C.) ENTERING THE SECOND ATTENTION
 
1. GENERAL REQUIREMENTS
 
ENTERING THE SECOND ATTENTION
 
COMPLETENESS
 
YOU MUST BE COMPLETE IN YOUR LUMINOSITY TO ENTER INTO THE SECOND ATTENTION
To enter into the other world one has to be complete. To be a sorcerer one has to have all of one's luminosity: no holes, no patches and all the edge of the spirit. SRP,119.
Only sorcerers who want to enter into the other world (must be complete)..There are plenty of good sorcerers who see and are incomplete. to be complete is only for us Toltecs. SRP,211. The Nagual said that the edge of the spirit of a person who dies goes back to the givers, meaning that edge goes back to the parents. If the givers are dead and the person has children, the edge goes to the child who is complete. And if all the children are complete, that edge goes to the one with power and not necessarily to the best or diligent. SRP,211. The value is that we all need our edge, all our power, our completeness in order to enter into that other world. SRP,212
 
PHYSICAL BODY
 
THE BODY MUST BE STRONG SO THAT AWARENESS CAN BE KEEN AND FLUID WHEN IT FOCUSES ON THE DOUBLE (ABSTRACT FLIGHT)
The body must be tremendously strong, so that awareness can be keen and fluid in order to jump from one side of the abyss to the other in the blink of an eye. TSC,42.
 
ENTERING THE SECOND ATTENTION
 
WHAT ARE SOME GENERAL WAYS THAT GET US TO THE SECOND ATTENTION?
 
THE SECOND ATTENTION CAN BE BROUGHT ON BY MANY THINGS/THERE ARE NO HALLUCINATIONS
There are no hallucinations...if anybody suddenly sees something different, something that was not there before, it is because that person's second attention has been gathered and that person is focusing it on something. Now whatever is gathering that person's attention might be anything, maybe its liquor, or maybe its madness, or maybe its the Nagual's smoking mixture. The other world is the world of our second attention. SRP,282. ...moving the AP is very difficult and yet it's the simplest thing in the world.. mysticism, high fever, hunger, fear, love or hate could do it and also unbending intent, which is the preferred method of sorcerers. POS,224...Sometimes, due to natural although dramatic circumstances, such as war, deprivation, stress, fatigue, sorrow, helplessness, men's AP undergo profound movements. POS,232... I used power plants in order to make your AP move.. power plants have that effect; but hunger, tiredness, fever,and other things like that can have a similar effect. The flaw of the average man is that he thinks the result of a shift is purely mental. FFW,152
 
THE SECOND ATTENTION IS NEVER USED UNLESS THROUGH DELIBERATE TRAINING OR ACCIDENTAL TRAUMA
The SA remains in the background for the duration of our lives, unless it is brought forth through deliberate training or accidental trauma, and that it encompasses the awareness of the luminous body. EG,18
 
IS IT DIFFICULT TO ENTER THE SECOND ATTENTION?
 
THE ENTRANCE TO THE SECOND ATTENTION IS EASY AND ITS LURE IS NEARLY IRRESISTABLE
The great difficulty is that the entrance into the second attention is utterly easy and its lure nearly irresistable. FFW,84..
 
THERE IS A GUARDIAN FOR THE OTHER WORLDS
the keeper of the other world. SR,114 It's not the world of the dead or the world of anything. It's just another world. SR,114. the guardian, being the keeper, the watchman of that world, knew many secrets that brujo was entitled to share. SR,132.
 
WHAT IS INTENDING?
 
THE MOST SOPHISTICATED CONTROL OF THE FORCE OF ALIGNMENT
...the most sophisticated control of the force of alignment.. FFW,200 .. that point (AP) can be moved from within. FFW,136
 
THE AP IS DISPLACED THROUGH INTENDING AND FIXATE THEM THROUGH INTENDING
...The AP is displaced through intending and fixate them through intending.. TAOD,161
 
HOW DOES ONE INTEND?
 
UNDERSTANDING INTENT'S CONTRADICTION: INTENT IS NOT SOMETHING ONE MIGHT USE OR COMMAND OR MOVE IN ANYWAY- NEVERTHELESS, ONE COULD USE IT, COMMAND IT, OR MOVE IT AS ONE DESIRES
Intent is not something one might use or command or move in anyway- nevertheless, one could use it, command it, or move it as one desires. This contradiction.. is the essence of sorcery. to fail to understand it had brought generations of sorcerers unimaginable pain and sorrow. Modern-day naugals, in an effort to avoid paying this exorbitant price in pain, had developed a code of behavior called the warrior's way or the impeccable action, which prepared sorcerers by enhancing their sobriety and thoughtfulness... POS,115
to intend is to wish without wishing, to do without doing TAOD,25,26 ....most of the really unusual things that happen to seers, or to the average man for that matter, happen by themselves, with only the intervention of intent. FFW,257 For a sorcerer, the spirit is an abstract simply because he knows it without words or even thoughts. It's an abstract because he can't conceive what the spirit is. Yet without the slightest chance or desire to understand it, a sorcerer handles the spirit. He recognizes it, beckons it, entices it, becomes familiar with it, and expresses it with his acts... sorcerers meet the abstract without thinking about it or seeing it or touching it or feeling its presence .. POS, 53,54. ...one could only beckon it..by acknowledging its existence POS,235..... the spirit's descent is always shrouded. It happens and yet it seems not to have happened at all. POS,100.
 
THE ONLY WAY TO INTEND IS BY FOCUSING YOUR INTENT ON WHATEVER YOU WANT TO INTEND
the only way to intend is by focusing your intent on whatever you want to intend TAOD,25,26....... Sorcerers intend anything they set themselves to intend, simply by intending it....(this statement pertains only to the realm of energy) sorceres believe that if one would intend that statement for the energy body (luminous egg) , the energy body would understand it in terms entirely different from those of the mind. The trick is to reach the energy body. For that you need energy. ...(understanding the statement in terms of a bodily feeling) TAOD,23 ... being a by-product of a displacement of the assemblage point, the second attention does not happen naturally but must be intended, beginning with intending it as an idea and ending up with intending it as a steady and controlled awareness of the assemblage point's displacement. TAOD,20,21 ..to move the AP first by setting up an unbending intent to move it and second by letting the context of the situation dictate where it should move. FFW,257 ...a progression: beginning as an idea that comes to us more like a curiosity than an actual possibility; turning into something that can only be felt, as a sensation is felt; and finally evolving into a state of being, or a realm of practicalities, or a preeminent force that opens for us worlds beyond our wildest fantasies. TAOD,20,21
 
INTENDING OCCURS WITH USAGE BUT THERE ARE NO SPECIFIC TECHNIQUES
there is no technique for intending. One intends through usage. TAOD,161.. the energy that was ordinarily used to maintain the fixed position of the AP became liberated, it focused automatically on that connecting link...there are no techniques to do this but rather it was a matter of an instantaneous shift taking place once a certain level of proficiency had been attained.. DJ said this level was pure understanding....a clear connection with intent. POS, 124.
 
SILENT KNOWLEDGE IS NEEDED TO MAKE ANY PROCESS WORK, NOT PROCEDURES
The edifice that intent flaunts before us is, then, a clearinghouse, within which we find not so much the procedures to clear our connecting link as the silent knowledge that allows the clearing process to take place. Without the silent knowledge no process would work, and all we would have would be an indefinite sense of needing something. POS, 61.. set up your intent as a customs house..for the warrior, TOP,170
 
TO KNOW INTENT IS TO KNOW IT DIRECTLY THROUGH OUR CONNECTING LINK
..The only way to know intent.. is to know it directly through a living connection that exists between intent and all sentient beings. POS, 28
 
INTENDING RESULTS BY HOOKING OUR AWARENESS TO SOMETHING ALREADY THERE
To make sorcery work, we must know what we're doing when we intend the result-not the purpose, mind you, but the result of the sorcery act. If we intended the purpose of our sorcery actions, we would be creating sorcery, and you and I don't have that much power. TSC,106. The intent of all sorcery acts has already been set. All we have to do is hook our awareness to it. TSC,107. he (Emilito) said that everything I (Taisha) did was tainted by defeat. Therefore the most important thing I had to do now was to set up a new intent. He explained that this new intent was called sorcerer's intent because it isn't just the intent of doing something new, but the intent of joining something already established; an intent that reaches out to us through thousands of years of human toil. TSC,212.
 
THE INTENT OF SORCERERS DIFFERS FROM THAT OF AVERAGE PEOPLE IN THAT SORCERERS HAVE LEARNED TO FOCUS THEIR ATTENTION WITH INFINITELY MORE FORCE AND PRECISION.
Emilito.. explained that the intent of sorcerers differs from that of average people in that sorcerers have learned to focus their attention with infinitely more force and precision. TSC,209.
 
HOW LONG DOES IT TAKE TO CONNECT WITH INTENT?
 
IT TAKES A LONG TIME
...it will be a long time before you can apply the principle that your command is the Eagle's command. That's the essence of the mystery of intent..make a command now not to fret, not even even at the worst moments of doubt. it will be a slow process until that command is heard and obeyed as if it were the Eagle's command. FFW,279.
 
WHAT CAN SORCERER'S DO WITH THEIR INTENT?
 
ONLY SORCERERS CAN TURN THEIR FEELINGS INTO INTENT
....only sorcerers can turn their feelings into intent. POS,227
 
WHEN WE BECOME WARRIORS, THOUGH, INTENT BECOMES OUR FRIEND.
..when we become warriors, though, intent becomes our friend. it lets us be free for a moment; at times it even comes to us, as if it had been waiting for us.... EG,148
 
WAKING UP INTENT
this was called waking up intent..this means putting someones AP in the position of silent knowledge POS,241
 
TECHNIQUES FOR INTENDING
 
SHOUTING OUT INTENT
I want you to say intent three of four times or even more, but bring it out from the depths of you.. allow the word to burst out from your midsection loud and clear. In fact, you should shout the word intent with all your strength... shout as loud and as many times as it's needed. TSC,186. You stop when something happens or when I tell you to stop because nothing has happened. TSC,187.
What did you make me shout for...?.. We were trying to catch the attention of your double TSC,187 What you and I want to do with all this shouting.. is to catch the attention not of the visible reality, but rather the attention of the unseen, the force that is the source of your existence, a force that we hope will carry you across the chasm. TSC,187.
 
