Arkashean Q&A Session -- 067

THERRY: Okey-dokey, Teak.

TEAK: All right. So here's the first question. If I understand it, time, we can think of it as a frequency, of a flip-flopping back between ah, what we call the moment and ah, I don't know what the other side of that coin would be called.

THERRY: The illusion.

TEAK: The illusion, okay. Now I'm not sure what factors or what aspects take place in each one. Is motion part of the illusion or part of the now?

THERRY: Um, motion is a product of illusion only. Its counterpart exists in the now, but we wouldn't recognize it as motion. Once it's in the now, it is a product or, and an aspect of the continuum of force; but once it gets into the illusion, then it's motion. Without this specific continuum, an individual wouldn't even be able to change their minds.

TEAK: It takes many moments to complete even one motion, which accounts for the fact that you can stop in mid-sentence when you footfall, or something.


TEAK: So the Now is the power, the power for motion? Among other things?

THERRY: Let's merely say that it is the seed for power and motion or change on all levels.

TEAK: But the motion takes place in the illusion.

THERRY: Yes. Life is experienced in reality which is in the illusion. Ah, another way of looking at it which might help. Look in terms of a long film. The Now would be the camera; the flame of the camera, so to speak, the light, would be the power which reflects it upon the screen, but the screen is the reality of life.

TEAK: What would the film itself be?

THERRY: The script, the games that are played.

TEAK: Alright. So on a slightly different vein, if I understand the frequency--or time itself is different for every individual?

THERRY: Yes. They are only knitted together by common reality.

TEAK: Then all of them must be within a certain bandwidth--


TEAK: --to exist within this reality?


TEAK: Okay, now, DC, true DC is not possible, is it? Then you'd be totally outside the illusion forever if you had true DC?

THERRY: Correct, therefore, DC, within the illusion always have a ripples of AC.

TEAK: So it's ah, it's not really, the goal is not really DC, it's just to slow down the frequency.

THERRY: Right, learn control.

TEAK: So what you want to achieve then, is slowing down the frequency. Now what can an individual do with his day to day thought processes that would allow, or aid that slowing down process?

THERRY: One of the things that they can do is to help balance out continuity such that their ups and downs become fewer.

TEAK: But why, except for the pattern of it, it seems like up and down represented AC. I don't see why that should ah--

THERRY: `Cause that gives you greater stability under all conditions.

TEAK: And why does stability lead to a change of frequency?

THERRY: Because the more stable you are, the more your life is controlled by axioms rather than by emotional standards, and with that, you are more stable and more prepared to have alter-realities. One of the big stumbling blocks in alter-realities is fear.

TEAK: Um-hum.

THERRY: `Cause fear will cause panic and will cause all kind of things that are not conducive towards being functional in alter realities. As a matter of fact, to give you an example of how fear is the mind killer, just within this common reality, fear is such an enemy that it prevents almost everybody from even achieving. The insane asylums are filled with people who's enemy is nothing but fear in all of its faces.

TEAK: I'm having a little difficulty, not with understanding how fear can be a detriment to success, but with understanding how, what the exact linkage with the time factor is. I mean, does fear and emotions themselves change the frequency?

THERRY: Yes, it affects the frequency. Look at the human body as a very special type of creation. The Ka and the Ba are medically, chemically, linked with one another.

TEAK: Okay.

THERRY: It's a very special link which is controlled by the Broken Cross. Because of that very special link, if the emotions are unstable, the emotions control the chemical stability, and because of the chemical stability, the magnetic flux and the aura also is damaged and set awry. Because of that, time and gravity acts differently on you.

TEAK: Um-hum.

THERRY: Look at the body as though it were one gigantic magnetic field that is being affected or is controlling doors into various time frames. Fear could act as a short circuit. Or at the very least, a troublesome disassembler.

TEAK: So from a physics point of view, it ends up just having an effect on the magnetic field.

THERRY: Yea, it prevents the, if you want to use the physical of the terms of physics, look at the body as one tuning fork--

TEAK: Right.

THERRY: --and look at the doors into alter-realities as another specialized tuning fork; they're barriers as described in the Ankh and the Broken Cross. Well, fear prevents the body, or one of the tuning forks, from sending out a clear, steady signal.

TEAK: Right.

