. Set yourself the goal of reaping the benefit. Any event or situation in life is made up of the negative and the positive. Reality is dual in nature. Where there is black, there you will find white. Your task, instead of wrestling with it and being single-minded and stroppy, is to set about seeking the advantage in any situation. I won't give examples, just try it and you'll understand instantly just how brilliantly this approach works. But in order for it to work, as you must understand already, it is essential that you wake up and shift your attention to the center. The triggers here are mainly external. Someone says something or does something, or something is happening or being done around you. Anything that evokes a feeling of non-acceptance, from slight displeasure to rage. Interesting. What does a raging snail look like? The feelings activated include irritation, depression, anxiety, aggression, and fear. The attention is shifted to the center in order to disengage from the script on the current film roll and skip to another alternative one. The fact is that your usual script affects your standard film roll. You give a knee-jerk reaction to your noxious character or your propensity to be negative, or your habit of being defensive, or elevated opinion of yourself, or simply because nothing is going the way you want it to. As a result, usually you make life difficult for yourself and others. On the alternative film roll, in contrast, everything turns out to your advantage because you stopped at the right moment and made that advantage your choice. It is very simple: what you choose is what you get. In order to make the choice, all you have to do is think for a moment and ask yourself, "What might be the advantage of this?" And then, from then on, try and follow the script rather than resist it. Literally, take the piece of advice, listen to the opinion, agree, go for something, accept whatever you would previously have rejected or seen as a cause for conflict. The Advantage method is the following: 1, catch yourself playing out the non-acceptance activator. 2, wake up. I see myself and I see reality. 3, ask yourself the question, what advantage might there be in this? 4, if an answer comes to you, accept it and reap the benefit. 5, if nothing comes to you, try and accept the situation for what it is. The last point might sound questionable to you. After all, not everything in life is acceptable, and there is not necessarily an advantage to every situation. Suppose that someone is about to beat you round the head. What are you supposed to do, hold it out for them to take another swipe? Nonetheless, in reality, there is one immutable law. The law has it that if you take seeking advantage as a guiding principle in life, you you will encounter fewer and fewer events that are harmful. This includes the kind of events that result in having a blue face and a cold body and lying in the morgue. Ooh la la. Allowing. So, my dears, my beauties, in our last lesson we learned that stupid snails always insist on their own script for the development of certain events, and that when something goes awry, they become resentful and even angry. But not in your case, right, my angels? The Script will let you go when you let go of the Script. Once a goal has been set, the Script will arrange itself so that it is achieved. By insisting on your own plan, you get in the way of the design. By expressing non-acceptance, you compose a reality that is even worse. By choosing to seek advantage, you reap the benefit. Let's repeat the paradoxical example. Set the goal frame, not the script. It is paradoxical because it does not tally with your accustomed beliefs that you can and should battle with your current reality, and that composing forthcoming reality is wrong and even impossible. In fact, it's the other way around. You can't know how the goal will be reached, and you don't need to know, particularly in the early stages of things, because of the probable answers to asking how plunge you into feelings of horror or despair, this will impose a psychological block on your ability to compose your target reality. You can't know exactly which script will lead to the accomplishment of precisely this goal in the context of your individual life. How could you know when you are a character in a film being led by a script? Your task is to know the result, what you want to achieve, and use your plate to compose the corresponding picture of reality and thoughts words, and images. Then the Script itself will lead you there and reveal the how. You don't even have to be clever. You can continue being dunce snails so long as you are driven and competent aware snails. Because once you have set the goal, the Script could just shock you. You might think that everything is disastrous, whereas in fact, old stuff you no longer need is being cleared out of your reality so that the free space can be filled with beautiful new things. It is quite possible that events in the script will unfold as if everything is falling apart at the seams, and then awareness will serve you very well so that you can apply the Principle of Advantage. Acting in accordance with this principle, you do not only avoid getting in the way of the script, you move toward the goal more quickly because in the moment of seeking the advantage, you detach yourself from your habitual harmful script and jump to an advantageous film role. Even without the plate, if you carry out the Advantage method using the plate as well, you will move even better and even faster. And