Sumari family have the capacity to reach out emotionally to others and empathize.

To some extent this feeling for humanity often deserves as an impetus for creative work.  Many of them also have a mystical sense of connection with nature. At the same time they can be relative isolationists, wanting to work in solitude.

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Various kinds of seemingly contradictory characteristics may appear, then. One Sumari may have many deeply rewarding personal relationships. Another might find friends a distraction. One Sumari might enjoy performing in front of an audience, while another might not even be able to bear the thought. Since each person is unique, the various Sumari characteristics will then appear quite differently. Some live in cities, basking in the emotional nearness of others, content with a few flowerpots for a reminder of nature’s beauty. Another might have a farm. In most cases, however, the slant of consciousness is primarily creative.

 

 

The Particular variations that one person might play are endless.

You cannot consciously begin to alter the framework of our life, unless we realize first of all that we form it.. The melody is our own. It is not inevitable, nor is it only tune that we can play.

To some extent we can actualize portions of our own unknown reality, and draw them into the experienced area of our life. There is an obvious relationship between one note and another in a musical composition. Now in terms of physical families and in larger terms of countries, there is a relationship between realities, which constantly change as the notes do. To some extent our reality is picked up by our contemporaries. they accept it or not according to the particular theme or focus of their lives.

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In those terms, we are not a part of any reality that is not our own. If we share it with others, it is because others are concerned with variations of the same theme. This applies in terms of world goals “at any given time.”

In certain terms, we are working with the challenge of how best to use the world’s resources. Some countries will overproduce. Others will underproduce. Contradictions seem to occur. Some people will be overfed while others starve; some sated with material conveniences, others relatively ignorant of them. These are variation of the same theme, we see. In overall terms contemporaries are working on the same group of challenges, though either oversupply or great lack might show itself at any particular place. Perhaps, however, the challenges could not be clearly delineated without those extravagances of degree.

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As contemporaries, counterparts choose a particular time framework. The time format alone makes certain focuses clear, that in our terms could not be made in another context. What we learn in our present about industry–“progress”–and the equitable sharing of the earth’s products, could only be learned in a context in which industrialism was experienced as going too far, where technology was seen and known as a growing jeopardy.

In terms that are difficult to describe, the creative solutions will change the course of history in the past, so that variations are taken, and technology does not progress in the same way that it “has” in our experience.

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We can change our past from the present. The same applies to civilizations.

 

There are many kinds of music. We could say: “Music is triumphant,” or “Music is tragic.”

We would understand that I am not contradicting myself. We would not say, “Why would anyone write a composition like Tchaikovsky. Why would a composer choose a somber mood? The music itself would have its own sweep and power, and would be beautiful beyond all concepts of good and evil manner, even a tragic composition of midst of the deepest emotions of tragedy, or even of defeat. In such cases the tragedy itself is chosen as an emotional framework upon which the psyche plays. The framework is not thrust upon its, but indeed chosen precisely because of its own characteristics–even those of despondency, perhaps.

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Tasting those qualities to the utmost, from that framework the psyche probes the fires of vitality and being as experienced from that specific viewpoint, and the despondency can be more alive then an unprobed, barely experienced joy. In the same manner, certain individuals can do choose life experiences that involves great brings into experience, through comparison, the great vitality and thrust of being.

This does not mean that a tragic life is more vital than a happy, simple one. It just means that each individual is involved in an art of living. There are different themes instruments, melodies–but existence, like great art, cannot be confined to simple definitions.

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From the outside, for instance, it might seem as if a young person dies because in one way or another he or she is dissatisfied with life itself. Certainly it is usually taken for granted that suicides are afraid of life. However, suicides and would-be suicides often have such a great literal lust for life that they constantly put it into jeopardy, so that they can experience what it is in heightened form. The same applies to many who follows dangerous professions. It is fashionable to suppose that these people have a death wish. Instead, many of them have an intensified life wish, so to speak. Certainly it seems destructive to others. To those people, however, the additional excitement is worth the risk. The risk, given them an intensified version of life.

This is obviously not the case with all suicides or would-be suicides,or all risk-takers. But those elements are there. A person who dies at 17 may have experienced much greater dimensions of living, in our terms, than someone who lives to be 82. Such people are not as unaware of those choices as it seems.

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This does not mean that we cannot alter our experience at any given point.

Back through the historical past. All counterparts alive as temporaries…

…form, together, a musical composition in what we think of as a present; and once the multidimensional song is struck then its past ripples out behind it, so to speak, and its future sings “ahead.” But the song is being  created from its beginning and its end simultaneously. In this case, however, it is as if each note has its own consciousness and is free to change its portion of the melody. Yet all are in the same overall composition, in “time,” so the time itself serves as the scale in which the[musical] number is written–chosen as a matter of organization, focus and framework.