THERRY: And thus there can be no silence in the noise. Fear simply creates more noise.

TEAK: Right. Well, what do you mean by a silence? You mean you want to have two tuning forks cancel each other out, so to speak?

THERRY: Yes. That's the magnetical, chemical auric cosmic key which the lost chord works upon.

TEAK: So you have to be a hundred and eighty out of phase with whatever barrier you want to cross? Or is that oversimplification.

THERRY: Well, that's really a oversimplification because you're automatically a hundred and eighty when you're on the exact phase. `Cause remember the laws that when you cross a barrier, laws are reversed--

TEAK: Right.

THERRY: So if you use the exact same frequency as does that specific barrier, because both of you are on two different sides of a barrier, as you approach one another, you're automatically a hundred and eighty degrees out of phase.

TEAK: So from your point --

THERRY: And that quiets the noise and allows you to pass.

TEAK: So from the point of view he who is trying to pass the barrier has to be in phase.


TEAK: Even though it's really out of phase because it is a barrier.

THERRY: Yes. And fear, or the noisemaker, prevents that.

TEAK: So can we talk about the Symbology of the Ankh and/or the Broken Cross and how it relates to this?

THERRY: Ah, read the books. I think it's either in Vol. Two or Vol. Three.

TEAK: Alright, I read it, but at the time it didn't mean anything.

THERRY: It goes rather in-depth into the Broken Cross.

TEAK: Okay. So once you get into the Now factor, even when you're in alter-reality, you're not in the Now, you're still in the illusion of another reality. Is that correct?

THERRY: That is correct.

TEAK: But still, something --I remember you telling me that the Elementals exist at the time which you referred to as the Black Space in which --


TEAK: I believe that's now what we're calling the Now.


TEAK: But I also remember seeming contradictions because you told me life doesn't really--well, I don't know if you told me that. Well, how is it that they exist in the Now? What kind of creation--

THERRY: They have access to all aspects of creation; depending on what level they're from, of course.

TEAK: But are they aware in the Now? Or is it a black--

THERRY: I don't think the awareness would be the same as yours and mine at this moment, but I'd say yea, they have their awareness. I would imagine it is the awareness of law rather than the awareness of individuality. I would also imagine they also have the awareness of purpose even though they have no power to initiate purpose. Hence they would only serve at somebody else's instructions. That's why they're usually impish. People seldom have such communicative abilities that they place the proper limits on their instructions.

ERIC: Do any of them have real good strong hands? (Laughter)

TEAK: Well, in that case, how does that relate to the experience I had as a Sentinel? I mean, if they don't do anything without a purpose--

THERRY: There are many sources. Ah, you can't look at your experience as the Sentinel as an Elemental. Because a Sentinel is not an elemental; it's part of the double gates.

TEAK: Yea, but I thought those various--whatever you want to call them, that I encountered were Elementals.

THERRY: Not necessarily.

TEAK: Oh, well I think that's the word you used at the time.

THERRY: Okay, it's quite possible that there were many Elementals there, but there were also many other forces or entities who seek to enter illegally, for the lack of a better term.

TEAK: But that was a doorway from the Now to the Illusion?

THERRY: Yes. That was the entrance. Specifically, it was the entrance into the world, as we know it on this level. That's why it was so frightening. There are many many forms of life who seek entrance into this level.

TEAK: So in terms of directions, entrance from where? That doesn't have any meaning.

THERRY: Correct. Because the Now is connected to all creation.

TEAK: So was I still inside the illusion since I had awareness?

THERRY: You were in the borders; you were enough in the illusions to maintain your awareness, but you had the powers of the Now, and that's the way it is with that face. `Cause there was another face on the other side of you which you were not aware of. Remember, it's a double-gate.

TEAK: What--there's somebody guarding exit from?


TEAK: What, what did that have to do with me, I mean, aside from being the guardian at the exit from?

THERRY: Well, the power that you were using when you were in that state, both has that same source. Being Sentinel is a little bit moving, isn't it?

TEAK: Yea, it was somewhat hard to believe now.

THERRY: Um-hum.

TEAK: That's the kind of thing you think about it too long about, you can almost become obsessed just by thinking about it.

THERRY: Yea. Hey, there's a lot of power there. Look how it changed your life.

