Arkashean Q&A Session -- 066

THERRY: We were saying?

ERIC: All of us say, and I think you will agree internally so that this guy's got unbelievable patience. You've said it many times; you can't believe how patient he is.

TEAK: Yea, but you know what's funny? I can only see that with other people.


TEAK: I never see him being patient with me.

THERRY: Yea, the shoe's on the other foot. (Laughter)

ERIC: But you know, that really sinks in deep with most people, `cause none out there is that way. You know, taking a human, a low-level human attribute.

TEAK: Yea.

THERRY: I think the thing that amuses most people that I've met is the fact that they appear to be seeming at war full-fledged, but yet it's a one-sided thing. How many people do you know who will go to war with somebody and be so emotionally involved at war with them, but yet they'll keep going back. Most people I know when they're at war with; they stay away from them miles.

TEAK: Well you know it's funny, because I told Judy this today. I remember whenever I used to go through my schpeel of telling people what brought me to Arkashea, you used to tell me yea, it was when you called us up and we wouldn't let you come up here and all that. To me, that's never what it was. And then finally, a long time after that, I realized that that's what happened.


TEAK: `Cause I remember after three years and I never called you, I always felt like I was doing bad things, and when I finally called you, you didn't mention any of that at all.


TEAK: Although I didn't realize it at the time, that changed my whole attitude, the fact that you didn't say, hey, you didn't do this and this and this.


TEAK: You just put all that aside to help me.


TEAK: That's what changed my whole attitude.


TEAK: But I didn't realize that 'till years later, that that's what did that.

THERRY: Yea. Well, Understand, Forgive, and Love states Thou shalt not judge. You can't help an individual understand the laws of their own illusion if you smash them over the head with their own mirrors.

ERIC: Well then, why did you react that way with Shooby? `Cause Shooby got the total impression that you just smashed her mirror on top of herself when she decided to leave.

THERRY: Well see, Shooby really thinks that she's at war with me, but she's not.

ERIC: Yea.

THERRY: I'm a surrogate war partner. She's really at war with her dad. And a little bit at a time she's becoming to realize that.

ERIC: Yea, but why did you play the part of smashing her mirror on top of her and--

THERRY: But I didn't.

ERIC:--seemingly judging, `you're going to be sorry for leaving Arkashea.' You really played that pretty well with her.

THERRY: No, I just told her that, be careful.

ERIC: Regardless if it's true or not. You did--

THERRY: Yea, I played the same role that her father's playing with her.

ERIC: Okay.

THERRY: See, Shooby's war --

ERIC: Her dad would have reacted the same way?

THERRY: Yea. Shooby's war is that she wants her dad to code things the way she wants them coded. Otherwise she won't accept that as love.

ERIC: Yea, gentle and loving.

THERRY: Yea, and that's the war that she's fighting.

TEAK: Know what's interesting?


TEAK: When my father told me that the biggest disappointment of his life, although he didn't use those exact words, was Sharon.


TEAK: `Cause he could understand why his sons were always at war with him, `cause he understands that's the nature of men is to be at war. He always thought that when he had a daughter, he would have a great relationship with her, and that the daughter would love him, so it's not all one-sided.

THERRY: Right, right. Shooby has to come to understand that just because things are not coded the way she would like them to have them coded, that doesn't mean that her Dad doesn't love her.

TEAK: Yea.

THERRY: And that's her war. By behaving the way we do with her, it forces her to recognize that maybe she's wrong in her communication. She's learning, a little at a time. `Cause it is not our goal to keep her trapped in Arkashea; quite the reverse.

TEAK: So all I got to do is be more tenacious, huh?

THERRY: Yea, but you have to use a heavy dose of Understand, Forgive, and Love.

(don't know): And you're not going to get that unless you master patience.

THERRY: Correct. Little threads.

TEAK: Well, it's funny because I recognize that I have that problem, but up until now, well I'm not even sure until now, I don't see that as my biggest problem.


TEAK: I see my biggest problem is holding things sacred.

THERRY: Yep, everything with time.

TEAK: I guess it really doesn't matter.

