Arkashean Q&A Session -- 046

TAM: `These various plays, which create period pieces, represent what you would call reincarnation of lives. They all exist basically at one time.'

THERRY: The implication being that time and space are telescopic.

TAM: Then it matches that `though I use the analogy here of a drama, these plays are highly spontaneous affairs in which the actors have full freedom within the plays framework.' Sort of like free will?

THERRY: Yea, law of the moment. What he's talking about is the effects of the Law-of-the-Moment itself at work. You're familiar with the law of the moment, aren't you?

CORA: Yea, I think so. It's like that's all there is is right now.

THERRY: No, each moment, each multi-second does three things at the same time. Ratifies the past, takes care of the needs of the present, and writes the script for the future.

CORA: Okay. `In each play, both individually and en masse, different problems are set up. Progress can be measured in terms of the particular ways in which those problems are solved or not solved.'


CORA: `Then progress has nothing to do with time, you see, but with psychic and spiritual focus.'


CORA: `Each play is entirely different from any other. It is not correct, therefore, to suppose that your actions of this life are caused by a previous existence, or that you are being punished in this life for crimes in a past one. The lives are simultaneous.'

THERRY: Well, no. What he's talking about is that time and space is telescopic, and because of the telescopic, you create a karmic debt where the awareness factor shifts from one phase to the next. It's called reincarnation. And what happens is that life as we know it, is divided into episodes and life is very episodic in that each segment, for the lack of a better term, deals with a specific pattern of a problem. How you handled that same problem the last time you uncultured it, will determine the nature of the script that you have to deal with in this incarnation. That way, it's not unlike a classroom that you learn something, you take a test; depending on what you do with the test, you either progress and learn something new, or you have to go back and make up.

JANO: And does it matter whether it's a whole bunch of lives ahead, or--


JANO: It's independent of that.

THERRY: That's independent.

JANO: Okay.

THERRY: Exactly when you have to make it up, so to speak, or go back and undo the karmic debt, or equalize the karmic debt, is immaterial and has no binding upon when you deal with that debt. That script is according to the Alliance of the Rule, which is committed at the time of the descent.

JANO: Also the exact scenario, or behavior doesn't have to be the exact same thing.

THERRY: No, it's according to a pattern rather than a specific. But there are laws in that the right of first choice is that the pattern is the same and the people involved are the same; but should it occur where that is not available, then the pattern will be fulfilled using anyone who is the closest to that original pattern, including all of the little nuances. Therefore, sometimes it's apropos that the player that you must play against is male; other times you can't find a male that fits that, but there is a female that is close enough to the pattern so you play against the--

THERRY: Sometimes, it is neither a male nor a female; it's sort of in between the two. It all depends on the pattern, cultural taboos of the time, and the need for the props.

CORA: Just so I have it real clear in my head, all the lives are simultaneous.

THERRY: Well, no, but yes.

CORA: Oh, okay. (Laughter)

THERRY: In the experience of it, according to an individual's awareness, it's no. They are perceived, because reality is an individual state, they are perceived as just one life which has within it alter-realities. But at the same time, the process of death is simply the process of switching from one to, for the lack of a better pattern, the process of death is simply switching from one time line to another, and you view it as reincarnation. It's a difficult thing to understand. From the point of view of the player, it's linear, but from the point of view of creation, it's parallel.

CORA: No, I can kind of grasp the idea of it being parallel, but the question is if that is the case, where does the karmic debt kind of stuff, and free-will come in if it's already done?

THERRY: No, it's not. See, there's the confusing aspect of it. If you say yes here, well on another time line you're saying no. If you say `yes, but' here, then on another time line it's `yes, but' and you live out a but. The but that is not being lived here, and so on, until according to the time lines as a total, all possibilities are experienced.

JANO: From creation's point of view, is there time involved in all these parallel--

THERRY: You'll have to re-ask your question because it's obvious that each time line has time attached to it, and therefore that must not be your question, so what is it that you're really asking?