beyond that, you'll no longer be snails but fireflies, the living heroes of a motion picture. Tracking Advantage is one of the means of awakening. No event should hook you, but it should make you alert and serve as a call to wake up. Your task is to wake up in time, see reality, and then compose reality. Previously, the moment something is wrong, instantly, argh! You wave your hands and stamp your feet. Now, the moment something is wrong, you exclaim to yourself, or loud as you like, advantage! And from now on, allow the world to do something nice for you, to help you, to bring you closer to your goal. This naturally does not mean that you must become the very epitome of allowing and bend over backwards for all and sundry. Of course, not everything carries an advantage, and it isn't always appropriate to allow and agree to certain things. Don't worry, you will be able to make an adequate decision whether to allow something into your life or not because you'll be in a competent state, i.e., "I see myself and I see reality." In your normal state, how do you respond? Either you are up in arms or you are automatically obeying. You respond in both cases non-consciously. Just following the script. The difference in the Advantage Method is that you make an informed choice, fully present, and hence walk into a Frozen movie as an animated character at the same time as feigning lifelessness. The Advantage Principle is everything in one vial: tracking, imitation, being present, and composing reality. Performing the method, you track yourself, you track reality, and set a course. Which the next frame will follow. Seeking the advantage is imitation in its purest form. You are still following the script, but you are doing it intentionally and consciously. Note that when you track the advantage, you need to look at reality askance. Nobody suspects anything, neither the script nor those around you. You, like all dormant beings, diligently play your role and carry out your daily obligations. At the same time observing what is happening out of the corner of your eye. You are fully present without giving away your presence. This is exactly what is needed, and it is very important to remain undetected as if nothing had anything to do with you. Why? Have you already forgotten why? Honestly, I explained it to you before. I'm going to repeat it many times yet though. Behaving as if nothing had anything to do with you is the fundamental principle of a live stroll through a movie. Firstly, you don't give away your presence, so that those around you won't treat you with wariness and suspicion. Pretend to be asleep. Secondly, do not act in the same direct manner as you are used to, that is, grabbing reality by the scruff of the neck, battling with the events and characters of the current frame, and as a result, plunging back into the script, as in a dream. You are strolling live through a film when your attention is present., and you propel the upcoming frame with your intention and change the film roll. But what intention is that? The most important thing is that it's outer intention. By looking askance and staying as if nothing had anything to do with you, you activate the outer intention center. The Script. Hello again. Hello again, my fit-for-nothing creatures. You are so good-for-nothing and nasty because you have such a tendency to see more harm than good in life. But everything can be put right. Those who seek the advantage find it and become advantageous themselves. It is not your job to set the script and know the answer to how. Your job is to know what you want to achieve and to set the result, the goal frame. When it feels like life is falling apart, that is the advantage. Reality is being cleansed. You are walking through a film when your attention is fully present and you are propelling yourself with intention. Allowing is the work of external intention when nothing has anything to do with you. Wake up, see, compose. As soon as anything goes wrong, advantage. If you don't wake up in time and seek the advantage, in many cases you will understand what the advantage was in hindsight, but then it will be too late. You will understand when you look back and remember. Why and how you pushed against the situation and the opportunity you missed. Yes, yes, yes, you will keep forgetting and remembering too late many, many times until tracking your attention becomes a habit. And why do you constantly forget about your attention? Do you remember? Here's a riddle for you. What is the easiest and at the same time the most important question that torments snails, even without them realizing that it torments them? There's no point in frowning at me, you won't guess. Why aren't things the way I want them to be? That is the question. So what is the answer? It is because you are being led by the script, because you are unaware of the fact, because you don't compose reality yourself but simply exist within it, like a fish in an aquarium, or more precisely, like snails. The fact that you are constantly in a vegetative state and only occasionally wake up and realize that you were sleeping proves that you are being led by the script. Why did you think that you forgot about your attention? From absent-mindedness? No, it is because you are being led by the script. You think that you are acting independently, getting your own way, but that's just an illusion. The illusion of action, if I may remind you, lies in being so caught up in reality that you don't notice the illusion and aren't aware that you are the obedient