THERRY: Yea, how long before you have all your undergraduate work finished?

TEAK: Quite some time; at least three years.

THERRY: Really?

TEAK: Yea, why? Ya in a hurry?

THERRY: Sort of.

TEAK: So am I. I don't know what to do about it. Tried taking three classes, but if I can find two easy ones because it may get to the point where it may take more then that because, I was just thinking about this several weeks ago, when I start taking graduate level classes, I don't know if I'll be able to take two at a time.

THERRY: No, you'll only take one at a time. Let's not worry about the graduate levels. Let's finish the second undergraduate.

TEAK: I can't get my CPA until after I finish the extra--you need an extra year above undergraduate.

THERRY: Yes, I understand that.

TEAK: Okay. Well, if that's the case then I'm pretty close to finishing undergraduate.


TEAK: I would say two years, maybe.


ERIC: That's pretty good only taking a couple classes a semester.

TEAK: Cost accounting. In terms of accounting, I have cost, accounting systems, which is a computer class, auditing, I think there's another one I don't know the name of, and business law. That's it.

THERRY: That's good. It's getting there pretty good.

ERIC: Can you take those in any order?

TEAK: No, that's not really important, not to me it isn't, although I mean if there's one you want to take me first, I probably could.

THERRY: Yea, no, we'll let you continue to have carte blanche on that.

TEAK: Some of them can be taken without the others, but some can't. I think the next one I'll take is auditing. I'd like to take business law badly though.


TEAK: I hear they have a very poor business law department, though.


TEAK: I went to one of those accountants meetings.

THERRY: Yea, and?

TEAK: Had to dress up in a suit and everything.


TEAK: It was pretty silly. I mean all those people--

THERRY: If you've got no other questions, I'll shut the tape off. There's no need for it.

TEAK: Okay, I'm having trouble with the concept of, with the concept of there's no accidents. The first thing is I don't understand when you say that the sins of the father are vested upon the son, or whatever. What does that have to do with the father?

THERRY: Well, the father is half of what goes into making the traits of the off-spring, because of genetics.

TEAK: Right.

THERRY: So if the father has a genetic flaw, or the mother has a genetic flaw, that genetic flaw gets passed down, or is most likely to be passed down to the off-spring. So if a entity is to make use of that channel, then it also has to accept all of the extra that doesn't necessarily fit his Karma.

TEAK: So that includes both on a genetic level and an upbringing level?

THERRY: Yes, you can't pick and choose; you have to take it all.

TEAK: Okay, so now there's no accidents. So that entity, before it descends, it knows every single thing that's going to happen to it in it's life?

THERRY: That depends upon the nature of that entity's free will.

TEAK: Okay, let's say he has sufficient free will.

THERRY: Then yes, he knows the entire script.

TEAK: Everything. There's going to be no deviation, it's not possible.

THERRY: Correct.

TEAK: He knows he's going to die in an accident or whatever. All this, everything.

THERRY: He may not know the exact specifics because it is very seldom that a person has that much free will, but he will know the generalized patterns of his life.

TEAK: So this thing of innocent victims is just a bunch of shit.

THERRY: That is correct. Never happened, no such animal. Accidents don't exist.

TEAK: So if somebody walks into a store, and there happens to be a holdup and they get shot.

THERRY: It is within the order of their Karma. Again, you have to bear in mind that the majority of the definitions on this planet of an accident means it's an unforeseen occurrence.

TEAK: Yea.

THERRY: Well, under that definition, yea, there are lots of accidents because regardless of how much an individual knows, their memory is seldom perfect.

TEAK: Um-hum.

THERRY: So anything that they don't remember that occurs to them becomes an unforeseen event, and therefore lots of accidents occur.

TEAK: Well I always thought that it was possible for--well, for it to be in the realm of free-will and it could be like, um, that third proponent where the best laid plans go awry, so if you go to the grocery store with the intention of going to the grocery store, and you happened to get shot, that it really didn't have anything to do with your Karma; it was just one of those things where you have to take the unforeseen side effects.


TEAK: So to me that implies --

THERRY: But that's not an accident.

