Tag Archives: Consciousness

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.

Reality!

Walking down the street, we expect the trees to stay in their places, and not transform themselves into buildings. All of these assumptions are taken for granted in our physical journeys. We may find different customs and languages, yet even these will be accepted in the vast, overall, basic assumptions within whose boundaries physical life occurs. We are most certainly traveling through the private and mass psyche when we so much as walk down the street. The physical world seems objective and outside of oneself, however. The idea of such outsideness is one of the assumptions upon which we build that existence. Interior traveling is no more subjective, than a journey from New York to San Francisco. We are used to projecting all destinations outside of oneself. The idea of varied inward destinations, involving motion through time and space, therefore appears strange.
    Generally speaking, we have explored the physical planet enough so that we have a good idea of what to expect as we travel from country to country.
    Before a trip, we can produce travel folders that outline the attractions and characteristics of a certain locale. We are not traveling blind folded,therefore, and while any given journey may be new to us, we are not really a pioneer: The land has been mapped and there are few basic surprises.
    The inner lands have not been as well explored. To say the least, they lie in virgin territory as far as our conscious mind is concerned. Others have journeyed to some of these interior locales, but since they were indeed explorers they had to learn as they went along. Some, returning, provided guidebooks or travel folders, telling us what could be expected. We make our own reality. If we were from a foreign land and asked one person to give us a description for reality. The person might say “New York City is a frightful place in which crime is rampant, gangs roam the streets, murders and rapes are the norm, and people are not only impolite but ready to attack us at a moment’s notice. There are no trees. The air is polluted, and we can expect only violence. ” If we asked someone else, this individual might say instead: “New York City has the finest of museums, open-air concerts in some of the parks, fine sculpture, theater, and probably the greatest collection of books outside the Vatican. It has a good overall climate, a great mixture of cultures. In it, millions of people go their way daily in freedom. ” Both people would be speaking of their private beliefs, and would be colored by the individual focus from which each of them viewed that City.
    One person might be able to give us the city’s precise location in terms of latitude and longitude. The other might have no such knowledge, and say instead: “I take a plane at such-an-such a place, at such-and-such a time, giving New York City as my destination, and if I take the proper plane I always arrive there.
    Explorers traveling into inner reality, do not have the same kind of landmarks to begin with. Many have been so excited with their discoveries that they wrote guidebooks long before they even began to explore the inner landscape They did not understand that they found what they wanted to find, or that the seemingly objective phenomena originated in the reflections of the psyche.
   We may, for example, have read books numbering the “inner realms,” and telling us what we can expect to encounter in each. Many of these speak of lords or gods of the realm, or of demons. In a strange way these books do provide a service, for at certain levels we will find our own ideas materialized: and if we believe in demons then in those terms we will encounter them. The authors, however, suppose that the devils have a reality outside of our belief in them, and such is not the case. The demons simply represent a state of our own mind that is seemingly out there, objectified. Therefore, whatever methods the authors used to triumph over these demons is often given as proof not only of the demons’ reality but of each method’s effectiveness.
    Now if we read such books we may often program our activity along those lines, in the same way that a visitor to New York City might program experience of the city in terms of what he of she had been told existed there.
    That kind of structuring also does a disservice, however, for it prevents us from coming in contact with our own original concepts. there is no reason, for example, to encounter any demons or devils in any trance or out-of-body condition. In such cases our own hallucinations blind us to the environment within which they are projected. All of its dimensions are faithfully and instantly produced as experience when we learn to take our “normally alert” conscious mind with us; and when we are free of such limiting ideas, then at those levels we can glimpse the inner powers of our own psyche, and watch the interplay of beliefs and symbols as they are manifested before our eyes. Until we learn to do this we will most certainly have difficulty, for we will not be able to tell the difference between our projections and what is happening in the inner environment.
    Any exploration of inner reality must necessarily involve a journey through the psyche, and these effects can be thought of as atmospheric conditions, natural, at a certain stage, through which we pass as we continue.
    Our world, is the result of a certain focus of consciousness, without which that world cannot be perceived. The range of consciousness involved is obviously physically oriented, yet within it there are great varieties of consciousness, each experiencing that seemingly objective world from a private perspective. The physical environment is real in different terms to an animal, a fish, a man, or a rock, for example, and different portions of those forms. This is highly important.
    If an inhabitant from another reality outside of our own physical system entirely were to visit it, and if “his” or “her” intelligence was roughly of the same degree as our own, he or she would still have to learn to focus his or her consciousness into the same way that we do, more or less, in order to perceive our world. He or she would have to alter his or her native focus and turn it in a direction that was foreign to him or her. In this way he or she could “pick up our station.” There would be distortions, because even though he or she managed such manipulations he or she might not have the same kind of native physical structure as our own, or course, through which to receive and interpret those data his altered consciousness perceived.
    Our visitor would then be forced to translate that information as best he or she could through his or her own native structure, if it were to make any sense to his or her consciousness in its usual orientation. All realities are the result of certain unique focuses taken by consciousness. In those terms, there is no outside. The effect of objectivity are caused as the psyche projects its experience into inner dimensions that it has itself created
    Within, those frameworks are ever expanding, so that in our terms at least it seems that greater and greater distances are involved. Travel to any other land of physical reality must then involve alterations of consciousness.
   While all of our thoughts and feelings are “somewhat” materialized, only some of them become physical in our terms. They are then accepted as physical reality. They provide the basis for the physical events, objects, and phenomena upon which we all agree. Therefore our world has a stability that works well enough for daily concerns. At that point we are tuned in precisely on our “home station.” We ignore the ghost symbols or voices, the probable actions that also occur, but that are muffled in the clear tones of our accepted reality. When we begin to travel away from that home station, we become more aware of the other frequencies that are buried within it. We move through other frequencies, but to do this we must alter our own consciousness. The probable realities connected with our own system are like the suburbs, say, surrounding a main city. If for simplicity’s sake we think of other realities as different cities, then after we leave our own we would pass through the suburbs, then into he country, then after a time into other suburbs until we reached another metro-city. Each metropolis would represent a conglomeration of consciousnesses operating within an overall general frequency of clearest focus, a high point of psychic communication and exquisite focus in the given kind of reality unless we are tunes in to those particular frequencies, however, we could not pick up that reality. We might instead perceive the equivalent of jumbled sound or meaningless static, or jigsaw images. We might simply realize that some kind of activity was there, nut without being able to pinpoint it.