JANO: You mentioned earlier from the person's point of view experiencing, that it appears as serial sequential, but from creation's point of view, you're not. So that is the basis of my question--from creation's point of view, since it's not in time, it's outside of--

THERRY: No, no, no, it's in time; it's just that the time line references change. For instance, it's conceivable, just arbitrarily, that on time line one, you, between the hours of six and seven, you experience track one, two, and three or level one, two and three, and then maybe the next hour, you experience track five, four, and six of time line two, and then maybe the next hour you experience level five, seven, nine, and twelve on track three, etc., etc. So it's very episodic according to the continuum of Karma, the Alliance of the Rule, etc., the Law of the Moment. But, from an individual's point of view, it's non-interrupted; it's serial. Another way of looking at it is look at it as a film strip where the strip itself responds to a time line of that specific individual's reality, and the frames that's on the scripts are the different envelopes upon which he has his experiences, the stage where one frame may consist of age three to four, where a certain set of experiences are made; and frame two may be adolescence, where he learns to become a delinquent or fights being one, etc., and that motif, frame four, may be pseudo marriage, where certain things are learned, stuff like that. So there are four complete plays, more or less, within the script.

JANO: Following creation's point of view, let's say, would there be a time line--let's take Michele, for example--let's say, for any person, let's say you have ten time lines, arbitrarily. Are those ten time lines seen from creation's point of view in parallel, like one to the other, whereas, if you look at it from an individual's perspective, it's continuous, one after the other; it's not parallel.

THERRY: Well, the words that you're using are not accurate, but they're close enough to say yes.

JANO: Alright. And for the individual, um, their awareness is just one of those strips at any one time.

THERRY: One at a time, correct. For the length of the cycle.

JANO: And would it be correct to say that, depending on the individual's ability, that individual could move from one strip to another?

THERRY: Yes. That way, perceptively they can live a life where violence is totally avoided. Whereas other people would live a life where violence is not avoided simply because their belief systems. Remember, there are specific laws, which govern which track you're on. One of them is you become the things you hate, and you walk towards the things that you fear, etc., etc. So obviously if your system is such that you hate nothing, then there is no draw there leading you to violence. And if you fear little, again, there is no draw there to give you problems, hence you live a fairly peaceful life, free of violence, while all around you it's chaos.

FATSOA: You can't be a victim? You can't step into an accident?

THERRY: No. All victims place themselves in there based upon their fears, their hatreds, and their desires.

FATSOA: A child is sleeping in bed and there's a stray bullet from a gang war that hits him.

THERRY: At another time, he was one of the members that's in the gang war, and he fired the shot that killed the child. So in this time line, he was the child that was killed by his bullet from another time line.

FATSOA: Are you saying he?


FATSOA: The same time?

THERRY: Yes. Remember, time and space is telescopic. You can't do anything for or to anybody else. You can only do it to yourself.

TAM: Like he just said, at the same time he's both the aggressor and the victim

THERRY: You've got to remember that both time and space is telescopic.

TAM: No, I understand that.

THERRY: The time proportions that exist on track one is not binding to any other track.

TAM: The time proportions?

THERRY: Yea. The time constraints. The only basic difference is that in one part of his life he's the attacker who fires the bullet, and when the time line switches, because of the serial nature, it requires the experience of reincarnation in order to become the child that is killed by himself in the other time line.

TAM: Okay; that I can kind of grasp, but, within that setup, where does the freewill come into it? Sounds like it's already mapped out there; you're being the murderer and you're being murdered. It's already set there, so where--

THERRY: You used your freewill to become the murderer. The same way as I can use my freewill to drop a hammer on me. But once I've already made the choice, law will take over, and gravity will pull that hammer and I'll get struck.

TAM: So the freewill affects all the levels.

THERRY: Yes. It's cause and effect. Remember, we're in a fabric. Absolutely everything you do effects all threads of the fabric.

TAM: So, then I'm using my freewill not to murder, then at the same time I'm putting my freewill somehow not to be murdered?

THERRY: Yes, that is correct.

TAM: Ohhhh.

THERRY: That's why some people have a fairly good train of belief systems and they live their life and hardly nothing ever happens to them; they have a relatively happy life. But yet everywhere around them everybody's getting killed, murdered, robbed, but yet they're unaffected because they used their freewill to avoid those.

TAM: If I murdered along this track here, I cannot use my freewill over here not to be murdered?

THERRY: No. Cause and effect, or the Affinity factor won't let it happen. Whatever you do, at any moment, that automatically locks you in to Predestiny. And if an individual comes to know that this is the way life is, they will be less likely to use their freewill to commit maybe Mel, because you cannot do anything to anybody else; you can only do it to yourself. So if a group of people gather together to go wilding, then whatever they're doing, they've made a reservation they're going to be on the other side of their behavior.

TAM: So it's not so much that we have to do all these different experiences, `cause they're all being done at the same time; we just have to be aware of all of them--

THERRY: Well, it's more than that. Remember, you have two forces to deal with. You have the forces of the presence, and the forces of the absence. And therefore, in terms of deeds, or Karma, karmic bonds, you have karmic bonds, which are created because of commitment, but you also have karmic bonds, which are created because you failed to commit.