STALKERS CALLED INTENT LOUDLY. THE INDISPENSIBLE PART OF THE ACT OF CALLING INTENT WAS A TOTAL CONCENTRATION ON WHAT WAS INTENDED
stalkers called intent loudly. Usually intent was called from within a small, dark, isolated room. A candle was placed on a black table with the flame just a few inches before the eyes then the word intent was voiced slowly, enunciated clearly and deliberately as many times as one felt was needed. The pitch of the voice rose or fell without any thought... the indispensible part of the act of calling intent was a total concentration on what was intended. POS,264.
 
INTENT IS BECKONED WITH THE EYES
......intent is beckoned with the eyes (not with the reason POS,174) ....A warrior must evoke intent. the glance is the secret. the eyes beckon intent...EG,308 ....I knew automatically that I had to move my eyes in order to make my AP shift. I could, with my intent, align the emanations that made me see Genaro as a blob of light, or I could align the emanations that made me see him as merely odd, unknown, strange. FFW,292 using the eyes to beckon intent was how to expedite letting go of that intent. EG,308. his eyes turned for an instant to focus on the point of the second attention....one must focus one's attention on the luminous shell...EG,308.......to revert to the physical level all I had to do was to focus my eyes on my body. EG,309 ...the eyes of all living beings can move someone else's AP, especially if their eyes are focused on intent POS,139
 
WHY IS INTENT BECKONED WITH THE EYES?
 
BECAUSE EYES ARE DIRECTLY CONNECTED WITH INTENT
....because eyes are directly connected with intent ... POS,133,228 the eyes are only superficially connected to the world of everyday life. Their deeper connection is to the abstract... the average man knows the same thing about eyes but has no energy to explain it... POS,133,228
 
EACH SPOT TO WHICH THE AP MOVES IS INDICATED BY A SPECIFIC SHINE OF A SORCERER'S EYES.
each spot to which the AP moves is indicated by a specific shine of a sorcerer's eyes. Since eyes have their own memory, they can call up the recollection of any spot by calling up the specific shine associated with that spot...POS,133,228
 
NATURALLY, IT ALSO MEANS THEY CAN RECOLLECT AT WILL, USING THE SHINE OF THEIR EYES TO MOVE THEIR AP
Naturally, it also means they can recollect at will, using the shine of their eyes to move their AP. POS,133,135, 136,174
 
THE REASON WHY SEEING SEEMS TO BE VISUAL IS BECAUSE WE NEED THE EYES TO FOCUS ON INTENT
....The reason why seeing seems to be visual is because we need the eyes to focus on intent. EG,308
 
THEY KNEW HOW TO USE THEIR EYES TO CATCH ANOTHER ASPECT OF INTENT AND CALLED THIS ACT SEEING...WHAT SILVIO MANUEL HAD SHOWN ME WAS THE TRUE FUNCTION OF THE EYES, THE CATCHERS OF INTENT
..they knew how to use their eyes to catch another aspect of intent and called this act seeing...what Silvio manuel had shown me was the true function of the eyes, the catchers of intent. EG,308
 
USING YOUR EYES AS A WAY TO MOVE THE AP
 
EVIL EYE
It was at that moment that he lifted his head and looked me squarely in the eyes. It was a formidable look. Yet it was not menacing or awesome in any way. It was a look that went through me. I became tongue-tied at once and continue with the harangues about myself..DJ's look, however, numbed me to the point that I could not think coherently. JTI,2.
my benefactor..could make a person mortally ill by merely looking at him. women would wane away after he had set eyes on them. Yet he did not make people sick all the time but only when his personal power was involved. JTI,122 It was a penetrating glance. I felt he had actually grabbed me with his eyes. I had the sensation of two fingers gently clasping me and I acknowleged a weird agitation, an itching, a pleasant despair in the area of my solar plexus. I became aware of my abdominal region. I sensed its heat. I could not speak coherently any more and i mumbled, then stopped talking altogether. SR,134. he was looking in the distance, past me; his eyes were foggy, out of focus. SR,136. he had fixed his gaze on me and I had an inexplicable feeling of vacuity, or numbness. ..it was a direct blow to your tonal. I numbed it by focusing my will..the warrior's gaze is placed on the right eye of the other person..and what it does is to stop the internal dialogue, then the nagual takes over..thus the danger of that manoeuvre. The gaze on the right eye is not a stare...it's rather a forceful grabbing that one does through the eye of the other person...one grabs something that is behind the eye. One has the actual physical sensation that one is holding something with the will...this is, naturally, only a way of talking..a way of explaining weird sensations...DJ made me feel that his eyes were actually touching me, in a physical sense..TOP,228..there's no way of exactly describing what one does..something snaps forward from someplace below the stomach; that something has direction and can be focused on anything. It works only when the warrior learns to focus his will..there's no way of practicing it..at a given moment in the life of a warrior it simply happens. No one knows how. The secret is in the left eye..as a warrior progresses on the path of knowledge his left eye can clasp anything. Usually the left eye of a warrior has a strange appearance; sometimes it becomes permanently crossed, or it becomes smaller than the other, or larger, or different in some way. TOP,229
he gave me a long, strange look that produced an itching in the pit of my stomach. It was as if he were pushing my middle section with a soft object. I felt like I was going to get ill, but then he turned his head to the side and I regained my original feeling of well-being. TOP,10.
 
ROLLING THE EYES
 
when impatience, or despair, or anger or sadness comes a warrior's way...roll your eyes. Any direction will do; I prefer to roll mine clockwise. The movement of the eyes makes the AP shift momentarily.. in that movement you will find relief. FFW,279.
roll eyes in a counterclockwise direction.. to avoid being dragged with him. FFW,235.
 
SOOTHING WITH THE EYES
 
his eyes were like two slits. When he looked at me he would open them a bit and the moistness of the corneas reflected the light of the latern. It was as if he were using the light to create a mirror reflection. he played with it, shaking his head almost imperceptibly every time he focused his eyes on me. The effect was a fascinating quiver of light...the steady flicker in his eyes were not menacing..you can soothe yourself.. you won't soothe yourself bobbing your head like that.. the secret is not in the head shake but in the feeling that comes to the eyes from the area below the stomach. This is what makes the head shake. TOP,24... to soothe myself by reflecting a beam of light on the cornea of my eyes... TOP,52.
 
HOW DOES A WARRIOR GET TO THE NAGUAL THROUGH HIS WILL?
 
A WARRIOR LEARNS TO FOCUS HIS WILL AS ONE SINGLE LUMINOUS FIBER FROM HIS BELLY AND CONNECTS TO THE NAGUAL
Let's say the warrior learns to tune his will, to direct it to a pinpoint, to focus it wherever he wants. it is as if his will, which comes from the midsection of his body, is one single luminous fiber, a fiber that he can direct at any conceivable place. That fiber is the road to the nagual. Or I could also say that the warrior sinks into the nagual through that single fiber TOP,175
 
WHAT CONDITIONS ALLOW FOR THE DEVELOPMENT OF WILL?
 
THE WILL DEVELOPS IN A WARRIOR REGARDLESS OF REASON
The will develops in a warrior in spite of every opposition of reason. TOP,83..
 
THE WILL WORKS REGARDLESS OF OUR INDULGENCE
Our will operates in spite of our indulgence. SR,147 For example, your will is already opening your gap, little by little. SR,147 Watch carefully everything you do. the very thing that could help you develop your will is admist all the little things that you do.
 
THE BODY MUST BE PERFECT FOR WILL TO WORK
The body must be perfection before the will is a functioning unit. TOP,83.
 
WHEN DOES WILL COME OUT?
 
FOLLOWING A MOMENT OF THE ABSOLUTE SILENCE, OR AT A MOMENT OF SHEER TERROR, OR PROFOUND SADNESS
It is experienced as a force that radiates out of the middle part of the body following a moment of the absolute silence, or at a moment of sheer terror, or profound sadness; EG,142.
 
WHEN DOES WILL NOT COME OUT?
 
NO, TOO DISRUPTIVE FOR THE WARRIOR'S CONCENTRATION
but not after a moment of happiness, because happiness is too disruptive to afford the warrior the concentration needed to use the luminosity of the body and turn it into silence.EG,142.
 
HOW DOES THE WILL WORK?
 
NO ONE KNOWS HOW THE WILL WORKS/PERCEIVING WITH YOUR WILL
Will is something very special. it happens mysteriously. There is no real way of telling how one uses it, except that the results of using the will are astounding. SR,148 An average man can grab the things of the world only with his hands, or his eyes, or his ears, but a sorcerer can grab them also with his nose, or his tongue, or his will, especially with his will. I cannot really describe how it is done, but you yourself, for instance cannot describe to me how you hear. It happens that I am also capable of hearing, so we can talk about what we hear, but not about how we hear. A sorcerer uses his will to perceive the will. That perceiving, however, is not like hearing. When we look at the world or when we hear it, we have the impression that it is out there and that it is real. When we perceive the world with our will we know that it is not as out there or as real as we think. SR,148
 
DESCRIPTION OF THE ACQUIREMENT OF A WARRIOR'S WILL/ A FINE POWER IS ALWAYS HERALDED BY GREAT PAIN
and one day he succeeds in performing something ordinarily quite impossible to accomplish. he may not even notice his extraordinarily deed. But as he keeps on performing impossible acts, or as impossible things keep on happening to him, he becomes aware that a sort of power is emerging. A power that comes out of his body as he progresses on the path of knowledge. At first it is like an itching on the belly, or a warm spot that cannot be soothed; then it becomes a pain, a great discomfort. Sometimes the pain and discomfort are so great that the warrior has convulsions for months, the more severe the better for him. A fine power is always heralded by great pain. SR,152
When the convulsions cease the warrior notices he has strange feelings about things. he notices that he can touch actually touch anything he wants with a feeling that comes out of his body from a spot right below or right above his navel. That feeling is the will, and when he is capable of grabbing with it, one can rightfully say that the warrior is a sorcerer, and that he has acquired will. SR,152.
 
