Using television as an analogy I will try to show the ways in which physical events are formed, and try to describe the many methods used by individuals in choosing those particular events that will be personally encountered.
Not only does television actually serve as a mass means of communal meditation, but it also presents us with highly detailed, manufactured dreams, in which each viewer shares to some extent. We will use some distinction here, and so I am going to introduce the terms “Framed-mind 1” and “Framed-mind 2.” to make this discussion clear. Televisions are used for more and more purposes, such as playing video games and replaying footage for a security-camera-systems/home security camera alarm system and the technology is only going to get better and better as time goes on!
We will call the world as we physically experience it, Framed-mind 1. In Framed-mind 1, we watch television programs, for example. We have our choice of many channels. We have favorite programs. We follow certain scenes or actors. We watch all of these dramas, hardly understanding how it is that they appear on our screen to begin with. We are certain, however, that if we do buy a television set it will perform in an adequate fashion, whether or not we are familiar with electronics. This is why some people really enjoy custom controls/wholesale house-audio-video-installation because television is a useful medium.
We switch from channel to channel with predictable results. The programming for Channel 9, for example, does not suddenly intrude on Channel 6. Even the actors themselves, taking part in such sagas, have but the remotest idea of events that are involved in order that their own images will appear on our television screen. Their jobs are to act, taking it for granted that the technicians are following through.
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Now somewhere there is a program director, who must take care of the entire programming. Shows must be done on time, actors assigned their roles. Our hypothetical director will know which actors are free, which actors prefer character roles, which ones are heroes or heroines, and which smiling Don Juan always gets the girl — and in general who plays the good guys and bad guys.
There is no need in our outlining in detail the multitudinous events that must occur so that we can watch our favorite program. We flip the switch and there it is, while all of the background work is unknown to us. We take it for granted. Our job is simply to choose the programs of our choice on any evening. Many others are watching the same programs, of course, yet each person will react quite individually.
Now for a moment let us imagine that physical events occur in the same fashion — that we choose those which flash upon the screen of our experience. We are quite familiar with the events of our own life, for we are of course our own main hero or heroine, villain or victim, or whatever. As we do no know what happens in the television studio before we observe a program, however, so we do not know what happens in the creative framework of reality before we experience physical events. We will call that vast, “unconscious” mental and universal studio Framed-mind 2.
We can turn off a program that offends us. We can choose to buy or not buy a product whose virtues are being praised. Television presents us with a mirror of our society. It reflects and re-reflects through millions or homes the giant dreams and fears, the hopes and terrors of events in the most private individual.
Television interacts with our lives, but it does not cause our lives. It does not cause the events that it depicts. With our great belief in technology, it often seems to many people that television causes violence, for example, or that it causes a love of over-materialism, or that it causes “loose morals.” Television reflects. In a manner of speaking it does not even distort, though it may reflect distortions. The writers and actors of television dramas are attuned to the “mass mind.” They are not leaders or followers. They are creative reflectors, acutely aware of the overall, generalized emotional and psychic patterns of the age.
They also make choices as to which plays they will take part in. [Each has his or her} own favorite kind of role, even if the role be that of a maverick. To the actors, or course, their roles become strong parts of their personal experiences, while those who observe the plays take part largely as observers.
We are aware through our newspapers and magazines of the dramas, news broadcasts, or other programs that are presently being offered. In the same way we are aware, generally speaking, of the “programs” being physically presented in our own nation and throughout the world. We decide which of these adventures we want to take part in — and those we will experience in normal life, or in Framed-mind 1.
The inner mechanisms that happen prior to our experience will take place in the vast mental studio of Framed-mind 2. There, all the details will be arranged, the seemingly chance encounters, for example, the unexplained coincidences that might have to occur before a given physical event takes place
On a conscious level, and with our conscious reserves alone, we could not keep our body alive an hour. We would not know how to do it, for our life flows through us automatically and spontaneously. We take the details for granted — the breathing, the inner mechanisms of nourishment and elimination, the circulation, and the maintenance of our psychological continuity. All of that is taken care of for us in what I have termed as Framed-mind 2.
In that regard, certainly, everything works to our advantage. Indeed, often the more concerned we become with our body the less smoothly it functions. In the spontaneity of our body’s operation there is obviously a fine sense of order. When we turn on a television set the picture seems to come out of nowhere onto the screen — yet that picture is the result of order precisely focused. Actors visit casting agencies so that they know what plays need their services. In our dream we visit “casting agencies.” We are aware of the various plays being considered for physical production. In the dream state, then, often familiarize oneself with dramas that are of a probable nature. If enough interest is shown, if enough actors apply, if enough resources are accumulated, the play will go on. When we are in other than our normal conscious state, we visit that creative agency in which all physical productions must have their beginning. We meet with others, who for their own reasons are interested in the same kind of drama. Following our analogy, the technicians, the actors, the writers all assemble — only in this case the result will be a live event rather than a televised one There are disaster films being planned, educational programs, religious dramas. All of these will be encountered in full-blown physical reality.
Such events occur as a result of individual beliefs, desires, and intents. There is no such thing as a chance encounter. No death occurs by chance, nor any birth. In the creative atmosphere of Framed-mind 2, intents are known. In a manner of speaking, no act is private. Our communication systems bring to our living room notices of events that occur throughout the world. Yet that larger inner system of communication is far more powerful in scope, and each mental act is imprinted in the multidimensional screen of Framed-mind 2. That screen is available to all, and in other levels of consciousness, particularly in the sleep and dreaming stages, the events of that inner reality are as ever-present and easily accessible as physical events are when we are awake.
It is as if Framed-mind 2 contains an infinite information service, that instantly puts us in contact with whatever knowledge we require, that sets up circuits between us and others, that computes probabilities with blinding speed. Not with the impersonality of a computer, however, but with a loving intent that has our best purposes in mind — ours and also those of each other individual.
We cannot gain what we want at someone else’s detriment, then. We cannot use Framed-mind 2 to force an event upon another person. Certain prerequisites must be met, before a desired end can become physically experienced.
The basic simultaneity of time is the most fascinating. That “spacious present” holds all events side by side, ready to be interpreted in cause-and-effect fashions by the organizational abilities of our more limited physical senses.
“I have the simple, profound faith that anything oneself desire in this life can come to us from Framed-mind 2. There are no impediments in Framed-mind 2. Framed-mind 2 can creatively produce everything we desire to have in Framed-mind 1.”