character in a game. It is literally like a film. The characters in a film don't fully realize their situation either. I'm not referring to the actors, but the heroes of the film specifically. The actors may be long dead, but the characters they played come to life every time someone watches the film. Don't you find it strange? Technically speaking, there is nothing strange about it. Just scenes from life shot onto a film roll. And yet it is very strange, isn't it? You invented films not because you came up with the idea yourselves, but because this aspect of reality already exists. You cannot come up with anything new that does not already exist in waking reality or that is not yet explicitly manifest. The only reason you have film is that you are living in a motion picture. Film is a model of reality. Equally as strange is the contradiction whereby you, as characters, unlike the heroes of a motion picture, are endowed with consciousness. It is a paradox. Reality is a joke. And still you have a chance. Although you are fully present and self-aware in the moment that you ask yourself the question, the rest of the time your awareness is sleeping and surrenders to the outer script. What is also incredible is that you aren't shocked by the idea that you are merely sleeping characters in a script, although you should. The reason it doesn't shock you is that you aren't capable of seeing through the illusion of action. It is very powerful. You simply don't take it seriously when I say, "You are being led by the script." You think it's a joke or some kind of esoteric fantasy. But it's true. And even when you take me at my word, you aren't fully aware of it, just like the characters in a film aren't aware that they are characters in a film. But perhaps, one day, after you have experimented with reality, the moment will come to you when you will be acutely aware of it. And then you really will be shocked. But for now, you only vaguely suspect the existence of the script, the phenomenon of fate. Yet fate is just a general direction. You can choose your fate like a road, but you are twerps that you choose fate in a worsening direction because you see harm rather than advantage in life, and also because you do not really choose. Instead, you go out of your way to control everything. Thereby creating even more harm. The script is much more strict and precise than your perception of fate. It is a program that dictates your behavior and all your actions on the current film roll. It is not possible to control the script. All you can do is choose a different one by composing a concordant reality. It is tempting to try and control the script, given your habit of doing so and the illusion that such a thing is even possible for you. Clarissa Chiaese: When you try to exert direct influence on people and events, you are making a mistake that leads to a whole series of negative actions and adverse effects. Then the script begins to move in such a way that the clouds on the horizon of your reality can only get heavier. And then you will find yourself like a rat in a maze, looking for a way out, which is grueling and unproductive. You must understand that it is not possible to directly influence either the local script or the general course of events. You can only grasp the edge of the canvas of reality and make use of some of its components. Seeking the advantage is one of those components. And if you don't get this, I'll annihilate you all. Dimwits I can do without. I have a button called Delete. It countermands everything or erases it. I don't remember which exactly. I should check. The Creator's Spark. Repetition, repetition, my dears, my beauties. Repetition is to your advantage, although it is torment for me. Or not. As I said, repetition is your pain and my gain, my little maniacs. You aren't yet seeing or composing reality. You live within it like a fish in an aquarium. You forget to track your attention because you are being led by the script. You are only able to invent cinema because you are already living in a film. The cinema is one aspect of reality, literally a model of it. The script is the program for your behavior on this particular film roll. You can't control the script, you can only compose the goal frame. Now we return once again to that age-old question: Why is everything not quite as I want it to be? You already know the answer to this question. It lies in the fact that you don't fully realize the situation you find yourself in. At least you didn't until now. Is it possible to make things in life the way you would like them to be? The answer is affirmative. The only problem is that you aren't going about it in the right way. Imagine that you have woken up inside a film. What can you possibly change? The film develops irrespective of your actions. There's no point in trying to influence people and events because everything is predetermined. Yet this is precisely what you do your best to achieve. The break occurs in the moment that a tiny spark of awareness tells you that nothing is going as you want it to. And yet at that, the spark fades. By virtue of being incompetent characters on the one hand and having the capacity for self-awareness on the other, you are ruled by the powerful temptation to control the course of events and other people directly, exerting influence upon them and manipulating them within the current frame. You soon realize that this isn't actually impossible, and begin to be tormented by the question of how. And yet you can't possibly know how because you haven't read the