TAM: But even those are all being played out at once, right? I mean, isn't this all being done--we're only just aware of one or maybe two--the point is we have to be aware of all of them? That's what we're really trying to do. It's not like we're trying to live life after life, after life, after life. We're just trying to become aware of all of them?

THERRY: Yes. The whole idea of learning alter-realities is you get to see more traps going on at one time, and you get to see the connection between them, and therefore you get to control more. You get to use your freewill on more than one level. That's what the Grand Awakening is all about.

TAM: Oh. So this looking for wisdom kinda? That's why.

THERRY: That's why. Remember, it doesn't matter what it is, or doesn't matter what the phenomena is that you're looking at, nothing happens in a vacuum, nothing. There is always, always, always a reason why it's happening. Sometime the reason is as simple as it's happening because you're using your freewill to satisfy your own desires.

TAM: But just trying to live your life and be a good guy, and have love, well that's not going to be enough; you have to be aware of these other levels--that's the main thing it should be, not just trying to pursue something in each specific thing?

THERRY: Correct, but you have to have a beginning. And one of the good places to begin is with you now. And then from there, you go to you in the future, then you go for you in the past, and then you go from you to your dreams, and then you begin to realize, well, wait a minute, dream-there's more to this than just dream because some dreams are dreams, some dreams are not dreams. Some dreams are more than dreams; some dreams are less than dreams. And suddenly you realize, hold it; they're not dreams, they're alter-realities. And once you begin to realize that they are, in fact, alter-realities, then you begin to realize, well, wait a minute, this is track one, and that is track two, this is track three; and then the concept of alter-realities becomes important.

FATSOA: You can make choices that-

THERRY: You can make choices on each level depending upon what you've done with your freewill, and how much freewill you have, as opposed to how much Predestiny you've created. Because the awareness of life on this level of Maya is serial in nature, we don't view it as being parallel. It's simply, we play track one all the time. Because each track, or each pattern has it's own common reality, we never perceive it as being on track two. It's always track one, and we're always taking excerpts, which we call dreams or alter-reality experiences.

JANO: You could be switching tracks, but you only have perception of one.

THERRY: Yes. Remember the analogy. Life is like a multi-colored ribbon threaded through the eye of a needle. Everything on one side of the needle is called future. Everything on the other side of needle is called past. And everything that's within the needle is called now. And depending upon how the ribbon is folded that depends on which track we're on. And as we move the needle from back to forward or back to present different colors come to us and that depends on the stage we end up playing on.

FATSOA: But everyone's mostly on the track that's within common reality, right?

THERRY: No. Everybody has their own.

FATSOA: But we have to have a contact.

THERRY: Common reality is simply the level of awareness that allows two bubbles to interact with one another via emotional interchange interface.

TAM: You gave an example of that today, like if I talk it comes here and if you talk it and comes through me then it's common ground area. Right?

THERRY: Correct.

TAM: But we're not in each other's bubbles at all, right?

THERRY: Correct. Look at it as a case of a bubble within a bubble within a bubble. Each of us are within our own worlds or our own bubbles. Nothing, absolutely nothing can ever get into that bubble unless we take it in. The law that governs that is the Claim to Uniqueness. So, if I want to talk to you like I'm doing right now, well, I'll take this interaction and I'll bring it to a point, make it available to you. Then you will come out of your little bubble into the same level, which we call common reality. You pick up what it is that I say and you bring it into your little world and you deal with it, you change it, you rationalize it, you do whatever you want with it according to the way you handle your world.

FATSOA: And that has nothing to do with the track that you choose.

THERRY: Correct. Although that's part of it.

TAM: That has nothing to do with the what that you choose?

FATSOA: If you've made a choice at some level, like staying on the same track or-

THERRY: Well, you see, life is not a case of you stay on the same track. It's a case of cause and effect. The Affinity factor will take you to whatever track you need to equalize the karmic debt that you're working on. An example of that would be we are sitting here now talking. Well, a number of years ago there's a war going on in this exact same place. It's in a different time. We don't see it because it's on track 2. And if we go further back still there's probably some fishes passing around. Again we don't see it because that may be on track 3. And so for each segment of time as time recedes or advances, space knows a different illusion depending on the tracks. Depending on the level.