HOW DOES A SORCERER USE DEATH TO TUNE HIS/HER WILL?
 
A SORCERER TUNES HIS WILL BY LETTING HIS DEATH OVERTAKE HIM, AND WHEN HE IS FLAT AND BEGINS TO EXPAND, HIS IMPECCABLE WILL TAKES OVER AND ASSEMBLES THE FOG INTO ONE PERSON AGAIN.
A sorcerer tunes his will by letting his death overtake him, and when he is flat and begins to expand, his impeccable will takes over and assembles the fog into one person again. SR,197,198... he opened his hands like two fans, lifted them to the level of his elbows, turned them until his thumbs were touching the sides, and then brought them slowly together at the center of his body over his navel. He kept them there for a moment. His arms shivered with the strain. Then he brought them up until the tips of his middle fingers touched his forehead, and then pulled them down in the same position to the center of his body. SR,198.
 
 
2. STOPPING THE WORLD
 
WHAT IS STOPPING THE WORLD?
 
STOPPING THE WORLD MEANS TO DESTROY THE CONTINUITY OF OUR WORLD
stopping the world was a technique practiced by those who were hunting for power, a technique by virtue of which the world as we know it was made to collapse. JTI,104. Stopping the world was indeed an appropriate rendition of certain states of awareness in which the reality of everyday life is altered because the flow of interpretation, which ordinarily runs uninterruptedly, has been stopped by a set of circumstances alien to that flow. In my case the set of circumstances alien to my normal flow of interpretations was the sorcery description of the world.JTI,xiii,xiv. What DJ had struggled to vanquish, or rather suppress in me, was not my reason as the capacity for rational thought, but my attention of the tonal, or my awareness of the world of common sense.... his motive for doing so...was because that the daily world exists because we know how to hold its images; consequently, if one drops the attention needed to maintain those images the world collapses. SRP,240,241. What stopped inside you yesterday was what people have been telling you the world is like. You see, people tell us from the time we are born that the world is such and such and so and ss, and naturally we have no choice but to see the world the way people have been telling us it is. JTI,254.one of the easiest things one can do is to fall into it (man's band of awareness) but any person can reach that warehouse by simply stopping his internal dialogue. FFW,??
 
IT CONSISTED OF INTRODUCING A DISSONANT ELEMENT INTO OUR CONTINUITY TO STOP OUR FLOW OF ORDINARY EVENTS
It consisted of introducing a dissonant element into the fabric of everyday behavior for purposes of halting the otherwise smooth flow of ordinary events-events that we catalogued in our minds by our reason. POS,172 Don Juan's task, as a practitioner making his system accessible to me, was to dissarange a particular certainty which I share with everyone else, the certainity that our commen-sense views of the world are final. SR,10.
 
OUR WORLD OF SELF-REFLECTION IS VERY FLIMSY AND WHEN OUR FEW KEY IDEAS FAILED OUR REASONING AND OUR WORLD CEASES TO FUNCTION
the world of our self-reflection or of our mind was very flimsy and was held together by a few key ideas that served as its underlying order. When those ideas failed, the underlying order ceased to function.. when this happens the world of reason stops. POS,172
 
A FEW OF THE NAGUAL'S ONSLAUGHTS SHOULD BE ENOUGH TO DISMANTLE ONE'S VIEW
A few of the nagual's onslaughts should be enough to dismantle one's view....TOP,243
 
STOPPING THE WORLD JUST HAPPENS
Nobody (wishes to stop the world), that's the point. it just happens. And once you know what it is like to stop the world you realize there is a reason for it. You see, one of the arts of the warrior is to collapse the world for a specific reason and then restore it again in order to keep on living. JTI,136.
 
WHAT IS THE IMPORTANCE OF STOPPING THE WORLD?
 
IT IS ONE OF THE MAIN PROPOSITIONS OF THE SORCERER'S KNOWLEDGE
..its scope and importance as one of the main propositions of don Juan's knowledge. JTI,x.
 
IN ORDER TO SEE ONE FIRST HAD TO STOP THE WORLD
......DJ stated that in order to arrive at seeing one first had to stop the world. JTI,xiii,xiv.
 
THE ENTRANCE TO THE NAGUAL IS IN FRONT OF US ALL THE TIME BUT ONLY TO THOSE WHOSE MINDS ARE STILL AND WHOSE HEARTS ARE AT EASE WILL SEE OR FEEL ITS PRESCENCE
the truth of the matter is that the entrance is in front of us all the time.. but only those whose minds are still and whose hearts are at ease can see or feel its presence. TSC,66...
 
IT IS AS NECESSARY FOR SORCERERS AS READING AND WRITING
Stopping the world.. as necessary for sorcerers as reading and writing. POS,172
 
HOW DO WE STOP THE WORLD?
 
A PRECONDITION FOR STOPPING THE WORLD WAS TO LEARN THE NEW DESCRIPTION IN ORDER TO BREAK THE DOGMATIC CERTAINITY WHICH WE ALL SHARE
DJ's precondition for stopping the world was that one had to be convinced...one had to learn the new description in a total sense, for the purpose of pitting it against the old one, and in that way break the dogmatic certainty, which we all share, that the validity of our perceptions, or our reality of the world, is not to be questioned. JTI,xiii,xiv.
 
SHUTTING OFF THE INTERNAL DIALOGUE IS THE KEY TO STOPPING THE WORLD
Sorcerers call it stopping the internal dialogue, and they are convinced that it is the single most important technique that an apprentice can learn. TOP,229 ....Stopping the internal dialogue is, however, the key to the sorcerers' world..the rest of the activities are only props; all they do is accelerate the effect of stopping the internal dialogue. TOP,231 .As you know..the crux of sorcery is the internal dialogue; that is the key to everything. TOP,93. the passageway into the world of sorcerers opens up after the warrior has learned to shut off his internal dialogue. TOP,38. to change our idea of the world is the crux of sorcery.. and stopping the internal dialogue is the only way to accomplish it. the rest is just padding. ...nothing of what you've seen or done, with the exception of stopping the internal dialogue, could by itself have changed anything in you, or in your idea of the world. the provision is, of course that the change should not be deranged.... that is why a teacher doesn't clamp down on his apprentice. That would only breed obsession and morbidity. TOP,20. The difficulty for the average man is the internal dialogue. Only when a state of total silence is attained can one use the (earth) boost. FFW,232
 
WHAT IS SHUTTING OFF OUR INTERNAL DIALOGUE?
 
THIS IS AN OPERATIONAL WAY OF DESCRIBING THE ACT OF DISENGAGING THE ATTENTION OF THE TONAL/THE WORLD STOPS WHEN OUR SECOND ATTENTION BECOMES ENGAGED
DJ had asserted time and time again that the essential feature of his sorcery was shutting off the internal dialogue... stopping the internal dialogue was an operational way of describing the act of disengaging the attention of the tonal...once we stop our internal dialogue we also stop the world. That was an operational description of the inconceivable process of focusing our second attention. He had said that some part of us is always kept under lock and key because we are afraid of it, and that to our reason, that part of us was like an insane relative that we kept locked in a dungeon. That part, in La Gorda's terms, our second attention, and when it finally could focus on something the world stopped. Since we, as average men, know only the attention of the tonal, it is not too farfetched to say that once that attention is cancelled, the world indeed has to stop. The focusing of our wild, untrained second attention has to be, perforce, terrifying. DJ was right in saying that the only way to keep that insane relative from bursting in on us was by shielding ourselves with our endless internal dialogue. SRP,268. although I could not visualize (the nagual) and that my problem was merely one of not being capable of completely shutting off my internal dialogue. TOP,209. The moment when the second attention hooks onto something is called stopping the world. SRP,257
 
SHUTTING OFF THE INTERNAL DIALOGUE INVOLVED MORE THAN CURTAILING WORDS BUT WHERE THE ENTIRE THOUGHT PROCESSES HAVE STOPPED... A FEELING OF BEING SUSPENDED, FLOATING
... on that occasion I also became cognizant that stopping the internal dialogue involved more than merely curtailing the words I said to myself. My entire thought processes had stopped and I felt I was practically suspended, floating. A sense of panic had ensued from that awareness and I had to resume my internal dialogue as an antidote. TOP,19.
 
WHAT HAPPENS WHEN WE SHUT OFF OUR INTERNAL DIALOGUE?
 
THE ASSEMBLAGE POINT THAT WAS FIXED IS NOW FREE TO MOVE
He stressed over and over that the internal dialogue is what keeps the AP fixed to its internal position. Once silence is attained, everything is possible. FFW, 150 one of the most mystery aspects of the seers knowledge is the incredible effects of inner silence. Once inner silence is attained, the bonds that tie the AP to the particular spot where it was placed begin to break and the AP is free to move... FFW,155
 
THE WORLD COLLAPSES AND EVERYTHING BECOMES POSSIBLE
Whenever the dialogue stops, the world collapses and extraordinary facets of ourselves surface, as though they had been kept heavily guarded by our words. You are like you are, because you tell yourself that you are that way. TOP,38.
When a warrior learns to stop it, everything becomes possible; the most far-fetched schemes become attainable. the passageway to all the weird and eerie experiences that you have had recently was the fact that you could stop talking to yourself. you have, in complete sobriety, witnessed the ally, Genaro's double, the dreamer and the dreamed, and today you almost learned about the totality of yourself.. TOP,93.
 
DESCRIPTION OF STOPPING THE INTERNAL DIALOGUE
 
..then something in me turned off. I felt I was suspended . My ears seemed to unplug and a myraid of noises in the chaparral became audible. I felt I was falling asleep and then all at once something caught my attention... (continuation of description of feelings...) I could see every individual bush as if I were looking at them in a dark twilight. TOP,21.
He commanded me to empty myself of thoughts and stare at the surface of the mirror. He repeated over and over that the trick was not to think at all. FFW,106. he commanded me to turn off my internal dialogue and enter into inner silence. FFW,309.
The Naugal said that it is a moment of blackness, a moment still more silent than the moment of shutting off the internal dialogue. EG,143. ..whenever I silenced my mind, a seemingly independent force immediately plunged me into a most detailed memory of some event in my life. TAOD, 150 My thoughts diminished in number until my mind was perfectly blank. TOP,34.
 