TEAK: Why not?

THERRY: Because it is in the order of things.

TEAK: Well then maybe I don't understand what the word accident means.

THERRY: Why don't we put limitations to the phrase, okay? Because since we're dealing on karmic level as well as Earth level, from Earth's point of view there are a lot of accidents, they happen all over the place--

TEAK: Right.

THERRY: -- because entities seldom have perfect memories. Therefore, from Earth's point of view, yea, there are accidents. From karmic point of view there are no accidents. The affinity factor would be at the cause of drawing you to the store so you could get shot.

TEAK: So in other words, if it wasn't your time to get shot, there's no way you'd end up going to that store.

THERRY: That is correct. Or, you'd go to the store, but you would not get shot. You've got to remember the law states that every second of every day, moment by moment, day by day, year by year, life by life, each thought, each deed, each desire and each emotion does three things all at the same time. Remember what they are?

TEAK: It ratifies the past.

THERRY: Right.

TEAK: Ah, fulfills the needs of the--

THERRY: Present.

TEAK: --present.

THERRY: Right.

TEAK: And ah...

THERRY: There's your biggy, right there. It writes the script for the future. So therefore, moment by moment, as you live your life, you're also determining what will happen moment by moment in your next life, and therefore there are no accidents.

TEAK: But I don't see how you're left with any free will, that's my seeming dilemma. If you can sit there when you're outside your body and you're in Hades, or wherever you are, and you look at the next body you're going to take, and you see everything, then I don't see where there's any free will whatsoever.

THERRY: You have the freedom to accept that channel, and each deed that you do, moment by moment, there is relative freedom to make some changes. For instance, if a specific cause has three outcomes, that's limited free will. Or, if an outcome has three or more causes, that's free will.

TEAK: Yea.

THERRY: Remember, nobody has absolute free will; it just doesn't exist. It's free will within certain limitations.

TEAK: So is there any point to looking at it--to looking at the person who goes to the store and gets shot, seemingly innocent victim, is there any point in looking at it from the point of view of the third proponent of the unforeseen side-effects?

THERRY: Not really, unless you want to play games.

TEAK: Then what's the purpose of that whole thing with the unforeseen side effects?

THERRY: Because on that level of study--

TEAK: Yea.

THERRY: --you have to accept that the mental processes are not only severely limited because of corruption, they're also severely limited because of inconsistencies, or seeming inconsistencies. Hence, in order to have the level of understanding that is necessary, you have to have some method of tying up all the loose ends. Hence, the trade-off accident occurs.

TEAK: I'm confused.

THERRY: All right. What is the definition of bemusement?

TEAK: Ah, as I understand it, bemusement is when things end up happening to you because you're not aware of the various forces or the binding laws around you and you end up ignoring them for one reason or another.

THERRY: Or corrupting them for one reason or another because there's just too much there for you to handle.

TEAK: Right.

THERRY: Well, isn't that what you're talking about?

TEAK: Ah, if you mean that that's --that the third proponent is the way of talking about it when you really don't know what you're talking about, then yea, I guess so.


Exactly, isn't the unforeseen, the unstable element, the unforeseeable, isn't that simply the product of bemusement on this level?

TEAK: Um...yea, I guess so. But it really doesn't exist except on this level.

THERRY: Exactly. Well, it exits on almost all levels. The only place that it really doesn't exist is up in Orthodontiks where there are no veils of forgetfulness.

TEAK: Okay, so from the point of view of Earth, if I go to the store, and I get shot, the only way I can really explain it, or I can say well, you know, it's just part of the whole ball of wax of the Earth experience; you get these unforeseen side-effects when you come to Earth.

THERRY: Yes. Simply--

TEAK: But the real point of view --

THERRY: Right. Simply because you've lived your life shadowed by bemusement. Remember, when you come down to live your life, there's a whole shitload of veils that drop--

TEAK: Right.

THERRY: --according to karmic illusion.

TEAK: So even from that point of view of the third proponent of Karma, there's still no innocent victims, it's just that you don't know the reason why you're not innocent.

THERRY: Exactly.

TEAK: All you know is that that's part of the Earth.