In music the pauses are as important as the sounds. In fact, they serve to highlight the sounds, to frame them. The sounds are significant because of their placement within the pauses or silences. So the portions of our psyche that we recognize as oneself are significant and intimate and real, because of the inner pauses or silences that are not actualized, but are a part of our greater being.

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Now imagine a composition in which the pauses and the silences that we do not hear are sounded –and the notes that we hear are instead the unheard inner structure. There is an intuitive “definition” of probable and reincarantional selves, and counterparts, in relationship to the self that we know. We can change our own pacing, and add variations, or even begin an entirely new composition if we choose to. many people have done this in very simple, mundane ways by suddenly deciding to use abilities they had earlier ignored. a man of letters, for instance, at the age of 40 suddenly remembers his old love of carpentry, reads do-it-yourself manuals, and begins his own home repairs. After disdaining such relationship with earth and its goods, and this appreciation adds to words that before may have been as dry as ash.

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In that case, there would be in another reality a carpenter of his equivalent with a latent love of words, unexpressed–and that individual would then begin to develop; reading books on how to write, perhaps, and taking up a hobby that would allow him to express in words his love of the land and its goods. The creativity of the psyche means that no one world or experience could contain it. There fore does it create the dimensions in which it then has its experiences.

Each portion, by what ever name contains within it the latent potentials of the whole. If the unknown reality exists, it is because we play one melody over and over and so identify oneself, while closing out, consciously at least, all of the other possible variations that we could add to that time.

 

 

Life as we know of it is far from being inflexible.

Returning to alternate compositions, we can at any time bring into our own life-composition elements from and “alternate” ones.

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Some people structure heir lives around their children, others around a career, or pleasure, or even pain. These are simply certain focuses that we choose, that direct our experience. We can add other focuses while still retaining our own identity–indeed, enriching it.

Sometimes we act as though one ability contradicts another. We think “I cannot be a good parent and a sexual partner to my mate at the same time.” To those who feel this way a definite contradiction seems implied. A woman might feel that the qualities of a mother almost stand in opposition to those of an exuberant sex mate at the same time.” To those who feel this way a definite contradictions seems implied. A woman might feel that the qualities of a mother almost stand in opposition to those of an exuberant sex mate. A man might imagine that fatherhood meant providing an excellent home and income. He might think that “aggressiveness,” competition, and emotional aloofness were required to perform that role. These would be considered in opposition to the qualities of love, understanding, and emotional support “required” of a husband. In actuality, of course, no such contradiction apply. In the same way, however, we often seem to feel that our identity is dependent upon a certain highly specific role, until other qualities quite out own seem threatening. They almost seem to be unself-like.

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To some degree we feel the same way when we encounter the concept of probable selves, or of counterparts. It is as though we had an unlimited bank of abilities and characteristics from which to draw, and yet were afraid of doing so–fearing that any addiction could make us less instead of more. If all of this goes on personally as we choose one melody and call it oneself, then perhaps we can begin to see the mass creative aspects in terms of civilizations that seem to rise and fall.

Apple consciousness.

An apple can be red round, weigh so much, be good to eat, sit in a basket, but be natural on a tree. It can be tart or sweet. We can find one on the ground, or on the table, or in a pie. None of these things are contradictory to the nature of an apple. We do not ask: “How can an apple have color and be round at the same time?”
We can look at an apple and hold it in our hands, so it is obvious that its shape does not contradict its color. We see that an apple can be red or green or both. If I said: “Apples sit quietly on a table,” we would have to agree that such is sometimes the case. If I said: “Apples roll down grassy inclines,” we would again be forced to concede the point. It would be clear to us that none of these statements contradicted each other, for in different circumstances apples behave differently.
So far, we o not hold our consciousness in our hand, however. When I speak of the behavior of our psyche, then, we may wonder: “How can my psyche exist in more than one time at once?” It can do this just as an apples can be found on a table or on the ground or on the tree.

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The inside dimensions of consciousness cannot be so easily described, however. If we ask: How can i have reincarnational and probable selves at once?” , we are asking a question comparable to: “How can an apple have color and be round at the same time?”

Following this analogy, in the same way each psyche contains within it infinite notes, and each note is capable of its own endless creative variations. We follow one melody or oneself, and for some reason we seem to think that the true, full orchestra of oneself will some how drown us out.

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When speaking in terms of counterparts, then, or or reincarantional selves and probable selves, in the true symphony of our being we are violins, oboes, cymbals, harps–in other words, we are  living instrument through, which we play oneself. We are not an instrument upon which we are played. We are the composer and the symphony. We play ballards, classical pieces, lyrics, operas. One creative performance hoes not contradict the others.

