- 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.
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- 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.
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- 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
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- 6.
SOUNDS
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- 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.
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- 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.
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- 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.
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- A
FEW MORE OTHER TECHNIQUES OF NOT DOING..
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- WALKING BACKWARDS EG,137.
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- SITTING IN A WOODEN CRATE.
EG,234,235
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- TO LIE ON THE GROUND LIKE CURLED-UP DOGS.
EG,235.
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- 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.
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- STRINGING ROCKS
- Description at CC's favorite place.
JTI,147
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- TASK OF REMEMBERING
- Purpose of remembering. EG,165,166
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- CHANGING DIRECTION OF LOOKING
- description of. SRP,37.
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- WORTHY OPPONENT
- description of. TOP,239
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