TEAK: Yep. That was the strangest alter-reality I've ever been in.


TEAK: That I can remember.

THERRY: But there's a beauty there.

TEAK: Yea, I can see how there's a duality there. Well, next question. I don't have any right now. Turn that thing off for a minute, let me think of something. So, since time is different for each individual, there also seems like time is different for each individual during various different cycles. For example, when you go to sleep, it seems like the frequency slows down because you can become aware of reaching a barrier, whereas in normal life you're never aware of that.


TEAK: So is that a good time to be able to manipulate anything to further your abilities with dealing with the Now?

THERRY: The best time is when you achieve DC.

TEAK: Well how--when do you achieve DC?

THERRY: When, for all practical purposes, you become so secure within your reality that you have no highs and no lows, but you're in the presence of love at all times. That'll give you the greater power.

TEAK: How do you really know you're in that state? Or does it really matter if you know?

THERRY: You know within yourself. Because if you start dealing with the powers of creation, and you yourself are not secure, you could get whipped around pretty badly. There are many people who live all of their lives in catatonic states, or in schizophrenic states, simply because they came into contact with the powers of creation and were not aware of what was happening. They were not stable. It's a pretty dangerous thing to fool around with.

TEAK: How does that happen? How can that happen to somebody and they not be aware of what's going on?

THERRY: Karmic Illusion.

TEAK: Well let's take my case, for example.

THERRY: You're aware you're studying it so your problem is being or making sure that the powers that you learn to contact are not stronger than are your abilities to stay stable.

TEAK: Yes, I can see how that is a valid concern but from my point of view I don't see myself doing any of that; I mean, maybe I am but I'm not aware of it. I just accept things as they are seemingly.

THERRY: Yea, but the thing that you don't realize is what you call things as they are, normal things, to other people would be ridiculous.

TEAK: Well that's true, but what I mean is that when you say I have to make sure that the powers that I learn to contact aren't too strong for me; I don't even know what I'm doing; all I know is I end up somewhere. So if I end up somewhere bad, what am I going to do about it?

THERRY: But see, that's the whole point. The fact that you don't panic--that all by itself is far more than ninety nine percent of most humans on this planet know.

TEAK: Um-hum.

THERRY: The fact that it's almost impossible to have you panic. And as a result of that, wherever you end up, you automatically bring law with you because of the stability of the axioms, and you automatically return unharmed.

TEAK: So you mean I could panic to get back--

THERRY: If you were to panic, there is no telling that you would get back.

TEAK: Well--

THERRY: If you did get back, you could easily end up in an insane asylum as a catatonic or who knows what else.

TEAK: I don't know how fruitful this, this line of questioning's going to be, but from my point of view --

THERRY: Well let's put it this way --

TEAK: --I thought I do panic.

THERRY: But you really don't. That's not to say--well for you, panic is a sudden surge, but that sudden surge is nothing but a ripple; it doesn't disturb your DC. With you, panic is a sudden surge of awareness rather than a sudden surge of emotions. With the other people it is their emotions that flare, not their awareness factors. That makes a hell of a big difference. Because of that big difference, when you panic, you still are capable of thinking clearly. The rest of the world would go gaga. You got to remember that when you're dealing with this type of energy, you've got to know what it is you're doing to such an extreme degree that you have to be able to evoke things without ever even having to think of it. It has to be that ingrained within you such that when you find yourself in a place, automatic pilot takes over and does whatever it has to be done, so you never really have to think about it; it's just automatically done. That's the way of the sorcerer.

ERIC: But do you have to go through a due process to get into automatic pilot first, don't you?

THERRY: No, you do that even before you're into the alter-realms.

ERIC: Okay.

TEAK: So the fact that I don't know how I get where I go, basically I think--

THERRY: Well that part there is only because you're learning. You haven't learned to control the Now, so therefore I'll agree in that part you're still a baby, you're--after all, you're only a puppy.

TEAK: Well, let me ask you a question. Do you guys take me or do I just go based on my own powers?

THERRY: That doesn't matter.

TEAK: Okay.

THERRY: The point is, you're only a puppy yet; you haven't yet learned to control the doors of the Now.

TEAK: That's for sure.

THERRY: That'll come with time. Now, Tim here, he's consciously learning those controls so he's not too too too too far away. Within the next two lifetimes he will have mastered the conscious opening and closing of those doors `cause he's actively working the barriers now.