THERRY: That is part of the whole ball of wax; you can't pick and choose. Karma's in command, or Predestiny is in command.

TEAK: So if you go and you get shot--

THERRY: But see one of the things that you're failing to remember--

TEAK: Yea--

THERRY: --is that if you go to the store to get shot--

TEAK: Wait a minute. For the purpose--

THERRY: --you going to the store may not have been your free will. The product of you going to the store or the process or the force which caused you to go to the store could be, or is most likely the Affinity Factor. `Cause remember, it is the Affinity Factor that draws you to your destiny. Because you could have gone to the store earlier or later when the gunman had already gone or not been there--

TEAK: Right.

THERRY: Why did you go at that moment?

TEAK: Well, I can see why it should be the Affinity Factor, but I was thinking more or less that ah, that it was free will and ah, that's just the way it is that those things happen.

THERRY: Nope. If the Affinity Factor is involved, then you're operating under Predestiny, not free will.

TEAK: That's what I mean. I thought a lot of those times it was free will. That it was just a random --

THERRY: Yea, no it's not. That's where your error was.

TEAK: Yea. So that only has usefulness just to, as an explanation for--kind of like religion almost.


TEAK: When they make something up so that people can live their lives, but it really is not the reality of the situation.

THERRY: Right. But for those who study the laws of creation, understanding the laws and how they work helps you predict the future. And it increases your free will.

TEAK: So there's no free-I mean there's no accidents.

THERRY: Right.

TEAK: There's not really all that much free will either.

THERRY: Correct. That's why it's called limited free will.

TEAK: Alright. So let's talk about time again. You have an individual caught in time on a certain frequency depending upon the reality he's in. Now for me, for example, am I subject to more then one different frequency at one time? For example, my thoughts --is that the same time as the time that my body is subject to?


TEAK: Or is it two separate things?

THERRY: Two separate things. That's why it's important to understand the concept of the various Kas and the various Bas being ganged.

TEAK: Well so my mind is the interface between the Ka and the Ba.

THERRY: Right.

TEAK: And that interface has a separate frequency from both the Ka and the Ba?


TEAK: And what is the ratio, or what is the relationship between-I mean, it seems like if it's an interface, it should have some relationship to both.

THERRY: Yea, it's a translator.

TEAK: Translator.

THERRY: Ah, for instance, for easy understanding, let us say that your Ba works on the frequency of ten megahertz; your Ka works on the frequency of five megahertz. In order to have both of them working together, obviously the biological time's got to be different, the psychological time's got to be different, the sidereal time is different, Orthodontiks time is the same, hence you have to have an interface that will seemingly gang the Ba and the Ka so that it works together at the different speeds. Hence, time is relative and telescopable.

TEAK: So what you would need, I guess--

THERRY: That's why often I use the phrase `perceived loss of time', because between your Ba and your Ka, there is no perceived loss of time, `cause the interface does the translation.

TEAK: Well now let's talk about the telescope ability factor.

THERRY: Well you have it there. Ah, time running at a speed of ten megahertz, as opposed to time running at a speed of five megahertz, that's a telescopicness right there. It's a product of being ganged.

TEAK: I don't see where that's a telescopicness; I just see where that's a different frequency--

THERRY: Well, if the awareness factor is in the Ka--

TEAK: Right.

THERRY: --then through meditations, or through whatever you transfer the awareness factor to the Ba, and then to the next Ba and then to the next Ba according to Astrations and projections.

TEAK: Um-hum.

THERRY: Or if you transpose such that you can get into the Now, and use the awareness of the Now, well it doesn't change the fact that you're consistently going into different time zones. Time runs at different speeds in a different nature.

TEAK: Right.

THERRY: The fact that you can continue from one to the other and still maintain continuity, that's the telescope ability right there. The fact that continuity continues.

TEAK: So in other words, if the Ka is at five megahertz--

THERRY: Uh-huh.

TEAK: Not withstanding the fact that I may be able to change that five megahertz within the limits of the bandwidth of the human species, if we forget about that for right now --


TEAK:--and we just say that that's a constant speed or a constant frequency with telescope ability factor, would be the ability to jump to other bands and jump back with no seeming passage of time because of the great difference of frequency?