HOW DO WE SHUT OFF OUR INTERNAL DIALOGUE?
 
WHEN YOU WILL TO STOP YOUR INTERNAL DIALOGUE YOU SET A NEW INTENT, A NEW COMMAND.. THEN YOUR COMMAND BECOMES THE EAGLE'S COMMAND. WE MUST FIRST WILL IT,INTEND IT TO HAPPEN
You willed to stop your internal dialogue and thus you set a new intent, a new command. Then your command became the Eagle's command. The internal dialogue stops in the same way it begins: by an act of will FFW, 150. The way to stop talking to ourselves is to use exactly the same method: we must will it, we must intend it. FFW,151. A warrior is aware of this (internal dialogue) and strives to stop his talking. SR,218
 
THE WAY TO FORGET ABOUT YOUR SELF AND FREE YOUR ENERGY IS TO LEARN HOW TO FIX YOUR ATTENTION....
...learning the warrior's way was an instance when the apprentice's attention had to be trapped rather than deviated and that he had trapped my attention by pushing me out of my ordinary circumstances every time I had gone to see him... (maybe a hint to the sorcerers' blow?) ..context disarrangement meant that I did not know the ropes and my attention had to be focused on everything DJ did...like hikes and hunting, roaming around the desert and the mountains...TOP,233 Later on, when I had succeeded in controlling my attention and could work for hours at a chore without distraction... EG,136. A hen remains still and listens to her eggs underneath her, directing all her attention to them. She listens and never lets her concentration waver. In this unbending manner she intends the chicks to hatch. It's quiet listening that animals do naturally, but which human beings have forgotten, and therefore must cultivate. Now, doze like a hen does and listen with your inner ear while I talk. Concentrate on the warmth in your womb and don't let your attention wander. Be aware of the sounds around you, but don't allow your mind to follow them. TSC,173. By concentrating on your breathing, you can make the solid body dissolve, but that only the soft, ethereal part is left.... he corrected himself, saying that it is not that the physical body dissolves, but that by changing the fixation of our awareness we begin to realize that it was never solid in the first place. This realization is the exact reversal of what took place as we matured. As infants, we were totally aware of our double; as we grew up, we learned to put increasingly more emphasis on the physical side and less on our ethereal being. As adults we are completely unaware that our soft side exists. TSC,133. Once one knows that world all one needs to bring it about is to use that extra ring of power... Genaro keep you busy turning over rocks in order to distract your thoughts and allow your body to see. JTI,255
 
HOW DOES FIXING OUR ATTENTION MAKE US LOSE OUR SELF-REFLECTION?
 
WHEN WE USE OUR FULL ATTENTION OUR INTERNAL DIALOGUE STOPS AND OUR AWARENESS IS REMOVED FROM OUR BODIES.
You fool it... you let your body feel as if it were sound asleep; you deliberately quiet it by removing your awareness from it. When your body and mind are at rest, your double wakes up and takes over. TSC,140...I let go of my physical body and allowed my double to take over... If our awareness is tied to the double, we are not affected by the laws of the physical world; rather, we are governed by ethereal forces. But as long as awareness is tied to the physical body, our movements are limited by gravity and other constraints. TSC,137.
 
IF ATTENTION IS EXERCISED ENOUGH WE REACH THE SECOND ATTENTION...
.....The more it (attention) is exercised, the greater the possibility of getting the desired result.(second attention) EG,139
 
WHAT ARE SOME WAYS TO HELP LOSE OUR SELF-IMPORTANCE?
 
GENERAL
 
ONE CAN DESTROY SELF-IMPORTANCE THREE WAYS
self-importance was a monster that had three thousand heads. One could face up to it and destroy it in any of three ways. The first way was to sever each head one at a time; the second was to reach that mysterious state of being called the place of no pity, which destroyed self-importance by slowly starving it; and the third was to pay for the instantaneous annihilation of the three-thousand-headed monster with one's symbolic death. POS,252
 
TO GET RID OF SELF-IMPORTANCE WE MUST HAVE A GREAT STRATEGY
self-importance can't be fought with niceties...to get rid of the self-importance that is rotten requires a masterpiece of strategy. FFW,29. warriors fight self-importance as a matter of strategy, not principle. FFW,30
 
WE MUST WORK CEASELESSLY TO OVERCOME OUR SELF-IMPORTANCE
..egomania is a real tyrant.. we must work ceaselessly to dethrone it. POS,85
.....it is very difficult to make the self give up its strongholds except through practice. TAOD,83 ....we both have to sweat blood before we let go of our self-reflection. POS,175.. the difficulty is that the mirror of self-reflection is extremely powerful and only lets its victims go after a ferocious struggle. POS,178..
 
START SLOWLY TO UNDO THE WORLD
A warrior is aware that the world will change as soon as he stops talking to himself..and he must be prepared for that monumental jolt... the world is such-and-such and so-and-so only because we tell ourselves that that is the way it is. if we stop telling ourselves that the world is so-and-so, the world will stop being so-and-so. At this moment I don't think you're ready for such a momentous blow, therefore you must start slowly to undo the world. SR,219.
 
CONVINCE OUR PHYSICAL BODY TO GIVE UP ITS CONTROL
As we let go of our ideas of the physical body, little by little or all at once.. awareness begins to shift to our soft side. In order to facilitate this shift, our physical side must remain absolutely still' suspended as if it were in deep sleep. The difficulty lies in convincing our physical body to cooperate, for it rarely wants to give up its control. TSC,140
 
FEAR,AWE,POWER AND DEATH
I was in a perfect state for stopping the world...combined in that state were fear,awe, power and death; he said that such a state would be pretty hard to repeat JTI,104.
 
DURING THE MENSTRUAL PERIOD IT IS MORE DIFFICULT FOR A WOMAN TO FOCUS HER VIEW ON THE WORLD AND THUS EASIER FOR IT TO COLLAPSE
Women have their own abyss. Women menstruate... that was the door for them. During their period they become something else...no matter how well-made the disguise is, it falls away and women are bare. SRP,46....A female.. is always open because most of the time she is not focusing her attention on anything. Especially during her menstrual period.... during that time I could actually let my attention go from the images of the world. If I don't focus my attention on the world the world collapses. SRP,216. ..When a women menstruates she cannot focus her attention. That's the crack the Nagual told me about. Instead of fighting to focus, a woman should let go of the images, by gazing fixidly at distant hills, or by gazing at water, like a river, or by gazing at the clouds. SRP,216.
during our menstrual periods dreaming becomes power. I get a little crazy for one thing. I become more daring... a crack opens in front of us during those days..two days before her period a woman can open that crack and step through it into another world.... with her left hand she followed the contour of an invisible line that seemed to run vertically in front of her at arm's length. During that time a woman, if she wants to, can let go of the images of the world... That's the crack between the worlds .. it is right in front of all of us women. SRP,145
 
SEEING THE ORIGIN OF MAN HELPS FREE US FROM OUR SELF-CONCEPTIONS
an obligatory step in order to release all ties from my AP. FFW,277... to see it on my own, unaided by anyone, was an important step, because all of us have certain ideas that must be broken before we are free. FFW,279
 
HAVING A PRACTICAL TASK IS NEEDED TO STOP THE WORLD
In order to stop the view of the world which one has held since the cradle, it is not enough to just wish or make a resolution. One needs a practical task; that practical task is called the right way of walking. It seems harmless and nonsensical. As everything else which has power in itself or by itself, the right way of walking does not attract attention. TOP,229. ..there were two major activities or techniques used to accelerate the stopping of the internal dialogue; erasing personal history and dreaming. TOP,231.
 
TECHNIQUE/METHODS FOR SHUTTING OFF THE INTERNAL DIALOGUE
 
NOT-DOINGS
 
WHAT ARE NOT-DOINGS?
 
WHEN YOU FOCUS ON FEATURES ON SOMETHING THAT WERE ORDINARILY OVERLOOKED (ANYTHING THAT IS NOT IN OUR INVENTORY)
..a perceptual game of focusing attention on features of the world that were ordinarily overlooked, such as the shadows of things...not-doing, like everything else, is a very important technique but it was not the main issue.TOP,242. not-doing as an unfamiliar act which engages our total being by forcing it to become conscious of its luminous segment. EG,18 Not-doing is a term that comes to us from our own sorcerery tradition... it refers to everything that is not included in the inventory that was forced upon us.TSC,88
 
WHAT HAPPENS WHEN WE NOT-DO?
 
THE SECOND ATTENTION WAS BROUGHT INTO ACTION OR WAS HARNESSED, THROUGH EXERCISES OF NON-DOING.
The second attention was brought into action or was harnessed, through exercises of non-doing. EG,135.
 
DOING IS ENGAGING ANY ITEM OF OUR FORCED INVENTORY, NOT-DOING IS ANYTHING THAT IS NOT PART OF OUT INVENTORY
When we engage any item of our forced inventory we are doing; anything that is not part of that inventory is not-doing. TSC,88. Not-doing... the dissonant element (see stopping the world) or the opposite of doing. 'Doing' was anything part of a whole for which we had a cognitive account..Not-doing was an element that did not belong to the charted whole. POS,172
 
DOING IS THE PROBLEM/TALKING
Doing is what makes a rock a rock and that bush a bush. Doing is what makes you yourself and me myself...that's the problem with talking..it always confuses the issues. if one starts talking about doing, one always ends up talking about something else. it is better to just act. To look at it is doing but to see it is not-doing. JTI,188 That rock is a rock because of all the things you know how to do to it...I call that doing. A man of knowledge... knows that the rock is a rock only because of doing, so if he doesn't want the rock to be a rock all he has to do is not-doing. JTI,189. The world is the world because you know the doing involved in making it so.. if you didn't know its doing, the world would be different...without that certain doing there would be nothing familiar in the surroundings. JTI,189.
 