script. So if the script is a mystery and you can't control it or the people within it, what can you do exactly? First, propel the forthcoming frame. Second, propel yourself. Third, propel yourself from within. This is the sum total of the tools at your disposal. The first one you already know: compose the goal slide. You must be wondering why I repeat this point so often. It is because you have settled hard into your snail house, your mold, which would make you believe that it is impossible to compose forthcoming reality. You can only battle with the conditions of your current physical reality. In fact, in life it's the opposite. In composing reality, you install a film roll with a script that works for you. —if, of course, you seek advantage from the situation it brings your way, rather than hindering it by always expecting the worst. We will talk about the third point later. For now, the second: what does it mean to propel yourself? Imagine that you are in a film. The film is already running, and you can't change anything about the storyline. But no one is stopping you from changing yourself. Don't listen to those who would try to convince you that you should be yourself and never change. To a certain extent, yes, you can't lose your core identity, your uniqueness. But should you stay a snail? Is that what you want? You have to change without changing. You will understand soon what I mean by that. Self-improvement does not mean changing your core self. You were originally created by nature as perfection itself, even taking into account your failings, which all of us have. Where there is no development, there is no degradation.. It is a natural law. It is important for you to understand that you have to work on yourself, develop your physical and your spiritual qualities, unless you wish to turn into shriveled slugs. Much depends on self-development. In each of you there is a spark of the Creator, so kindle it. The spark is not of the Lord, but specifically of the Creator. To lord it over others is another kind of temptation, which you must never give in to. Create your reality and yourself perfect. The Supreme Creator does not contradict this rule. He does not rule over you. What would be the point? You wouldn't listen anyway. He creates, and you are capable of doing the same. How and why we focus on physical self-development, you and I are well aware. Who needs a shriveled slug? What can they possibly achieve except frown and complain of their fate? It sounds harsh, but it is the truth, and you can't hide from the truth forever in your little snail's house. In spiritual terms, we must become as fireflies in the realm of shadows. I have already explained to you how: enlighten your attention, that is, track it in time, see yourself and see reality. Even just doing this, you begin to shine. And what if you were to radiate even more brightly? What should you radiate precisely? Do you really need to ask? Well, naturally, with the same things that attract you— with happiness, love, and rejoicing. When you do, snails from all around will crawl towards you, stretching out their snail horns. Even without changing the film roll, people will show interest and favor towards you. The film continues as before, only now you are a megastar. You barely have to do anything at all, just learn to track your attention and direct it properly. Kindle the Creator's spark within. A most pleasant exercise and worthy goal, is it not? There are a couple of finer points I will tell you about too. 1. You must compose reality at the same time as doing whatever the script requires of you. First, compose reality, then having jumped to a new film roll, do everything you have to do, go wherever you must, say and do whatever you must. Yes, all this is in the current frame. You didn't think that you could get away with lounging on the sofa indulging in mental imaginings alone, did you? 2. Don't just seek advantage for yourself. Allow all other snails to do the same. Advantages for yourself and advantages for others. This should be on the list of principles that make up your personal philosophy. Otherwise, you'll go back to the same senseless rigmarole of trying to control people and events. That's how it is, my angels. Dictates of Power. Come closer, snails. I have good news for you. Do you know what the main idea of the script is once you are beyond 20 years old? It's your personal degradation. Are you pleased? Why not? You have hope. You have me. You can't change the current film role even once you've woken up. When you compose your own reality, you start another film script that works for you. If you don't work on self-development, there will be degradation instead. You were originally created perfect. There is a spark of the Creator in each and every one of you. To kindle the Creator's spark within, focus on self-development. You have a choice: either allow the script to propel you forward or take yourself for yourself so that you can propel yourself and significantly accelerate the implementation of the design. Now, rather than getting into explanations of what propel yourself means, I will return again to the question of your obsessive need to control the script. This is a very important issue. It is linked to your paranoia, my little irks. I have to explain constantly what you mustn't do and what that which you mustn't do really is. So stretch out those snail horns and listen carefully. You constantly want something from people or events. Trying to coerce or somehow influence them so that things turn out your