THERRY: Yes, continuity exists.

TEAK: Now how important of a factor, bringing back in the fact that we can change the frequency of one bandwidth itself, how important of a factor is the changing of that one band-width, the frequency of one band?

THERRY: You mean, maintaining the continuity?

TEAK: No I mean, let's say we're not going to go to any other alter-realities; we're just going to stay in this one, but we're going to try to attempt to change the frequency.

THERRY: You can't.

TEAK: You can't. Everybody's just set?

THERRY: Well, no. The minute you change the frequency you automatically are in an alter-reality.

TEAK: But I thought that we said that biological time for me is not the same as it is for you; it may be a different frequency.


TEAK: So obviously, let's say the human species, you can have various different frequencies within certain bandwidths.

THERRY: Yes, bandwidths, yes.

TEAK: You can't change your own personal frequency?

THERRY: No. Yea, you do, but that's what disease is all about.

TEAK: So that has no value.

THERRY: No, it's like radio stations.

TEAK: Okay.

THERRY: If you go off your carrier frequency, then you become ill, because you, the Ka, you, is limited to a specific set of frequencies.

TEAK: Right.

THERRY: And if you drift in either way, then the you is no longer you; there's something wrong with it. That is called disease. And that's what growing old is about because you can only be allotted a frequency for a specific cycle, so after your time is up, your frequencies drift and you grow old, or you become ill. That frequency devolves, hence, the decay aspects.

TEAK: You mean amplitude grows weaker or the frequency itself--


TEAK: Alright. So that has no value in terms of manipulating various realities.

THERRY: Well it has value in terms of good health, because if you can learn to manipulate the frequencies, you can learn to heal whatever goes wrong with you. Limited by Karma of course.

TEAK: So that means you could be immortal, I suppose, if you wanted to be.

THERRY: Yes. If you're crazy enough to want to, yes you can be. Death is an unnatural process.

TEAK: Caused by the fact that the laws under their own control--(can't understand what else is said here.)

THERRY: The time cycles, right. Yes. And people grow old because of bemusement. And they die because of bemusement.

TEAK: So the telescope ability of time--

THERRY: Is simply the product of maintaining continuity as you travel.

TEAK: So how--let's say you wanted to go into the future of your physical Ka, see what your body looked like--see what your body was going to look like when it was ninety years old.

THERRY: There are a number of windows you could use. You could use theatre and makeup, you could use ah, teleportation, projection, you can't use Astration.

TEAK: Why not?

THERRY: `Cause that's forbidden. It's not in the order of man.

TEAK: What I'm trying to see is how you would use the telescope ability of time to perceive the future.

THERRY: Remember--

TEAK: Rather then just reading the patterns--to actually go into the future.

THERRY: You remember the scenario of when you're in the Now longer, giving you time to read future frames? That's how.

TEAK: Yea, but I didn't really understand how that worked. I mean, I thought I did at the time.

THERRY: Well it's dual awareness. If one part of the awareness, let's say awareness major, is in the Now --

TEAK: Um-hum.

THERRY: --awareness minor can go forward a number of frames, and since there is no difference in time between the two awareness factors, you for all practical purpose, exist in two or more time zones at the same time. Hence, the minor, who is traveling into the future, everything it knows and views, the major, who is in the Now, also knows and views.

TEAK: I'm confused where this minor and major came from and what they actually are.

THERRY: Two parts of you; two awareness. If you have dual-awareness, you can label one major and one minor.

TEAK: Oh, okay, so this is all predicated on dual-awareness.

THERRY: Yes, or if you have tri-awareness then you can be in three time zones. You have quad-awareness; you can be in four time zones.

TEAK: Right. So now that I understand that it's dual-awareness, can we go over it again? The one awareness will stay, and the regular time--

THERRY: The major awareness would stay in the Now.

TEAK: Would stay in the Now.

THERRY: Yea, would go into the Now.

TEAK: Right, at which case it doesn't matter--it can be --it's at the border of every reality.