Sumari characteristics do not exist in isolation.

To one extent or another, each family of consciousness carries within it the characteristics inherent in all families. There is, therefore, great diversity.

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The Sumari abilities are highly creative ones, however. To a large extent they have been inhibited in our society. Each person can recognize his or her degree of Sumariness. The playful, creative elements of personality can then be released.These qualities are particularly important as they add to, temper, or enhance the primary characteristics of the other families of consciousness.

If you are a “reformer,” a “reformer by nature,” then the Sumari characteristics, brought to the surface, could help you temper your seriousness with play and humor, and actually assist you in achieving your reforms far easier then otherwise. each personality carries traces of other characteristics besides those of the family of consciousness to which he or she might belong. The creative aspects of the Sumari can be particularly useful if those aspects are encouraged in any personality, simply because their inventive nature throws light on all elements of experience.

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The psyche as we know it, then, is composed of a mixture of these families of consciousness. One is not superior to the others. They are just different, and they represent various ways of looking at physical life. The existence of psychic groupings, and the difference be tween probable and reincarnational selves, counterparts and families of consciousness. At times contradictions may seem to exist. We may wonder how we are us in the midst of such multitudinous psychic “variations.”

There is a connection between our counterparts and the families of consciousness.

As our brothers or sisters might belong to the same physical family, so generally are us and our counterparts part of the same psychic group of consciousness. Remember that these psychic groups are like natural formations into which consciousness seems to flow. Our own interests, desires, and abilities are not predetermined by our member ship in a given psychic family.

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For example, we are not creatively playful because we are “Sumari” Instead, we join the Sumari grouping because we are creatively playful. The groupings of consciousness, then, are not to be equated with say, astrological houses.

Taking the Sumari as an example, there can be overly intent, ponderous, or simple dour Sumari who have not learned to use their creativity graciously, or with joy. Yet that joyful use of ability will be their intent. At particular periods of history, in our terms, different families may predominate.

The psychic groups, however, overlap physical and national ones. The Sumari are extremely independent, for instance, and as a rule we will not find hem born into countries with dictatorships. when they do so appear, their work may set a spark that brings about changes, but they seldom take joint political action. Their creativity is very threatening to such a society.

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However, the Sumari are practical in that they bring creative visions into physical reality, and try to live their lives accordingly. They are initiators, yet they make little attempt to preserve organizations, even ones they feel to be fairly beneficial. They are not lawbreakers by design or intent. they are not reformers in the society or culture. they are given to art, but in its broadest sense, trying to make an “art” of living, for example. They have been a part of most civilization, though they appeared in the Middle ages (A.D.476- A.D. 1450) least of all. They often come to full strength before great social changes. Others might build social structures from their work, for example, but the Sumari themselves, while pleased, will usually not be able to feel any intuitive sense of belonging with any structured group.

there is no correlation between the families of consciousness and bodily characteristics, however. many of the Sumari choose to be born in the springtime, but all those born in the spring are not Sumari, and no general rule applies there. They also have a liking for certain races, but again no specific rules apply. many of the Irish, the Jews, the Spanish, and some lesser numbers of the French, for instance, are Sumari–though they appear in all races.

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Generally speaking, america has not been a Sumari nation, nor have the Scandinavian countries or England. Psychically speaking, the Sumari often very nicely arrange existences in which they are a minority–in a democracy, say, so that they can work at their art within a fairly stable political situation. They are not interested in government, yet they do rely upon it to that extent. They are apt to be self-reliant within that framework. their recognized artistic abilities may predominate or be fairly minimal.

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Sumari is a state of mind, a slant of being. They are not fighters, nor will they generally advocate a violent overthrow of government or mores. they believe in the creativity of change, naturally occurring

Nevertheless, they are often part of the cultural underground simply because they are seldom conformers. A Sumari is very uncomfortable as a member of any large commercial venture, particularly if the work involves habitual or boring routine. They are not happy on assembly lines. They like to play with details– or to use them for creative purposes. they often go from one job or profession to another for that reason.

If we begin to look into the nature of oneself, and feel intuitively that we are  a Sumari, then we should look for a position in which we can use our inventiveness. Sumari enjoy theoretical mathematics, for example, yet make miserable bookkeepers.

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In the arts, Picasso was a Sumari. many entertainers are Sumari. We seldom find then in politics. They are not usually historians.

There are few with any position within organized religions. Because of their feelings of self-reliance, howevr, we can find them as farmers, working intuitively with the land. they are equally divided between the sexes. In our society, whoever, Sumari qualities in the male have until lately been frowned upon to some degree.