TAM: The other thing I was talking with Tina about is the idea of karma. Is the purpose to go through each opposite experience to try to get the understanding of why this may not be appropriate behavior?

THERRY: First of all you speak as though karma was something other than Predestiny or freewill. Karma is the Universal catchword for the continuum whose opposite ends are Predestiny and freewill. So when you say karma it is not only one thing such as Predestiny. It's a combination of Predestiny, freewill and what you've done with it with respect to the deeds, the thought patterns, the emotions, etc, etc.

TAM: The point of going through those experiences is to just get the understanding; it's not to physically go through this?

THERRY: There is more than one point. One of the points is to get the understanding. Another point is to understand what the pain is that you're giving to somebody else so you can decide if you want it or not. Another is another purpose is for you to learn what's happening everyplace on all levels so you can have a greater degree of freedom so you can free yourself totally from the trap of Maya. The only way that you can win your way back from the Oblivion that you fell into is to know the laws of the illusion and that's what you're doing. You learn the laws by going through the different experiences.

TAM: Is it possible to get the learning without going through the experience?


TAM: Oh.

THERRY: Even with synthesis learning you have to go through various experiences.

TAM: You were saying something yesterday about your intent when you commit an act, like if you kill someone and there's no malice, just self-defense and-

THERRY: Yeah, there are certain laws that govern the experience of certain behaviors. And certain karmic debts. Again that's controlled by the affinity factor and the law of the moment.

TAM: So in that case it wouldn't be an eye for an eye kind of thing.

THERRY: It's always an eye for an eye. The law of this planet is kill and be killed. Eat and be eaten. It doesn't matter on what track you are, you may because of the greatness of your intellect seek to rise above that retribution, but you don't.

TAM: But you said that person in that instance wouldn't necessarily have to be killed. Because there wasn't the malice, the anger-

THERRY: hmmm For lack of a better term, who are you going to blame? You are not going to kill your canary because your dog ate your cat. So, if it's your next door neighbor that comes and creates a behavior that you're caught up in involuntarily and you have no desire to be there, you don't take part in it, etc, etc. Then obviously you the individual at that time who is the aggressor bears the responsibility of everything that happens as a part of his drama.

TAM: hmmm So even if you kill him, though, it's not your Karma to be killed,

THERRY: hmmm Correct. It's his suicide.

FATSOA: hmmm didn't you also choose that, from another time line?

THERRY: hmmm yes. It's kill and be killed, eat and be eaten.

TAM: hmmm Well, from the scenario you just said if you kill that neighbor, it's his, you don't have to be killed.

THERRY: hmmm But, that doesn't change the fact that you still experience what has happened and perhaps you chose to kill him when it wasn't necessary. But, there again there is a set of laws, which govern the behavior. Kill in any form should always be absolutely the last possible choice. There's a lot of other things that you can do that you don't have to kill him with. And at the base of that continuum you end up having karmic debt. It is possible to in that situation relatively Karma free. All you have to do is run away. But if you decide 'hey this is my house--I've got to protect', then you make all kinds of excuses to be there and also that you confront whoever's then obviously you've used your free will to create some Karmic debt.

TAM: So what did you mean just a minute ago when you said it was the attacker's Karma and not yours?

THERRY: Well, you're talking about the negative Karma.

TAM: Oh, but you'd still be killed.

THERRY: Depending on what's happening. Obviously, if you decide to take off so that you don't have to kill then you don't have to be killed.

TAM: No, no, no. You kill them because you have no choice and-

THERRY: No, that's not true. You do have a choice. You could have run away.

TAM: It's never set up so that you can't ever do anything but kill someone?

THERRY: Well, it all depends on the script that's being played.

TAM: But in a case like that you have no choice, I mean--I don't know if it ever-

THERRY: That's not true. You always have a choice. You can choose to die rather than to kill.

TAM: Alright.

THERRY: But then that may be a crime of omission where you should have killed. I mean, you're damned if you do and you're damned if you don't.

TAM: So then, okay, so then it's always kill and be killed, period.

THERRY: That is the law of Earth. Kill and be killed, eat and be eaten. But, did you notice the Law uses the term kill. It does not use the term murder.

TAM: Oh, when you said it's not your debt, it's his debt because he perpetrated it; do you mean that you don't have to kill?

FATSOA: To me that's a little bit of a contradiction when you said when the child gets shot and at the same time that person is being shot.

THERRY: How's that a contradiction in terms?