TEAK: Yea.

THERRY: I think the funniest thing is when he decided to get angry. Not angry, but--

TEAK: I know that story. When he smashed sixteen billion times into two sides of the barrier.

THERRY: Yea. (Laughter) Had quite a headache, didn't you Timmy.

ERIC: I haven't done it since, have I?

THERRY: No. (laughter)

ERIC: So, good ----

THERRY: That's really funny.

ERIC: I think that's probably the weirdest I've ever felt in my life even after I woke up for a couple of days.

THERRY: Yea, because that's the nature of the barriers. The more force you use, that force is turned against you.

ERIC: Well, I'm now totally approaching from a different point of view now thanks to your teaching.

THERRY: Again, it's a funny thing, but if you bear in mind that the laws are such that they reverse themselves when you cross a barrier, what would be called fanaticism here on this side of the barrier is the type of tenacity that you need on that side of the barrier.

TEAK: Yea. Now, is it that they seemingly reverse, or they do reverse?

THERRY: They actually do reverse themselves.

TEAK: They do reverse.


TEAK: I was under the impression it was only a seeming--

THERRY: Well it's a seeming reversal only because of your point of observation, but in actuality they do reverse because both sides of the--the forces of both sides of a barrier fight against themselves, against the Now, and that's what stops one reality from spilling over into another reality. That's how the boundaries of the dream are kept.

TEAK: Yea, so it would have to be reversed.


TEAK: Otherwise we'd just be drawn right in.

THERRY: Right.

TEAK: Now, do you say those barriers, a Sentinel and a Sentry, so to speak, exist?


TEAK: But it's really nothing more, I don't know if this is true, then the mechanism of law?

THERRY: That is correct.

TEAK: So what about the personification of various Sentries and Sentinels that man talks about like Gabriel and Ariel?

THERRY: Well, man has a problem in that the way he's created on these lower levels, he cannot have the product of awareness without it being an intermediate called language.

TEAK: Okay.

THERRY: So since man cannot think at all without labels, his labels are rather arbitrary; hence, Gabriel and Ariel are simply the labels for the double gate, the duality. The presence and the absence. As a matter of fact, if you think, our very conversation can't even take place without the power of language. That's the nature of this Ka, or all Kas on this level.

TEAK: But a mind-force apparently can seize that power.

THERRY: Yes, `cause it's not within time.

TEAK: What is it?

THERRY: It's within the Now. If you're talking about the interface between the two, then that's something else.

TEAK: No, I'm talking about the force of the Sentinel and the Sentry. Apparently mind-force--

THERRY: Oh right, that's strictly just law.

TEAK: Well then, what was I doing there?

THERRY: Well that's, it's law as it is applied according to the mind force and the life force.

TEAK: I'm confused. I mean, if there's not a mind-force there in normal circumstances--

THERRY: But there is.

TEAK: There is a mind-force.


TEAK: Is the mind-force the LifeForce?

THERRY: Yea. If you remember, the awareness factor was totally different then when you were on this reality.

TEAK: Well, I don't know why you'd use the word totally, but I would say it was different; I don't know if I would say totally different. Was it totally different?

THERRY: `Cause--think for a minute, think back.

TEAK: Yea.

THERRY: How vast was the awareness factor there as opposed to here?

TEAK: It was ducken hey vast.

THERRY: Bingo, totally different.

TEAK: Yea, but I still, I still had myself.

THERRY: Of course.

TEAK: In a little corner, so it wasn't totally.

THERRY: Of course you did, even though it wasn't a little tiny corner obviously, but nonetheless you had the awareness of law because the border to this level is the entire frame, so to speak, so you had the awareness of all of it. That's why it was so vast. But it was the awareness as it applies to law.

TEAK: So if you approach these barriers, I mean is there a mind-force that you could converse with?


TEAK: Hum, that's interesting.

THERRY: But it is the mind-force of law. Again we use the label mind-force--

TEAK: Yea.

THERRY: But it's not the same type or the same level of mind-force which activates our Kas; it does not have individuality. It is not separated from the LifeForce, nor is it separated from Recursive Dialusion. It's just the awareness of the All. But anybody who comes into contact with it is never the same.