ANYTHING MAY BE USED AS A NOT-DOING, PROVIDING THAT IT FORCES THE ATTENTION TO REMAIN FIXED
.....anything may suffice as a not-doing to help dreaming, providing that it forces the attention to remain fixed. EG,137
 
NOT-DOING IS DIFFICULT TO DO
something that is very simple but very difficult to perform...there is no way to talk about it, because it is the body that does it. not-doing is so difficult and so powerful that you should not mention it..not until you have stopped the world; only then can you talk about it freely; if that's what you'd want to do. C,JTI,188... Not-doing is very simple but very difficult..it is not a matter of understanding but of mastering it. JTI,194.
 
ONE OF THE MOST DIFFICULT PART ABOUT THE WARRIOR'S WAY IS TO REALIZE THAT THE WORLD IS A FEELING.
The most difficult part about the warrior's way is to realize that the world is a feeling.JTI,193
 
WHEN ONE IS NOT-DOING ONE IS FEELING THE WORLD AND ONE FEELS THE WORLD THROUGH ITS LINES
When one is not-doing, one is feeling the world, and one feels the world through its lines.(see lines of the world) DJ said that this was only an exercise, because the lines formed by the hand were not durable enough to be of real value in a practical situation. ...JTI,193
 
TALKING AS DOING/EXERCISE OF NOT-DOING TO FEEL THE LINES OF THE WORLD
Talking is doing for you, but talking is not appropriate and if you want to know what I mean by not-doing you have to do a simple exercise. Since we are concerned with not-doing it doesn't matter whether you do the exercise now or ten years from now. He made me lie down and took my right arm and bent it at my elbow. Then he turned my hand until the palm was facing the front; he curved my fingers so my hand looked as if I were holding a doorknob, and then he began to move my arm back and forth with a circular motion that resembled the act of pushing and pulling a lever attached to a wheel. DJ said that a warrior executed that movement every time he wanted to push something out of his body, something like a disease or an unwelcoming feeling. The idea was to push and pull an imaginary opposing force until one felt a heavy object, a solid body, stopping the free movements of the hand. In the case of the exercise, not-doing consisted in repeating it until one felt the heavy body with the hand, in spite of the fact that one could never believe it was possible to feel it. I began moving my arm and in a short while my hand became ice cold. I had begun to feel a sort of mushiness around my hand. It was as if I were paddling through some heavy viscous liquid matter. JTI,192. Not-doing is only for very strong warriors and you don't have the power to deal with it yet. Now you will only trap horrendous things with your hand. So do it little by little, until your hand doesn't get cold any more. Whenever your hand remains warm you can actually feel the lines of the world with it. JTI,193.
 
STOPPING THE WORLD BY NOT- DOING
Now in order to stop the world you must stop doing. JTI,189. in the case of this little rock..the first thing which doing does to it is to shrink it to this size. So the proper thing to do, which a warrior does if he wants to stop the world is to enlarge a little rock, or any other thing, by not-doing. JTI,189,190 He placed the pebble on the boulder and then asked me to come closer and examine it. He told me to look at the holes and depressions in the pebble and try to pick out the minute detail in them. He said that if I could pick out the detail, the holes and depressions would disappear and I would understand what not-doing meant. JTI,190. Doing makes you seperate the pebble from the larger boulder...if you want to learn not-doing, lets say you have to join them. JTI,190.
 
A WARRIOR ALWAYS TRIES TO NOT-DO
A warrior always tries to affect the force of doing by changing it into not-doing. Doing would be to leave the pebble lying around because it is merely a small rock. Not-doing would be to proceed with that pebble as if it were something far beyond a mere rock. In this case, that pebble has soaked in you for a long time and now it is you, and as such, you cannot leave it lying around but must bury it. If you would have personal power, however, not-doing would be to change that pebble into a power object. Your life is not tight enough to do that. if you would see, you would know that your heavy concern has changed that pebble into something quite unappealing, therefore the best thing you can do is to dig a hole and bury it and let the earth absorb its heaviness. JTI,191. Everything I have taught you so far has been an aspect of not-doing.. a warrior applies not-doing to everything in the world, and yet I can't tell you more about it than what I have said today. You must let your own body discover the power and the feeling of not-doing. JTI,199.
 
A WARRIOR DOES NOT CARE WHETHER OR NOT SOMETHING IS TRUE OR FALSE
To say no or yes to your question is doing. But since you are learning not-doing I have to tell you that it really doesn't matter whether or not all this is true. it is here that a warrior has a point of advantage over the average man. An average man cares that things are either true or false, but a warrior doesn't. An average man proceeds in a specific way with things he knows are true, and in a different way with things he knows are not true. If things are said to be true, he acts and believes in what he does. But if things are said to be untrue, he doesn't care to act, or he doesn't believe in what he does. A warrior, on the other hand, acts in both instances. if things are said to be true, he would act in order to do doing. If things are said to be untrue, he still would act in order to do not-doing. JTI,191.
 
INDULGING IN FEELINGS FROM NOT-DOING, DON'T SUCCUMB TO IT
He added that it was a natural tendency for all of us to indulge ourselves when feelings of that nature occurred (getting lost in a feeling), and that by indulging myself in it I had almost turned not-doing into my familiar doing. he said that what I should have done was to maintain the view without succumbing to it, because in a way doing was a manner of succumbing. JTI,197.
 
DOING AND NOT-DOING ARE LIES/DEATH IS THE ONLY REAL THING
It may hook you to another doing and then you may realize that both doings are lies,unreal and that to hinge yourself to either one is a waste of time, because the only thing that is real is the being in you that is going to die. To arrive at that being is the not-doing of the self. JTI,200.
 
EXAMPLES OF NOT-DOING
 
1. LOSING PERSONAL HISTORY
 
WHY DO WE NEED TO LOSE OUR PERSONAL HISTORY?
 
WE MUST LOSE OUR PERSONAL HISTORY BECAUSE IT IS AN ENCUMBERING FORCE
a warrior has to erase it.. it is an encumbering force. EG,269. DJ said that everybody that knew me had an idea about me, and that I kept feeding the idea with everything I did...you must renew your personal history by telling your parents, your relatives, and your friends everything you do...JTI,12...
 
YOU MUST ERASE EVERYTHING AROUND YOU UNTIL NOTHING CAN BE TAKEN FOR GRANTED, UNTIL NOTHING IS ANY LONGER FOR SURE, OR REAL.
...how can I know who I am when I am all of this...he said sweeping the surroundings with a gesture of his head...little by little you must create a fog around yourself..you must erase everything around you until nothing can be taken for granted, until nothing is any longer for sure, or real. Your problem now is that you're too real. Your endeavors are too real; your moods are too real. Don't take things so for granted. You must begin to erase yourself. JTI,15.
 
NO PERSONAL HISTORY, THEN NO ONE IS DISILLUSIONED WITH YOUR ACTS
if you have no personal history, no explanations are needed; nobody is angry or disillusioned with your acts. And above all no one pins you down with their thoughts. JTI,12...
 
IT'S MORE FUN NOT HAVING A PERSONAL HISTORY
....we only have two alternatives: we either take everything for sure and real, or we don't. If we follow the first we end up bored to death with ourselves and the world. If we follow the second and erase personal history, we create a fog around us, a very exciting and mysterious state in which nobody knows where the rabbit will pop out, not even ourselves... when nothing is for sure we remain alert, perennially on our toes...it is more exciting not to know which bush the rabbit is hiding behind than to behave as though we know everything. JTI,17.
 
HOW DO YOU ERASE YOUR PERSONAL HISTORY?
 
THE NOT-DOING OF YOUR PERSONAL LIFE IS TO TELL ENDLESS STORIES, BUT NOT A SINGLE ONE ABOUT YOUR REAL SELF. ONE FIRST HAVE THE DESIRE TO DROP IT..AND THEN ONE MUST PROCEED HARMONIOUSLY TO CHOP IT OFF, LITTLE BY LITTLE.
The not-doing of your personal life is to tell endless stories, but not a single one about your real self. ...EG,269. When the Naugal trained you to keep your mouth shut about your personal life, he intended to help you overcome your feeling of having done wrong to your family and friends who were counting on you one way or another. After a lifetime struggle the male warrior ends up erasing himself, but that struggle takes its toll on the man. he becomes secretive, forever on guard on himself. EG,270..One day I found out that personal history was no longer necessary for me and like drinking I dropped it...one first have the desire to drop it..and then one must proceed harmoniously to chop it off, little by little. JTI,11. It is best to erase all personal history slowly...because that would make us free from the encumbering thoughts of other people. JTI,14..Begin with simple things, such as not revealing what you really do. Then you must leave everyone who knows you well. This way you'll build up a fog around yourself....once people know you, you are an affair taken for granted and from that moment on you won't be able to break the tie of their thoughts. I personally like the ultimate freedom of the unknown. No one knows me with steadfast certainty, the way people know you, for instance. JTI,15....I'm not concerned with truths or lies..lies are only lies if you have personal history...we mislead everybody anyway. JTI,15,16...when one does not have personal history..nothing that one says can be taken for a lie. Your trouble is that you have to explain everything to everybody, compulsively, and at the same time you want to keep the freshness, the newness of what you do. Well, since you can't be excited after explaining everything you've done, you lie in order to keep on going. from now on..you must simply show people whatever you care to show them, but without ever telling exactly how you've done it. JTI,16
 
THE PRICE OF ERASING PERSONAL HISTORY IS SECRECY
secrecy is the price you pay for being important to society. The struggle is only for men, because they resent erasing themselves and would find curious ways to pop up somewhere, somehow. EG,270.
 
IS LOSING OUR PERSONAL HISTORY EASIER FOR MEN OR WOMEN?
 
LOSING PERSONAL HISTORY APPLIES ONLY TO MEN BECAUSE MEN HAVE SOLID HISTORY BEHIND THEM
That only applies to men. EG,269. Being a man means that you have a solid history behind you. you have family, friends, acquantices, and every one has a definite idea of you. Being a man means that you're accountable. You cannot disappear that easily. In order to erase yourself, you needed a lot of work....EG,269.
 