THERRY: Right. And the minor awareness would now go into future frames, or into the future.

TEAK: What happens to the actual Ka, or whatever? That just--that's irrelevant?

THERRY: Yea because--

TEAK: There's no awareness factor there.

THERRY: Right because you're outside of time.

TEAK: Okay.

THERRY: And what happens is that as the minor awareness goes into the future, whatever it perceives is also perceived by the major because it's one mind.

TEAK: Um-hum. What would happen if you didn't have dual awareness?

THERRY: Then you couldn't do it.

TEAK: So the only thing you hope to do with dual awareness is go into the Now, and you couldn't go into the future?

THERRY: You couldn't go into the future, no.

TEAK: I don't see why not.

THERRY: Because the Now is stuck in time.

TEAK: The Now is stuck in Time?

THERRY: Rather, the individual is stuck in time.

TEAK: So in other words --

THERRY: The major awareness cannot go anything other traveling along with the time frame of his own existence.

TEAK: So the only, so, okay, so you could go into other realities and have experiences there since that's not your prime reality.

THERRY: Right, and because it's on the same time zone of your own existence.

TEAK: Right, you would just have to use whatever Ka you have there already.

THERRY: Right. And you can only be in one place at one time. Hence, if you of this level wanted to go to an alter-reality, this Ka would have to be more or less disconnected.

TEAK: Right. So, with only single awareness you can't go into the future of your own--

THERRY: You can't go into nothing except alter-realities of the present time. The only gift that you have is the amount of time that you're allowed to remain in the Now to gain or gather more information.

TEAK: Well with only single awareness I don't see how that would apply.

THERRY: Because--

TEAK: If you can't get into any of the frames, how you gonna get up more information?

THERRY: You can.

TEAK: You can?

THERRY: Yea, you can.

TEAK: You can what? I'm confused.

THERRY: Well, understand that it's a product of going into the Now then back into the illusion. In the Now, and back into the illusion.

TEAK: Right.

THERRY: When you're in the Now, you're outside of time.

TEAK: Right.

THERRY: Hence, once you're in the Now you can travel almost anyplace.

TEAK: Right.

THERRY: You can even go into the future and then back simply because time does not pass.

TEAK: I thought we had just said that you can't go into the future unless you have dual awareness.

THERRY: That's a special set of things. You can't continue living and go into the future too.

TEAK: So you could go into the future and then come back?

THERRY: Yes. That's what deja-vu is about. When you come back you don't come back in the exact same place because the gang is wrong, and you relive a piece of that film strip over again.

TEAK: Uh-huh. You know what --I could see that part of the problem is I'm perceiving the whole thing as a frequency where--

THERRY: Yea, you can't.

TEAK: --you're in the illusion and in the Now.

THERRY: Yea, you can't.

TEAK: But it doesn't apply because the Now is not in time so the frequency really breaks down as an analogy.

THERRY: Correct. See the only reasons I can do what I can do, we can sit and talk and do whatever it is, and I still know the future, a number of futures, is because I have more then single awareness.

TEAK: Right.

THERRY: My first, my major awareness is here talking with you, whereas my other three minor awarenesses are in different other spots of time; different other levels. That's the only reason why I can do what I can do. That's the process of how I get my psychic abilities.

TEAK: So if I--let's just say that I could Astrate at will more or less, but I still only had single awareness. If I wanted to do what you do, I couldn't do it. I'd have to say, wait a minute, let me go check, and then come back?

THERRY: Yes. Every now and then, if you remember, I've got to do that, because in order to do some of the things, I have to have the information that comes from two places, and I don't have that many awareness; I'm limited. So I have to wait, go into the Now, and go back and forth, draw the picture, and then come into the illusion.

TEAK: So what do I do now? Just wait?

THERRY: Well, you're already working pretty good on dual awareness.

TEAK: Dual awareness.

THERRY: Just a matter of time. At least you are becoming aware of the Now. That's a hell of a lot more than most people can.

TEAK: Well only because you're telling me about it.

THERRY: That's not true.

TEAK: Not true.