way, at the same time as being tormented by the question of how to make it happen. For example, say you're a guy trying to make an impression on an individual of the opposite sex so that she'll agree to go on a date with you. You implement what, in your opinion, is nothing short of the impressive mating dance of a jaybird, but she gives you the cold shoulder, Nonetheless, having the capacity for self-awareness, you ask the question, "How?" and design a whole seduction strategy based on your own perceptions. Yes, in the moment that you ask yourself, "How?" your self-awareness is awakened, but it gets in your way because you're not thinking about the goal, but your own silly ideas of how to manifest it. Your imagined script contradicts the real one, but you insist on having your own way and spoil everything as a result. Unlike you, the jaybird acts without self-awareness, instinctively giving itself to the script. The jay has more chances of getting what it wants than you because it only has the one goal in mind and none of its own fabrications on the theme of how. You have never tried behaving like that, right? Well, try it. Just go up to the object of your passion without thinking about it and say and do whatever comes into your mind. If you keep only the goal in your thoughts, the script will lead you to it. The only difference between the J's behavior and your own should be that you are consciously observing yourself. You need to observe yourself, observe what you are giving your attention to, so that rather than sinking back into constructing your own plan, you follow the barely perceptible nudges from the script as if they were the dictates of power. It is complex and simple at the same time. Complex because it is unusual and unfamiliar to you to put aside your own motives and surrender to an external power. It's simple because you can sense these dictates of power if you allow them to lead you consciously and intentionally. Now, do you understand what I'm talking about? It's still the same thing, the principles of strolling live through a motion picture. The principles are paradoxical, because they go against your ideas and habits. In a non-aware state, you go against the script, and when you wake up, you are even more impatient to act willfully. You have to think and act in the opposite way. Do not resist automatically with knee-jerk reactions. Surrender purposefully and consciously. Imagine that you are a mannequin with a wax face, an unseeing gaze, and you move as if you were an inanimate wind-up doll. Then, Suddenly you enter a state of awareness, your eyes light up, and— and that is the only thing that differentiates you. Of course you will shine with a special inner light, evoking unconscious warmth from those who are still sleeping, but you shouldn't stand out in any other way. Just follow the flow of the film roll like everyone else. Once you have awakened, you continue moving mechanically in the crowd of other mannequins and doing the same as everyone else. Without giving away your presence. Pretend that you are still sleeping and secretly change the film roll. Do you remember what this is called? It's imitating motion. By consciously allowing the script to lead you, you are in fact leading yourself, using the power and wisdom of the script. And then everything goes smoothly. By not allowing, you spoil everything. Then for you, nothing is going as I want it to, Partly because you are not allowing it to. Some may protest, "Why should I rely on the power and wisdom of a script that is leading me, who knows where, and may or may not actually have any true power or wisdom? And how do I know it's invested in anything being how I want it to be?" Of course, the script is not invested as such, but there is a sense in which the script will listen to you if you are listening in return. Why it will listen to you and why you should rely on it, we will come to later. For now, let's start by answering a simple question: Is it possible to resist the Script in principle, and is it worth doing so? For example, let's say the object of your passion has agreed to go on a date with you. What do you usually do when you're preparing for a date? You construct your own plan and expectations. You want events to go according to your plan, and you want the object of your passions to behave in the way you'd like her to. In reality, everything turns out differently, which evokes your discontent as well as negative reactions and consequences. Think for yourselves: why should events unfold as you imagined them to, and why should people behave as if you expect them to? It's not unlike watching a film or television series and expecting the plot to develop in accordance with your own script, and the characters in the film to act according to your own expectations. Would that happen? No, absolutely everything is the same way in the film which you consider to be your life. Following. Hey, hey, and away! You have already learned a lot, my dears, but far from enough to walk freely through a motion picture. We will go over it all again and again. The question "how" takes you away from your goal and your goal frame composition. Wanting everything to go my way spoils everything and takes you away from the goal. Resisting the script brings you nothing but trouble. If all your thoughts are focused on the goal, the script will lead you to it. Do not resist. Observe yourself and follow the flow of the film roll. Learn to feel the decrees of power and to follow the decrees of power. If controlling the events and people