IT IS EASY FOR WOMEN TO ERASE THEIR HISTORY BECAUSE THEY HAVE NO SOLID HISTORY
Women are not accountable... a woman can easily disappear.. a woman can get married. A woman belongs to her husband. in a family with lots of children, the daughters arscarded very early. No one counts them and chances are that some will vanish without a trace. Their disappearance is easily accepted. EG,269. A son feels guilty for disappearing. A daughter does not. EG,270. A woman doesn't have to contend with that hardship. a woman isn't compelled to secrecy.. EG,270.
 
THREE TECHNIQUES TO BE USED ALONG WITH ERASING PERSONAL HISTORY: LOSING SELF-IMPORTANCE, ASSUMING RESPONSIBILITY, AND USING DEATH AS AN ADVISER.
to help erase personal history three other techniques were taught: They were: losing self-importance, assuming responsibility, and using death as an adviser. The idea was that, without the beneficial effect of those three techniques, erasing personal history would involve the apprentice in being shifty, evasive and unnecessarily dubious about himself and his actions. TOP,233.
 
2. CHANGING ROUTINES, RITUALS AND HABITS
 
ALL OF OUR ACTIONS AS NORMAL HUMANS ARE DOINGS
 
ALL HABITS ARE DOINGS
any habit was, in essence, a doing, and that a doing needed all its parts in order to function. If some parts were missing, a doing was disassembled. By doing, he meant any coherent and meaningful series of actions. in other words, a habit needed all its component actions in order to be a live activity. SRP,200.
 
HOW DO WE ESTABLISH NEW ROUTINES?
 
SORCERERS PUT STRESS ON NEW ACTIONS, NEW HABITS TO FREE THE ASSEMBLAGE POINT
The spot where that point is located on the cocoon of all living creatures is not a permanent feature, but is established on that specific spot by habit. Hence the tremendous stress the new seers put on new actions, on new practicalities. They want desperately to arrive at new usages, new habits. FFW,136 ..the way to move that point is to establish new habits, to will it to move. FFW,219
 
TO TURN NEW CONCEPTS INTO A VIABLE WAY OF LIFE WE MUST HAVE REPETITION.. THAT IS THE WAY WE WERE SOCIALIZED TO FUNCTION IN THE DAILY WORLD
..turn his concepts into a viable way of life by a process of repetition...anything new in our lives must be repeated to us to the point of exhaustion before we open ourselves to it. repetition was the way in which our progenitors socialized us to function in the daily world. TAOD, 33,34
 
HOW DO WE ESTABLISH REPETITION IN OUR DAILY WORLD?
 
USE RITUAL BEHAVIOR
The obsessive entanglement of the first attention in self-absorption or reason is a powerful binding force, and that ritual behavior because it is repetitive, forces the FA to free some energy from watching the inventory, as a consequence of which the AP loses its rigidity. FFW,138 The best way to make a hit on the second attention is through ritual acts, monotonous chanting, intricate repetitious movements. EG,250.
 
RITUAL WORKS WELL TO TRAP OUR ATTENTION BUT DEMANDS A VERY HIGH PRICE. IT CAN CREATE MORBIDITY IN A SORCERER
ritual can trap our attention better than anything I can think of..but it also demands a very high price. That price is morbidity; and morbidity could have the highest liens and mortgages on our awareness... POS,265
 
WHAT IS MORBIDITY?
 
MORBIDITY WAS THE ANTITHESIS OF THE SURGE OF ENERGY AWARENESS NEEDED TO REACH FREEDOM.
morbidity was the antithesis of the surge of energy awareness needed to reach freedom. morbidity made sorcerers lose their way and become trapped in the intricate, dark byways of the unknown (reference to the inorganic's world)..strangeness is not morbidity... POS,266.
 
MORBIDITY IS WHEN WE CREATE HUGE MONUMENTS TO OUR OBSESSION: CHURCHES ETC..
....ritual forced the average man to construct huge churches that were monuments to self-importance....ritual also forced sorcerers to construct edifices of morbidity and obsession. POS,265.
 
DISRUPTING ROUTINES
 
REALIZING THE INSANITY OF ROUTINES
..he tried to scare me out my wits with the heaviness of his unexpected behavior because I myself was driving him up the walls with the heaviness of my expected behavior. he added that my routines were as insane as blowing his whistle...I don't do things out of routine. JTI,73 ..your spirit is trained to work with a signal. JTI,74...
 
A WARRIOR DOESN'T HAVE ROUTINES
a hunter is not at all like the animals he is after, fixed by heavy routines and predictable quirks; he is free, fluid, unpredictable. ....I am concerned with the things animals do; the places they eat; the place, the manner, the time they sleep; where they nest, how they walk. These are the routines I am pointing out to you so you can become aware of them in your own being. JTI,75....DJ said that he had no routines. JTI,9
 
ACTING FOR THE HELL OF IT, WITHOUT EXPECTING REWARDS
together with the right way of walking..a teacher must teach his apprentice another possibility, which is even more subtle: the possibility of acting without beliving, without expecting rewards- acting just for the hell of it . I wouldn't be exaggerating if I told you that the success of a teacher's enterprise depends on how well and how harmoniously he guides his apprentice in this specific respect. TOP,230
 
EXAMPLES OF ACTING FOR THE HELL OF IT
.....absurd chores such as arranging firewood in patterns, encircling his house with an unbroken chain of concentric circles drawn in the dirt with my fingers, sweeping debris from one place to another, and so forth...wearing a black cap, or tying my left shoe first, or fastening my belt from right to left......he had planted in me the idea of acting without really expecting anything in return. TOP,231
 
3. GAIT OF POWER
 
WHAT IS THE GAIT OF POWER?
 
A TECHNIQUE... CONSISTING OF RUNNING IN THE DARKNESS WITHOUT TRIPPING OR HURTING ONESELF IN ANY WAY.
a technique... consisting of running in the darkness without tripping or hurting oneself in any way. TOP,22
 
THE GAIT OF POWER ACTIVATES EMANATIONS INSIDE THE COCOON
...with the gait of power.. he could activate or make dormant the emanations inside his cocoon in order to look young or old. FFW,272.
 
THE GAIT OF POWER IS TO LET ONE'S PERSONAL POWER FLOW OUT FREELY AND MERGE WITH THE POWER OF THE NIGHT
the gait of power is for running at night... at night the world was different, and that his ability to run in the darkness had nothing to do with his knowledge of those hills. he said that the key to it was to let one's personal power flow out freely, so it could merge with the power of the night, and that once that power took over there was no chance for a slip-up. JTI,169
 
CONSCIOUSLY WALKING IN THE DARKNESS
last night, you weren't making a project out of walking (she could walk in the dark when she wasn't concentrating on it.).. you were determined to get to the cave so your feet automatically took you there. This afternoon, you were consciously trying to replicate last night's walking, but you failed miserably because your mind got in the way.. or perhaps you weren't listening to the voice of the spirit that could have guided you safely... by emptying your wherehouse, you are changing your inventory. Now there is room for something new, such as walking in the darkness. So, I thought that perhaps there might also be room for the voice of the spirit. TSC,82.
Now that its dark, try walking without looking at the ground.. not as a conscious exercise, but as a sorcerery not-doing. TSC,88
not-doing at this particular moment would be for example to force myself to trust the spirit implicitly by letting go of my calculating mind. Don't just pretend to trust while secretly harboring doubts... only when your positive and negative forces are in perfect accord will you be capable of either feeling or seeing the opening in the energy around you or walking with your eyes closed and be assured of success. TSC,89.
 
WALKING THE ASSEMBLAGE POINT: HOW THE GAIT OF POWER WORKS
 
ONCE INNER SILENCE HAS BEEN ATTAINED.. THE SOUND OF THE MUFFLED STEPS INSTANTLY CATCHES THE ALIGNMENT FORCE OF THE EMANATIONS INSIDE THE COCOON.. WHICH HAS BEEN DISCONNECTED BY INNER SILENCE
walking the assemblage point..is once warriors have attained inner silence by stopping their internal dialogue, the sound of the gait of power, more than the sight of it, is what traps their AP. The rhythm of the muffled steps instantly catches the alignment force of the emanations inside the cocoon, which has been disconnected by inner silence. FFW,153. That force hooks itself immediately to the edges of the band..(man's band) FFW,154.
 
DESCRIPTION OF ENTERING A HA/SA STATE USING THE GAIT OF POWER
Description of entering a HA/SA state using the gait of power. FFW,149,150.
 
DOING THE GAIT OF POWER
 
HOW TO DO THE GAIT OF POWER
....he began to walk around the corridor, arching his back and lifting his thighs to his chest... it's called the gait of power.. he knows several gaits of power. FFW,148...try to hear the movement of his thighs as they went up against his chest every time he stepped. FFW,226...
DJ's trunk was bent slightly forward, but his spine was straight. His knees were also slightly bent. He walked slowly in front of me so I could take notice that he raised his knees almost to his chest every time he took a step...JTI,169...he insisted I should first curl my fingers against my palms streching out the thumb and index of each hand. JTI,170....if I did not focus on anything but kept scanning the ground right in front of me. JTI,171.The gait of power was similar to finding a place to rest. Both entailed a sense of abandon, and a sense of trust. JTI,171.....the gait of power required that one keep the eyes on the ground directly in front, because even a glance to either side would produce an alteration in the flow of movement. He explained that bending the trunk forward was necessary in order to lower the eyes, and the reason for lifting the knees up to the chest was because the steps had to be very short and safe. he warned that I was going to stumble a great deal at first but he assured me that with practice I could run as swiftly and as safely as I could in the daytime. The degree of concentration needed to keep scanning the area directly in front had to be total. JTI,171.
 
THE GAIT OF POWER IS DIFFICULT BECAUSE WE RELY ON SIGHT FOR EVERYTHING WE DO INSTEAD OF LETTING POWER BE OUR GUIDE
...he said.. the darkness was encumbering only because I relied on my sight for everything I did, not knowing that another way to move was to let power be the guide.JTI,170
 
4. GAZING
 
WHAT IS THE PURPOSE OF GAZING?
 