FATSOA: Because you're in that same kind of situation and it's the other person's Karma-

THERRY: Yeah, but you don't understand it. The Law states that you can do nothing to somebody else. It is forbidden that anybody should enter in your world. Therefore, anything that you do to someone else is done according to script, but you will end up being on the other end of that script.

FATSOA: But you can change it at that point?

THERRY: That depends on the deed. In most cases there is an awful lot of free will but many people refuse to accept that it is free will simply because they're involved in the game. Their emotions are astray. If you refuse to admit that there's freedom involved, if you're so much caught in the game and you come up with all kind of 'but-if, but-if, and but-if', you're not interested. You're interested in satisfying your own emotions. Hence you're just going to play the game and get pain for it. Surely you must have seen examples of this quite often. Somebody, you're angry and somebody tries to tell you something and you keep saying 'but, I'm right.' You're not interested in free will. You're interested in satisfying yourself, your own emotions. So, go ahead and be right and pay for it. And that's the way Karma goes. Does that make sense?

FATSOA: Um Tila...mostly.

THERRY: Because you've got to bear in mind that there is more than one person playing the same game. So, in one track one while you're busy shooting the bullet that kills, well, somebody else was playing that same game and they're receiving it, but that doesn't change the fact that in track two it is you that's receiving the bullet for having played the game on track one. Because the time sequence are not the same.

JANO: May I say something that might aid him? You have a law that you can't do anything to anybody else. The way Therry explained it; it also says that you have no such thing as a coincidence. It's all happening based on one--so a child getting shot by a stray bullet is not a coincidence. You're getting angry over a situation that's not a coincidence. There are laws that brought about a whole script and played out that put you in that state.

THERRY: See, nothing happens in a vacuum, Tila Nothing.

FATSOA: So where does free will come in?

THERRY: Free will comes in because you're the one using your free will that creates Predestiny. Look at it as an upside down 'Y.' you can come from the path to unity and you'll arrive at choice. To the degree that you have free will you will choose the path that you go to. In timeline one you may choose to go the path on the right. In timeline two you choose the path on the left. And whatever choice you make sets the seals for Predestiny in terms of your future. And because they are happening simultaneously you can write the script for the future by the choices that you make today.

TAM: So, you're writing scripts for the past then too, aren't you? No?


TAM: No?

THERRY: No. In a serial nature. It's only the future that you write for.

JANO: And your degree of free will all ties back recursively to your first thought.


JANO: So, you asked about free will. Is it accurate to say that probably the greatest degree of free will was at-

THERRY: The first thought.

JANO: The first thought.


JANO: Based upon what your first thought was that sets the stage for everything that follows.

THERRY: Your next greatest amount of free will came at your second thought. It's-uh, look at it-it's very similar to the Laws of Language and communication. Language gets its power not because it is the tool that you use to communicate to others with--that is indeed important--but that's not where language gets its power. Language gets its power because it's the only tool that you use to communicate to yourself. And, therein lies your free will and your Predestiny. Language is serial in its nature as is the experience of life. Every word that you come across is the most important word that exists. Simply because the first word that you come will modify and limit every word that comes after it. The second word or the second thought becomes the most important thought because it will either modify or limit not only everything that came before it, it will also modify everything that comes after it. Then the third thought, etc, etc, becomes the most important because it's in the now and that's where you make your decisions to modify everything that came before it, and limit everything that comes after it. And, that's how free will is created. And, that's how Predestiny is ordained. It's controlled by the Law of the Moment. And the Affinity Factor s what keeps account of which script you're condemned to experience based on your choices.

FATSOA: Condemn?

THERRY: Condemned. That's Predestiny. Predestiny condemns you. Free Will creates the tool, which is to condemn yourself to or free yourself.

TAM: So we can choose what we will have no choice but to experience--like a double-edged sword?

THERRY: Yes. It is a double-edged sword. Whatever occurs to you because of the choices you've made in your past life and in your now zone.

TAM: Are they separate?

THERRY: Yes. Track 1, track 2, track 3, track 4: are they separate?

TAM: But I mean in terms of now. In terms of the past and present.

THERRY: Now has no time.

TAM: I thought everything was all now.

THERRY: No, you experience it as all now because now has no time. That's why in the Arkashean way there is no such thing as a present. It's always a past or a future. The only thing that you have other than the past and the future is the Presence. And the Presence is the Now Zone. There's no time involved in it. Time as we know it does not exist in the Now Zone. The Presence is the area where the Affinity Factor pairs and goes out searching for the script you're going to experience next. Does that address your question?

TAM: Yeah. It's a little clearer.

THERRY: Any questions?