in the current film roll is impossible, What should you do? Let go of both and allow the film roll just to turn as it is already turning, and allow people to live their lives just as they are already living them. Why would you worry about the current film roll if you are free to change it? And when did you decide that you have the right to influence other people? Let them all go, and they will let you go, and what's more, run to you and do what you want them to do. But more on that later. I remind you, Your mind should be focused on the end result, the goal slide, not the course of events or the behavior of other people. You can't resist the script. That's impossible. Even when you're being fully present, all the changes that take place in your reality that is in accordance with your will are the result of you switching to a different film roll. You can't do anything about the script in the current film roll. Some may protest that they have woken up and decide to escape the script. Consciously and intentionally. Let's say you decide to do something earth-shattering, for example, to beat someone's horns for no good reason. Maybe I'll get the same in return, but still, I have broken from the script while being fully present. Firstly, you cannot confirm that this, your curveball, was not in the script, and secondly, so go ahead and make all the curveballs you like. What's the point in that? We're talking about solving your problems and achieving your most sought-after goals. And about why your dreams aren't coming true. Playing curveball with reality can never lead to anything good. Reality is not to be trifled with. Reality must be handled competently. That's what this is all about. All the rest is trivial, and the same goes for the minor exceptions from the rule, which undoubtedly you will come across in the course of your experiments. All these little things are unworthy of your attention. It is better to focus on the main thing that is of a fundamental importance. So let's move on to the specifics. Once you have woken up, the meaning and principle of strolling through a motion picture are not to start creating your own tyranny, but to consciously obey. Composing reality and switching the film roll—herein lies your free will. In everything else, the essential thing is to wake up, observe, and follow. Wake up in order to do 3 things consciously: 1. Rejected the script's control. 2. Start to follow the script. 3. Compose your goal frame. Observe in order to: 1. Track your attention. 2. Track the advantage and benefit from it. 3. Track and illuminate the upcoming slide. Track in order to make use of the power and wisdom of the script. The script is like a river, always moving along the optimal path. Your first task is to show it the destination. The goal. You will not be able to calculate how to achieve the goal. There are too many variants, subtle details, people, circumstances, and events involved, and all of them are equally unknown to you. The script can solve the task with ease, and so your second task is to follow it. Following in this case is not quite the same thing as what we were talking about when discussing the principles of advantage and allowing. Following is the ability to sense the decrees of power and obey them. However, you don't always have to feel them. Often it is enough to consciously observe the pattern of how events are unfolding, and then to simply accept them, act in accordance with them, and show no resistance. To sense the direction which the Script is pushing you, it is enough to become fully present, to be in a state which you can see yourself and see reality. If reality does not give you a clear answer where you should follow, it means you must listen more carefully to yourself and your feelings. When you are fully present, you will be able to do this very easily. The harder task is to track yourself at the right time so that you wake up. Here are the various triggers that we leveraged in the methods for tracking attention. Frame Illumination and Advantage will help you. You must use the triggers, all of them, continually, so that it becomes a habit. That's the only way of learning to wake up at the right time. Unless this becomes a habit, nothing will work. The ability to wake up at the right time is the most important thing. In addition to the above, I give you the control triggers. Your most destructive habit is your desire to control everything— the script, events, and people. 1. I want something from people and events. 2. I want everything to go according to my plan. 3. Something isn't going the way I would like. It is essential that you replace the habit of controlling with a new habit. Letting Go and Following. And now the following method. 1. Catch the control trigger. 2. Wake up. I see myself and I see reality. 3. Ask yourself, feel, what is the first command saying? 4. If you receive an answer to this question, follow the command. 