GAZING IS A WAY TO GET US TO ENGAGE OUR SECOND ATTENTION
 
Gazing was the way to trap our second attention... dreamers have to be gazers before they can trap their second attention. SRP,257. The attention under the table is the key to everything sorcerers do..in order to reach that attention... they taught us dreaming and to teach us how to do dreaming, the Nagual taught us gazing. SRP,256.
 
THE OLD SORCERER'S COULD GET TO THEIR ENERGY BODIES BY SIMPLY GAZING AT OBJECTS THEY LIKED.
..gazing was the old sorcerers' technique. They were able to get to their energy bodies in the blink of an eye, simply by gazing at objects of their predilection (what they liked) TAOD,124
 
THE OLD SEERS DEVELOPED COMPLEX TECHNIQUES OF GAZING IN ORDER TO DESCEND INTO THE DEPTHS OF THE INORGANIC WORLDS. FFW,120
The old seers developed complex techniques of gazing in order to descend into the depths of the inorganic worlds. FFW,120
 
IN EL GORDA'S OPINION GAZING IS ONE OF THE BEST WAYS TO REACH THE SECOND ATTENTION BECAUSE IT STOPS THE WORLD
Once you can stop the world you are a gazer. And since the only way of stopping the world is by trying, the Nagual made all of us gaze at dry leaves for years and years. I think its the best way to reach our second attention. (El Gorda's opinion) SRP,257.
 
THE DIFFICULTY IN GAZING IS TO LEARN TO QUIET DOWN THE THOUGHTS
The difficulty in gazing is to learn to quiet down the thoughts.... (leaf gazing was used because leaves are easy to get) but anything else would do the same job. SRP,257.
 
HE COMBINED GAZING AT DRY LEAVES AND LOOKING FOR OUR HANDS IN DREAMING. IT TOOK ME ABOUT A YEAR TO FIND MY HANDS, AND FOUR YEARS TO STOP THE WORLD.
He combined gazing at dry leaves and looking for our hands in dreaming. It took me about a year to find my hands, and four years to stop the world. SRP,258...
 
ONCE DREAMERS KNOW HOW TO STOP THE WORLD, THEY CAN GAZE AT OTHER THINGS; AND FINALLY WHEN THE DREAMERS LOSE THEIR FORM ALTOGETHER, THEY CAN GAZE AT ANYTHING.
Once dreamers know how to stop the world, they can gaze at other things; and finally when the dreamers lose their form altogether, they can gaze at anything. SRP,258.
 
THERE SHOULD ALWAYS BE SOMEONE AROUND YOU WHEN YOU GAZE
... for this reason there should always be someone around when you gaze. We never know about the quirks of our second attention. Since we have never used it, we have to become familiar with it before we could venture into gazing alone. SRP,257.
 
HOW LONG DO PEOPLE GAZE?
 
SOMETIMES FOR HOURS, SOMETIMES FOR DAYS
they used to sit... and stare in the distance with half-closed eyes for hours, sometimes for days. SRP,178. the Nagual used to make us sit by the door and gaze at those little round hills on the other side of the valley..sometimes we used to sit there for days until the crack would open. SRP,217.
 
HOW DO YOU GAZE?
 
POSITION OF THE BODY WHILE GAZING
the position of the body was of great importance while one was gazing. one had to sit on the ground on a soft mat of leaves, or on a cushion made out of natural fibers. (she came back with a small, thick, round cushion made out of the same natural fibre used in making nets.) The back had to be propped up against a tree, or a stump or a flat rock.(the Nagual had made me plant those thick poles so they could use them to prop themselves.) The body had to be thoroughly relaxed. SRP,263
 
HOW TO USE THE EYES WHILE GAZING
the eyes were never fixed on the object, in order to avoid tiring them. the gaze consisted in scanning very slowly the object gazed at, going counterclockwise but without moving the head. SRP,263
 
GAZE WITH YOUR EYES HALF-CLOSED AND BLINK THEM ALOT AND MOVE THEM FROM ONE THING TO ANOTHER
If you gaze with your eyes open, you get dizzy and the eyes get tired, but if you half-close them and blink alot and move them from mountain to mountain, or from cloud to cloud, you can look for hours, or days if necessary. SRP,217.
 
USING FLUFFY, COTTON BAGS TO GAZE IN THE DARK TO ACQUIRE A HUE
She made them undress and crawl inside thick fluffy cotton bags, some poncholike garments.. (she directed me to feel its fluffiness with my naked skin, especially with the skin of my calves.) covered them from neck to toes. She ordered them to sit back to back on a mat... and that their task was to gaze in the darkness until it began to acquire a hue. After many sessions, they indeed began to see colors in the darkness... EG,255.
 
DESCRIPTION OF GAZING AT TWO HILLS IN THE DISTANCE
she told me to keep my eyelids half closed and stare at the place where two enormous round hills converged.. that particular gazing consisted of four seperate actions. The first one was to use the brim of my hat as a visor to shade off the excessive glare from the sun and allow only a minimal amount of light to come to my eyes; then to half-close my eyelids; the third step was to sustain the opening of my eyelids in order to maintain a uniform flow of light; and the fourth step was to distinguish the water canyon in the background through the mesh of light fibers on my eyelashes. SRP,264.
She made me sit on the hard-packed ground with my back against a thick pole about one and a half feet high that looked like a tree stump which had been planted in the ground almost against the wall of the house. There was a row of five such poles planted about two feet apart. SRP,248. The sun was high on the horizon and I had to tilt my head back. I tipped my hat until I had blocked off most of the glare with the brim... as soon as I half closed my eyes, a bit of light appeared as if it were coming from the tip of my hat literally exploded on my eyelashes, which were acting as a fliter that created a web of light. I kept my eyelids closed and played with the web of light for a moment... SRP,264. ( seeing a dark spot in a canyon ex. of distance gazing).. SRP,265,265....also DJ activity of using a cloth in front of canyon for perceptual changes.) SRP,265.
 
DESCRIPTION OF GAZING
..in one instant I was drawn into a vortex-like sensation, extremely like the vortexes in my dreams...my dreaming attention was multisensorial..what had begun as gazing at the foilage of the mesquite tree had turned into a dream. TAOD,71,72 ..On the subjective level, however, I believed I was dreaming because I employed dreaming techniques to perceive energy. TAOD,79 Description of gazing at the lava mountains. JTI,201
 
TYPES OF GAZING
 
GAZING AT LEAVES
 
Gazing at leaves fortifies the second attention. If you gaze at a pile of leaves for hours, your thoughts get quiet. Without thoughts the attention of the tonal wanes and suddenly your second attention hooks on to the leaves and the leaves become second else. SRP,257 ..by staring at the foilage, I would accomplish a minute displacement of my assemblage point. Then, by summoning my dreaming attention through staring at individual leaves, I would actually fixate that minute displacement, and my cohesion would make me perceive in terms of the second attention. TAOD,71
Once you have trapped your second attention with dry leaves, you do gazing and dreaming to enlarge it. And that's all there is to gazing. SRP,258. The first thing the Nagual did was to put a dry leaf on the ground and made me look at it for hours. Everyday he brought a leaf and put it in front of me. At first I thought that it was the same leaf that he saved from day to day, but then I noticed that leaves are different. The Nagual said that when I realize that, we are not looking anymore but gazing. SRP,257. Then he put stacks of dry leaves in front of me. He told me to scramble them with my left hand and fell them as I gazed at them. A dreamer moves the leaves in spirals, gazes at them and then dreams of the designs that the leaves make. Dreamers can consider themselves as having leaf gazing when they dream the designs of the leaves first and then find those same designs the next day in their pile of dry leaves. SRP,257.
 
GAZING AT SMALL PLANTS
First we gazed at small plants... small plants are very dangerous. Their power is concentrated; they have a very intense light and they feel when dreamers are gazing at them; they immediately move their light and shoot it at the gazer. Dreamers have to choose one kind of plant to gaze at.SRP,258.
 
GAZING AT TREES
Next we gazed at trees. Dreamers also have a particular kind of tree to gaze at. ... both of us are eucalyptus gazers. SRP,258.
 
A GOOD TIME TO DO GAZING FOR TREE AND ROCKS: NOON WAS WHEN THEY WERE AT THEIR BEST
The time of the day was an important factor in tree and rock gazing. In the early morning, trees and rocks were stiff and their light was faint. Around noon was when they were at their best, and gazing at that time was done for borrowing their light and power. In the late afternoon and early evening, trees and rocks were quiet and sad, especially trees... La Gorda said at that hour trees gave the feeling that they were gazing back at the gazer. SRP,259,260.
description of gazing at leaves and rocks. EG,137
 
GAZING AT LIVING CREATURES
next we gazed at moving living creatures... small insects were by far the best subject. Their mobility made them innocuous to the gazer, the opposite of plants which drew their light directly from the earth. SRP,259
 
GAZING AT ROCKS
The next step was to gaze at rocks... rocks were very old and powerful and had a specific light which was rather greenish in contrast with the white light of plants and the yellowish light of mobile, living beings. Rocks did not open up easily to gazers, but it was worthwhile for gazers to persist because rocks had special secrets concealed in their core, secrets that could aid sorcerers in their dreaming.... when I gaze into the very core of a rock.. I always catch a whiff of a special scent proper to that rock. SRP,259.
 
GAZING AT RAIN AND FOG
A second series in the order of gazing was to gaze at cyclic phenomena: rain and fog. She said that gazers can focus their second attention on the rain itself and move with it, or focus it on the background and use the rain as a magnifying glass of sorts to reveal hidden features, Places of power or places to be avoided are found by gazing through rain. Places of power are yellowish and places to be avoided are green. SRP,260
..fog was unquestionably the most mysterious thing on earth for a gazer and that it could be used in the same two ways that rain was used.... but it did not easily yield to women.. the fog was used to uncover the ghosts of things that were no longer there and that the true feat of fog gazers was to let their second attention go into whatever their gazing as revealing to them. SRP,260.
 