TEAK: All right, so what about when I go to an Alter reality, and I use the reference points in this reality, which is usually what seems to happen, which usually seems inappropriate, what is the due process of learning how not to do that?

THERRY: Well you have to do that for the beginning because what happens is therein you keep your stability, and you keep a number of things that are important. Then, once you find yourself in across the border, so to speak, then you do your own investigations as to how to recognize the difference between the state wherein you're in, and where you came from, and you notice the difference between the two so that you can recognize the place where you're at the next time you go. Once you have that, then you begin altering the axioms of that new place and that's the process of beginning dual awareness. Once you've begun that process, then that's when you've started the Grand Awakening.

TEAK: And the reason why things seem so fast is because what we talked of the other night.


TEAK: Okay, then how come --

THERRY: You've got to bear in mind too that in order for you to achieve the Grand Awakening, it's got to be, or seem to be so mundane to you, that it doesn't seem like anything.

TEAK: Why? Because if you get your emotions into it, you'll ruin it?

THERRY: The emotions are nothing more then a magnifier, an amplifier.

TEAK: So, for example --

THERRY: They're just a noise-maker.

TEAK: So if you have a good time, you're in trouble.

THERRY: Well, in the beginning you can't avoid it. That's why, if you notice, wherever you find yourself, it is not you who decides the comeback; your emotions flare and pttt! back you are.

TEAK: Yea, one way or the other, either positive or negative, yea that's what happens.

THERRY: Exactly. Because that's the safety factor that was placed there. That's part of the Alliance of the Rule.

TEAK: So what, you just have to watch and witness and kind of not really get involved?

THERRY: Well, the idea is you're being allowed to enter a new world, but you're not relieved of the responsibility of learning or adapting responsibility for that new world. So in the meantime, the silver cord is a safety factor that will bring you right back to this level's Ka as it is being operated by the Golden Ankh.

TEAK: So as soon as you go out of frequency you don't feel good?

THERRY: That is it.

TEAK: So how come, is it anything that I'm doing wrong lately, because I can remember when I first got here, I used to have a lot easier time of it.

THERRY: Yea. Because you weren't doing it by yourself when you first got here. Now you're doing it by yourself. Before it was easy for you because we were taking you. Now you're going on your own, and the fact that you're being whipped back here when your emotions get off, that simply shows you you still have far too many highs and lows. You haven't achieved DC yet.

TEAK: Yea. Well I can see a big piece of the puzzle was from yesterday because for a long time I've been fighting against not having highs and lows rather than just accepting that that's the way it is, and if you really want to know the truth, I'm still not sure whether, whether the way I am is really what I should be. I don't know.

THERRY: Well, time will take care of that. If you value travel enough, you'll get rid of those highs and lows, and you'll instill love because the product of not having highs and lows of itself won't do a hell of a lot. It makes life on this level rather blah.

TEAK: Yea.

THERRY: And the thing that fills it in is the presence of love. Love, you know, the trio, understand, forgive, and love.

TEAK: Yea.

THERRY: That's what stops an individual from being bored to death on this level.

ERIC: It'll also stop them from going into the thing of not caring, right?


TEAK: Yea, whatever, I don't think I'm that great at love yet, but I don't think I don't. I still think I care.


TEAK: It's just deep, deep within.

THERRY: Yea, `cause you have to bear in mind that as you get rid of your highs, and fill in your lows, it's an automatic assumption, or people seem to automatically irritate a person. Intolerance seems to want to set in.

TEAK: Why is that?

THERRY: Because things seem so mundane and you just don't want to bother with the people `cause you're just --once you have no highs and lows, they can't draw you in to their games, so they're boring. And in order to stop that excessive judgmental negative aspects, you need understand, forgive, and love.

TEAK: Yea.

THERRY: Then you end up with highs that are far higher than anything you've ever had. But there are no lows.

ERIC: Yea, do you think Therry plays cutthroat monopoly because he wants to?

TEAK: I stopped trying to figure him out. (Laughter)

ERIC: He does it out of love for the rest of us `cause we want him in the game.

TEAK: That's not why he plays cutthroat though. I don't know. Sometimes I look at Therry. One time I saw him making a cup of coffee, and all of a sudden I said to myself, Why the fuck does he bother to put sugar in his coffee? I don't get it. It was a weird state of mind, but I couldn't figure out why you went through the trouble to sit there and stir the sugar and put the milk in. (laughter)

THERRY: The original enigma.