 

Duplicate Thoughts……Impossible!

There are no duplicates. Yet, we may say, are not some thoughts duplicates?  The variations may indeed be slight, but variations are always present. A thought transmitted knowingly or unknowingly by A. is not precisely the same thought when it reaches receiver B.

The thought originally held by A. is still retained by A., yet a seemingly identical thought reaches B. A. has lost nothing. That is, in trying to send the thought, in trying to duplicate the thought, A. still retains it. So what is passed on to receiver B.? This is rather important, since an explanation will do much to account for the frequent difference that occurs in telepathic communications.

Whether o r not A. the sender, knowingly transmits this apparent duplicate, at the point of its transmission, the sender forms an electrical impulse pattern that is supposed to duplicate the original thought. But no such identical duplication is possible, as far as I know, within reality of any kind.

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A side note: identical twins are hardly identical, for example.

As soon as the attempt is made to duplicate the thought, we find the attempt itself strains and pulls; the impulse changes minutely, or to a greater degree. The point I want to make is that any attempt at duplication actually forces the thought it is already a new thought, bearing great resemblance to the original. But it is not the original thought.

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Prime identities cannot be duplicated. Exact duplication is always an effect of insufficient knowledge. In some cases two thoughts may appear identical, but whether or not examination can show it, such exact duplication is impossible. Now when receiver B. receives a transmitted thought, he may react and interpret that part of the thought that is similar to the original.

He may , on the other hand, react to and interpret that portion of the thought that is not similar. He may react to and interpret the similarity of the difference. His reactions depend upon several circumstances, including the intensity of the electrical pulsations that compose the thought, and his own inner facility in reaching to particular ranges of intensities.

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Habitually, individuals establish overall frequencies that they are able to handle, for various reasons. An individual will therefore feel more at home operating within certain frequencies. The original thought is used as a pattern for the creation of a new electrical reality which may or may not be directed at any given receiver. It is obvious that the attempt to duplicate is present: were it not for this attempt to duplicate, then there would be little similarity between any separate identities.

The nature of the thought that is received by B. is determined by many factors. We shall consider but a few of these. These include the original intensity of the thought as A.; the familiarity or unfamiliarity of the range of frequencies that compose the thought to any intended receiver.

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The receiver will understand and interpret in general the intensity range he is in the habit of using himself. Some, or a portion of the transmitted thought, may fall within his range and some may not. He may pick up the portions of the thought which are similar to the original thought which are similar to the original thought, in which case some scientific proof of sorts can be achieved. It can happen, however, that the dissimilarity is what falls within his particular accustomed range, in which case proof will be inadequate.

Emotions also possess an electrical reality. Thoughts formed and sent out within the impulse range of emotion often succeed because of the peculiar nature of the emotional electrical impulses themselves. They have a particularly strong electrical mass. They also usually fall within powerful intensities, for reasons. Thoughts formed under a strong emotional impetus will carry greater vividness, have a greater tendency toward duplication, and are apt to be interpreted with some success.

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Also, all individuals have had familiarity with emotions as they exist within electrical intensities, and are accustomed to reacting to them. The whole process in instantaneous. However, the thought which is now an approximation of the original thought is changed once more by the receiver himself. He does not actually interpret the thought itself. He interpret the thought itself. He interprets its meaning and forms a new thought identity.

Action, the very action of transmission, alters the nature and electrical reality of the thought itself.

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Our imaginary sender A. does not transmit a given thought. He does not even send an exact duplicate. Nor does the receiver receive the thought in the same condition. The original thought is retained by A. A. forms a thought as nearly identical as possibilities allow it to be. This he transmits to B. But B. can’t receive the thought in its present condition, for the action of receiving a thought also changes it. He forms a thought as nearly identical as possible for him and interprets it.

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Action can never be considered apart from that which is seemingly acted upon, for action becomes part of structure. Action begins from within and is a result of inner vitality inherent in all realities. Action is not alone. It is not an identity. ACTION IS A DIMENSION OF EXISTENCE.

 

The petty wars, even those still to be fought, are but dim memories, once vital but lost as nightmares in greater awakenings.

A nostalgic memory for lives come and gone, as we might for fond dreams barely recalled. They represent a present unique beyond telling, alive  in each consciousness, more important than we recognize. There are no real rules to be followed that will bring us into such an encounter with the present moment of reality–only a trust in the nature of our being. And that trust is within us whether or not we recognize it, for it gives us our present experience; and no matter how our mind questions, it rides securely in the great creativity of the soul.

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That soul constantly creates the body, and each individual on the face of the earth at any given time places his or her trust in that reality. That feeling of certainty is the same that any plant knows. Any idea, creative insight, or dream, rides upon the same sure thrust.