THERRY: It was you who told me that you're aware that you're approaching Now.

TEAK: Yea but--wait a minute. I only told you that I'm aware that when I fall asleep I can see that I lose control. At least that's all that I remember telling you.

THERRY: No, you told me how you're approaching a barrier.

TEAK: No, you told me that.

THERRY: Um-um, nope, I would have never spoken of it, `cause of me to speak of it would interfere with you gaining it. All I did was give label to what you told me.

TEAK: Right, I remember, or I think I remember that it all started out when I asked you, hey what is it that happens when you sleep; how come you lose control like that? And you said because you approach a barrier.

THERRY: Um-hum. So all I gave you was language.

TEAK: Well, I don't know; I didn't see that as that big of a deal. I thought everybody saw that. It's just that you don't usually give it too much thought.

THERRY: Nope. You've got to remember that what you feel in your everyday life, what you think as just commonplace, to other people, that's pretty high. That's very high development.

TEAK: Well I looked up the reticular formation last night.


TEAK: It said it's like a nerve network in the brain stem.


TEAK: But they really don't know really what it's for yet apparently.

THERRY: Yea, it's the consciousness switch. It's the gang of awareness. It's part of what makes telescoping time possible. In many people, the silver cord is attached there.

TEAK: See, what I'm trying to do is get various pictures to help me understand--

THERRY: It's difficult because your pictures have got to be fabric in nature.

TEAK: Yea.

THERRY: On one level you've got to think serial, on another level you got to think serial which is totally different serial than the first; then on another level you have to think pattern which is parallel to the serial. It's spaghetti.

TEAK: So all you know is that you have this experience that you call life.


TEAK: But it's really chopped up into little pieces.

THERRY: Yea it's a game.

TEAK: Or you're in and outside of the game, I guess.


TEAK: You find out that when you're outside you can go to other games.


TEAK: But you really don't know exactly how.

THERRY: Not yet. But there is a way where you can control where you end up.

TEAK: What's that?

THERRY: In time, everything in time.

TEAK: Right now I wouldn't be so unhappy just to find my--to be aware of going into--I don't know. To be more aware of going to the barrier.

THERRY: Yea. That's why I say, everything in time. Don't rush it. You have to do it so slowly because, by the time you master it, it's got to be a very mundane attachment to it. `Cause if it is still appears to be magical to you, then you create valleys and peaks.

TEAK: Yea. And why are the valleys and peaks bad again? I know I asked you this before.

THERRY: They're disrupters.

TEAK: Oh, `cause they create --

THERRY: Arrant emotions.

TEAK: Arrant frequencies.


TEAK: It's like a unified field theory.


TEAK: So instead of thinking about all these various games, you just think of it in terms of various noise.


TEAK: Now how does, since the auras must be a product of the magnetic field--

THERRY: Of the interface, of the current that's running through it, yea.

TEAK: How does that relate to the Now?

THERRY: Has to do with the interface and the barriers.

TEAK: So can you see the Now when you're in the illusion--I mean can you see the aura when you're in the illusion?

THERRY: No you can't. The Ka can never see its own aura. The closest that it can come is when you close your eyes --

TEAK: Yea.

THERRY: --your Ba will have colors coming.

TEAK: So you mean when you close your eyes and you see those spots in front of them, is that what you're talking about?

THERRY: Well, that's one way. But if you just close your eyes, and don't apply any real pressure and look into the darkness, you'll see waves of color. That's the closest that you can come to seeing your own aura. That's the waves, the frequency that it comes,

TEAK: Yea.

THERRY: That's your frequency, and those are the waves of power running. It's the electricity that runs your body.

TEAK: Yea.

THERRY: That's the closest that you can come to see your own aura.

TEAK: So what's the due process of becoming aware inside the Now? Or when you're in the Now, whatever you want to call it?

THERRY: Everything in time. Don't try to rush it. You've got to gain it so slowly so that it's so matter-of-factly that it's DC.

TEAK: Alright.

THERRY: `Cause you don't want to create valleys and peaks. Everything's got to stay very mundane.

TEAK: All right, I guess you can turn it off.