5. If you don't receive an answer, compose the goal slide and try following again. Outer Power. So how are you, my sweet little lambs? Have you understood that a live stroll isn't just a stroll along the lines of "I'll do whatever I want"? On the contrary, on the walk I am humility itself. I behave quietly, without giving away my presence. I watch and follow. You will also have realized that in reality all this is total pretense and imitation. So let's repeat the principles. Wake up, observe, follow. Compose the goal frame and follow the script. Following makes use of the power and wisdom of the script. Constantly respond to the triggers so that they become a habit. Replace the habit of controlling with the habit of letting go and following. To follow is to have the ability to feel and heed the decrees of power. Only you mustn't confuse the decrees of power with a desire to indulge in your own weakness and stupid inclinations, my sweetie pies. By following the first impulse, the decree, or as it is also referred to, your intuition or presentiment, you are taking the first step. It is a mistake to ignore the decrees. Disobedience is not the same thing as freedom. If you go at odds with the script and make a mistake, it will bring you back into the fold, only this time in a worse program on account of your error. The reason for your disobedience in this case is your self-awareness, or more precisely, your self-importance. The reason it causes you harm is that you aren't using it for the purpose it was intended. It leads to inappropriate action as opposed to right action. Your conceit doesn't realize the nature of your situation. I have told you in some detail that you are in a film, in the position of one of the characters, and I have also explained how you must act in order to free yourself from this position. In the previous lessons, we have talked about how the script is a program that shapes your behavior and all your actions on the current film roll. But is that the be-all and end-all of the script? There are in fact two exceptions to this, one constructive, the other destructive. I've already described the destructive exception, which is when you fail to heed the Script. The constructive exception lies in the moment that you wake up and consciously compose your own reality. This is the only thing that isn't included in the Script. The Script doesn't foresee the exception that you are capable of switching the film roll and coming into possession of a different script. You see how curiously the world is constructed? The script isn't aware of your ability to change the film roll. This is a privilege granted to you by the Creator. No one, not a single living being, can do this except you. You are the exception to the general rule, and yet you don't use it. As I have already explained, the script can even be obedient to you. In what sense? When you compose your own reality. The current script releases you and gives way to another, that of the film roll into which you shift the moment you illuminate the goal frame. As you know, you have two intention centers, inner and outer. The inner center is located in the forehead, the outer at the tip of the plate. Inner intention accounts for your basic performance in the current frame. So far, we have only mentioned outer intention in passing, when we talked about the principle of it having nothing to do with you. I'll remind you again: you are taking a live stroll through a film when you are present with your attention and propel yourself with your intention. Propel the frame, but not with your petty intention. Propel it with outer intention. The outer intention is referred to as such because it is not yours. It does not belong to you or take instructions from you. How does it move, then, and what on earth is it? You might suppose that the script is the Outer Intention, but it isn't. There is something else beyond the script. The Outer Intention is a kind of power, a driver that powers reality. Its active component turns the film roll in the way it is destined to turn. Who predetermines the storyline and for what purpose? This is a weighty, complex question and not the one we shall attempt to answer here. It is more important to us to understand what we can do with the phenomenon of predetermination. You can't influence or directly impact power, but you can use it indirectly. You have an access point to this power, which is your outer center, the plate. When you are asleep, power takes you by the plate and leads you through the script like a puppet. But when you are awake, fully present, and take the plate into your own hands, Meta Power, Power's reactive component, is activated. This is what enables you to launch a different film roll, one that corresponds to the frame you are composing. We have already looked at the method for working with the Plate, but we'll repeat it here once more, just for good measure. Wake up and enter the awareness point, being present. Activate the Plate, focus your attention on it, feel it. Without removing your attention from the Plate, compose your goal frame. As soon as you become fully present, your attention came into your possession. As soon as you have activated the plate, the puppet strings also ended up in your hands. Now, without letting go of the strings, direct your attention to the inner screen and draw the picture of your future. Compose your goal frame. Your attention is simultaneously focused on the internal screen and the plate. Attention feels the plate and draws, visually and/or in words, thoughts on the screen. It draws not from the inner center, but from the outer center, which is at the same time both yours and not yours. You are applying not a visible, tangible power, but a virtual, intangible, meta-power, which acts somewhere behind you and beyond you. It has nothing to do with you. You aren't doing anything directly. You are simply facilitating indirectly and observing what is happening. Do not force. Allow so that it can move of its own accord. Note and remember the feeling that arises behind you and beyond you. This is your contact with power. If you can learn to own this feeling, power will be with you.