GAZING AT DISTANCE OR CLOUDS
..another series was distance and cloud gazing. In both, the effort of the gazers was to let their second attention go to the place they were gazing at. Thus, they covered great distances or rode on clouds. in the case of cloud gazing, The nagual never permitted them to gaze at thunderheads. he told them that they had to be formless before they could attempt that feat, and that they could not only ride on a thunderhead, but on a thunderbolt itself. SRP,261.
 
GAZING AT FIRE AND SMOKE
The last series was fire, smoke and shadow gazing. She said that for a gazer, fire is not bright but black, and so is smoke. SRP,262 (looking at the fire for an ally)...I did not have to stare at the flames, that I should only watch in the direction of the fire. SR,231...
 
GAZING AT SHADOWS
Shadows.. are brilliant and have colour and movement in them. SRP,262. During the day the shadows are the doors of not-doing..but at night since very little doing prevails in the dark, everything is a shadow, including the allies. JTI,199 ..had me gaze at the shadows of leaves and plants and trees and rocks. The shadows in the early morning don't tell much. The shadows rest at that time. So it's useless to gaze very early in the day. Around six in the morning the shadows wake up, and they are best around five in the afternoon. Then they are fully awake. SRP,268... The shadows tell me everything I want to know. They tell me things because they have heat, or cold, or because they move, or because they have colors. (I learned what they mean) in my dreaming. Dreamers must gaze in order to do dreaming and then they must look for their dreams in their gazing. For example, The nagual made me gaze at the shadows of rocks, and then in my dreaming I found out that those shadows had light, so I looked for the light in the shadows from then on until I found it. Gazing and dreaming go together. It took me a lot of gazing at shadows to get my dreaming of shadows going. And then it took me a lot of dreaming and gazing to get the two together and really see in the shadows what I was seeing in my dreaming. SRP,269. Description of shadow gazing. TOP,88, JTI,180,181.
Shadows are like doors, the doors of not-doing. A man of knowledge, for example, can tell the innermost feelings of men by watching their shadows. JTI,195.... you may say that there is movement in them, or you may say that the lines of the world are shown in them, or you may say that feelings come from them..to believe that shadows are just shadows is doing...what makes them shadows is merely our doing. JTI,196.
He marked a spot for me to stand on and told me to look at the shadows of the peaks. He said that I should watch them and cross my eyes in the same manner I ordinarily crossed them when scanning the ground for a place to rest. He clarified his directions by saying that when searching for a resting place one had to look without focusing but in observing shadows one had to cross the eyes and yet keep a sharp image in focus. The idea was to let one shadow be superimposed on the other by crossing the eyes. He explained that through that process one could ascertain a certain feeling which emanated from shadows. JTI,196
I noticed that the act of looking without converging the images gave the single shadow I had formed an unbelievable depth and a sort of transparency. Then, for an instant, i lost the notion that I was looking at a rock. I felt that I was handing in a world, vast beyond anything I had ever conceived. JTI,197.
To see the movement of shadows means that you have obviously freed a huge portion of energy with your recapitulation. TSC,73.
To observe the boulder in order to know what the boulder is, is doing, but to observe its shadow is not-doing. JTI,195. I had correctly used the shadow of the rocks as a door into not-doing. JTI,198.
 
GAZING AT STARS
There were two more things that were kept seperate, star and water gazing. Stargazing was done by sorcerers who have lost their human form... SRP,262.
 
GAZING AT WATER
(water) especially running water, which was used by formless sorcerers to gather their second attention and transport it to any place they needed to go. All of us are terrified of water..a river gathers the second attention and takes it away and there is no way of stopping. SRP,262. Description of watergazing experience. TOP,87.. I was sound asleep; or perhaps I entered into a perceptual state for which I had no parallel. the closest way of describing it would be to say that I went to sleep and had a portentous dream. TOP,87. He told me not to gaze into the water, but to focus my eyes on the surface and keep them fixed until the water turned into a green fog. Look at the water in front of you..but don't let its sound carry you anywhere. If you let the sound of the water carry you I may never be able to find you and bring you back. SR,171 The foglike phenomenon was composed of tiny bubbles, round objects that came into my field of vision and moved out of it with a floating quality. SR,172. DJ ordered me again to gaze only at the water and not think at all. He said it was difficult to stare at the moving water and that one had to keep on trying. Description of bubbles SR,163,164. He said that anyone can perceive the green fog because it was like the guardian, something that was unavoidably there, so there
was no great accomplishment in perceiving it. SR,168. At first the water had a bright green halo, or fluorescence, which soon dissolved, leaving only a stream of ordinary water. TDJ,166
 
5. THE RIGHT WAY OF WALKING
 
WHAT IS THE RIGHT WAY OF WALKING?
 
THE RIGHT WAY OF WALKING IS THE MOST EFFECTIVE WAY TO STOP THE INTERNAL DIALOGUE
(the right way of walking) is the most effective way to stop your internal dialogue. TOP,230.
 
IT ALSO TRAINS YOUR ATTENTION
His method was effective on two counts. It allowed me to stop my internal dialogue after years of trying, and it trained my attention. By forcing me to concentrate on the peripheral view, DJ reinforced my capacity to concentrate for long periods of time on one single activity. EG,135,136
 
WHY IS THE RIGHT WAY OF WALKING SO EFFECTIVE?
 
IT SATURATES THE TONAL WITH SO MUCH INFORMATION IT CANNOT MAINTAIN A WORLD AND THUS BECOMES SILENT
Walking in that specific manner saturates the tonal..it floods it. ..the attention of the tonal has to be placed on its creations..it is the attention that creates the order of the world in the first place; so, the tonal must be attentive to the elements of its world in order to maintain it, and must, above all, uphold the view of the world as internal dialogue. TOP,230.
 
DESCRIPTION OF HOW TO DO THE TECHNIQUE
To teach me how to master it, he used to make me walk for miles with my eyes held fixed and out of focus at a level just above the horizon so as to emphasize the periphereal view. EG,135,136. His recommendation had been to not look at anything directly but, by slightly crossing the eyes, to keep a peripheral view of everything that presented itself to my eyes.... if one kept one's unfocused eyes at a point just above the horizon, it was possible to notice, at once, everything in almost the 180 degree range in front of one's eyes. He assured me that that exercise was the only way of shutting off the internal dialogue TOP,19. appropriate form of walking...I had to curl my fingers gently as I walked so I would keep my attention on the trail and the surroundings. He claimed that my ordinary way of walking was debilitating and that one should never carry anything in the hands. JTI,19...his idea was that by forcing the hands into a specific position one was capable of greater stamina and greater awareness. JTI,19.
The right way of walking was a subterfuge. The warrior, first by curling his fingers, drew attention to the arms; and then by looking, without focusing his eyes, at any point directly in front of him on the arc that started at the tip of his feet and ended above the horizon, he literally flooded his tonal with information. The tonal without its one-to-one relation with the elements of its description, was incapable of talking to itself and thus one became silent. TOP,230..the position of the fingers did not matter at all, that the only consideration was to draw attention to the arms by clasping the fingers in various unaccustomed ways, and that the important thing was the manner in which the eyes by being kept unfocused, detected an enormous number of features of the world without being clear about them. He added that the eyes in that state were capable of picking out details which were too fleeting for normal vision... TOP,230.
it was obvious to me that the effect DJ had been after in making them gaze was to teach them to stop the internal dialogue.La Gorda had expressed it as quieting down the thoughts. DJ had taught me to do the very same thing, although he had made me follow the opposite path; instead of teaching to focus my view, as gazers did, he taught me to open it, to flood my awareness by not focusing my sight on anything. I had to sort of feel with my eyes everything in the 180-degree range in front of me, while I kept my eyes unfocused just above the line of the horizon. SRP,267.
 
I told DJ that I had practised the technique for years without noticing any change... one day I had just walked for about ten minutes without having said a single word to myself. TOP,19
 
6. SOUNDS
 
USING SOUNDS TO STOP THE WORLD
I began the exercise of listening to the sounds of the world and kept at it for two months.. it was excruciating at first to listen and not look, but even more excruciating was not to talk to myself. By the end of the two months I was capable of shutting off my internal dialogue for short periods of time and I was capable of paying attention to sounds.(check..1969, a little late to just start learning how to shut off the internal dialogue) SR,220 ...First of all you must use your ears to take some of the burden from your eyes. We have been using our eyes to judge the world since the time we were born. We talk to others and to ourselves mainly about what we see. A warrior is aware of that and listens to the world; he listens to the sounds of the world. SR,219....listening to the sounds of the world has to be done harmoniously and with great patience. SR,219.
 
USING SOUNDS TO FIND OUT THINGS
he said that the holes in the sounds were used by sorcerers to find out specific things. A sorcerer's ally would reveal complicated affairs through the holes in the sounds. SR,225,226. Everything is meaningful for a sorcerer. The sounds have holes in them and so does everything around you. ordinarily a man does not have the speed to catch the holes, and thus he goes through life without protection. SR,226.
 
DARKNESS JOLTS OUR PERCEPTION BECAUSE THE EYES ARE SUBSIDIARY TO THE EARS
that perception suffers a profound jolt when we are placed in states of quietude in darkness. Our hearing takes the lead then, and the signals from all the living and existing entities around us can be detected-not with our hearing only, but with a combination of the auditory and visual senses, in that order... in darkness, especially while one is suspended, the eyes become subsidiary to the ears. EG,236.
 
A FEW MORE OTHER TECHNIQUES OF NOT DOING..
 
WALKING BACKWARDS EG,137.
 
SITTING IN A WOODEN CRATE. EG,234,235
 
TO LIE ON THE GROUND LIKE CURLED-UP DOGS. EG,235.
 
LEATHER HARNESS
the leather harness is a superb device for curing maladies that are not physical. The idea is that the higher a person is suspended and the longer that person is kept from touching the ground, dangling in midair, the better the possibilities of a true cleansing effect. EG,184. it tunes the body. EG,262. Suspended in a tree inside a tree inside a leather harness. EG,235,236.
 
STRINGING ROCKS
Description at CC's favorite place. JTI,147
 
TASK OF REMEMBERING
Purpose of remembering. EG,165,166
 
CHANGING DIRECTION OF LOOKING
description of. SRP,37.
 
WORTHY OPPONENT
description of. TOP,239