TEAK: Yea, I mean, it sounds silly but--

ERIC: I don't get it.

TEAK: Because it was all of a sudden I was in a state of mind where I said this guy's dealing with this physical level; I don't see why--

ERIC: Why doesn't he just --

TEAK: Yea, I don't know. It was like the time when I saw him get pissed off, and I thought that was hilarious. It just had an air of unreality around it for some unknown reason.

THERRY: So you saw through the illusion--

TEAK: Yea.

THERRY: --`cause you've never seen me get pissed off. I don't get pissed off.

TEAK: Well, yea, exactly. Well, that time with the coffee it was just a similar feeling.

THERRY: Yea. The reason why you find it so amusing because of the inconsistency.

TEAK: Yea.

THERRY: You see there are no highs and there are no lows, but yet when I play the game of high and low, it's funny as hell `cause it's so out of character. I think the thing that he got amused the most is I was talking to someone, and it appeared as though I was screaming my head off, and I turn around and say, yep, yep, you know talk to someone else as though--

ERIC: Right.

THERRY: --then turn around again.

ERIC: Yea.

TEAK: He really likes that one.

THERRY: That's the one danger is that after you got rid of all of your highs and lows, if you don't have understand, forgive, and love, everything is so boring. You become a terrible human being.

TEAK: Well it's a problem. I can see that it's a problem within myself when I feel like I try, but I'm just not as successful right now as I'd like to be.


TEAK: I mean, a lot of times there's a duality where I can see within myself.

THERRY: Isn't that a hell when you do that. You can see what's happening, but yet you haven't gained enough mastery to stop it.

TEAK: Yea. I just, it's like, you know, I'll be very nice to somebody, but inside I'll have that feeling of oh, these people are irritating.

THERRY: Why do you think I spend so much time hidden away in my own room? `Cause a lot of times I just don't want to deal with these idiots.

TEAK: A lot of times it's not really anything that they do.

THERRY: No it's their being.

TEAK: When I think about what they're doing, they're really not doing anything. It's just, I don't know.

THERRY: They're on such a lower level of power that it's the same thing as expecting a Ph.D. to sit down and play with a kindergartner.

TEAK: Well I was thinking about that lately because I was thinking about like the relationship I have with those cats. Where it really doesn't matter what those cats do, I'll just end up still having an affectionate attitude towards them.

THERRY: Because you possess understand, forgive and love.

TEAK: Right, but I can't do that --

THERRY: Now you have to learn to do the same thing for your species.

TEAK: Right, but right now I can't because I'm still caught up in my own personality and it's various conflicts with other people's.

THERRY: Yea, well nobody's perfect.

TEAK: Yea, but I can see how for you to deal with humans is like the way I deal with cats.

THERRY: Yea. It's okay. Give it time. Nobody said it was going to be easy.

ERIC: You already have the objective keys to overcome that.

THERRY: Yea, now it's a matter of tenacity.

TEAK: Well.

ERIC: When I say objective, you know what I mean, right?

TEAK: Not really.

ERIC: That you have to interfere with your automatic pilot. You have to objectively use tenacity to maintain that state. You know, for instance, patience, rather play at patience; you have to believe you have it internally as you deal with people. And like the feeling that you have that patience.

THERRY: You know, one of the little games that might help you, and it is a game although, but then so is everything on this level, ah, play the game of patience, play a role that when somebody comes your way, you're going to play a role where you're going to be so patient, it's going to be sickening. Then if you play that role long enough, the powers that be will automatically adjust, so that it will become you.

ERIC: What is the main thing that people say about Therry that they just are amazed.

TEAK: His ability to do magic tricks.


THERRY: Well, that part's true, but that's true for--

ERIC: Uh-uh. No I mean a real hard-core thing that stays with someone forever--

TEAK: To me or to everybody else?

ERIC: -and that what gains is the respect of everybody.

TEAK: Well, I don't know about everybody else, but I know what it was with me.

THERRY: Yea, well everybody becomes enchanted when--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 shpeel 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.

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 offspring, 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 offspring. 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.

THERRY: 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--

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.