CALISTHENICS –JUNE 16/17 1981
INVOLUTION ,EVOLUTION --COMEDIAN –MASK ---AWARENESS –CENTERSFROM THE FIELD –AWARE THE WORKING LEVEL –HOT CHAIR EXPERIMENT
It has been brought to our attention from higher up that the level of awareness, activity and involvement in the groups as a whole is not sufficient in relation to what is going on. This means we have to take steps to work harder and be more direct. So, I will speak again of a few points to help you meet the requirements.
If we follow Steiner's expression, a long time ago, man had a continuous awareness, and it remained full whether he was incarnated or not. This meant he was able to be fully aware of the difference between being incarnated and not being incarnated. At that time, the human condition, the human structure Was rather gross and the environment was very harsh. Being aware of the difference, man started to become unwilling to incarnate, so it became necessary to create a split in the awareness, and man no longer remembered the condition that came before incarnation. This split is fully and completely artificial, but it works.
You now have three and a half eternities behind you. This period has been called the curve of involution, the coming down. During this period the personality was developed and the skills in the personality were set. Now it happens that we are on the upswing again (the curve of evolution), and this period is meant for you to use the instrument. The instrument is now so sophisticated that you can step forward as creators and really create --whatever that means. It certainly does not mean that you create according to your fantasies, it means you create according to what is going on.
Now the change is not very old historically speaking, which means that the tendency to continue the involuting movement is still here. Every one of you experiences this. Psychologically, all the tendencies you have to reach up, obtain higher conditions, become more spiritual, everything you want to have, is a projection of the involuting aspect.
If you have any kind of acquired automatism in your personality, be it physical, mental, or whatever you want to change, you have to do it consciously. You have to step in on the conscious level (the you behind the mask), and this works with the conscious level in order to change the trend. You use the instrument in order to bring something out effectively.
You know I'm always looking for images, whatever is handy, even if it is absurd. I have come up with one that is pretty absurd, but very convenient because it actually is the picture of what happens. It has to do with the comedian and his mask.
Greek philosophers started using this image because, at that time, when comedians were impersonating someone or some animal they wore masks. The philosophers compared these masks to your social aspect, what you show to society, your ego-image.
When you train spiritually you hear you have a higher self. Now, in the imagery we are using here this is the comedian, and that which learns is the mask. So what does the mask do? It faces the comedian. Now the mask has something protruding in front called the nose, and the comedian has one also, so when they meet you have a nose crash. This is quite apparent, isn't it, It sounds silly, but this is exactly what you do. You persistently make the mask face the comedian, until you finally realize that the mask is hollow and has a place for the comedian inside. Here again you have a simple turnaround. The understanding of the turnaround is so difficult to come by because of the kind of fussy imagination you have. You don't realize that it's something very obvious -- very simple.
You have to learn to make the difference between the comedian's awareness and the mask's awareness. We have already seen that all acquisitiveness is an aspect of the involuting curve which will persist unless you stop it -- and you have to do it consciously.
Just to give you an example: Every time you use memory you are working mask-wise. The comedian does not use memory. Memory is a mask function instituted in the brain so the body functions could become automatic, like breathing, for instance, or walking. You would be embarrassed if you had to think to breathe or put one foot in front of the other, so there is a function called memory that does it automatically. This is typically a mask function.
Books, teachings, etc. all tell you what to do in-order-to-improve. This is mask activity. So, we can understand your position when you take things the wrong way (mask-wise), Society is still in the old movement, but we are in a pioneering work. Of course, you believe it because I have said it, and this might be good enough for you, but it is not good enough for me. You have to be able to act. The personality is here to be used.
The image that makes you want to reach a higher condition belongs to the past, and a long, long past it is. When you had that continuous awareness of what is called astral and physical you were aware that staying in the astral was more agreeable, and you were quite happy to die to go back to that condition. That memory is still here. You still have that very, very basic and old memory of wanting to quit the earth in order to go back to heaven. But we are here to bring heaven on earth and not to help you go to heaven --you can just cut your throat for that.
…….you deal with the experience consciously. Your mind registers this and that. This is a reflection. The whole perception of form and formless, field, and so on is on the reflective level. Now you have to find out what is reflected
But don't tell yourself you have made a mistake. A reflection is not a mistake. A reflection is a reflection, so you can use it. Learn to use it.
Participant: Did I hear you say that field is on the reflective level?
Martin: Not the field itself, but your relation to the field, how your consciousness deals with the field. It deals in a reflected way. When you live what is being reflected you might become aware that the awareness is totally different.
Consciousness deals with the world in three dimensions. If you have succession in time and space (linearity), it implies that what is being reflected has to have one more dimension. One more dimension is the fourth dimension; in the fourth. dimension everything is here simultaneously. Succession is gone. You show some of that condition working, but you have to change, you have to realize that you are not the mask.
The way you conveyed the experience means your reflecting consciousness takes it. In what you said you showed this: You asked and there came an answer. You did this from consciousness. You were not the creator, you were channeling something. You were not master of the situation. Something came to you, you were subjected to what came. In some other work this might be useful, but not in ours. You skip the responsibility of being the comedian and you continue as the mask, perceiving the comedian and saying that the comedian wants you to express in this or that way.
And you don't need the opinion of the mask. When you work you work whether your mind understands it or not. It is absolutely real. The mind, in this instance, belongs to the mask, and you don't ask the opinion of the mind, nor do you ask it whether it understands or not. You work. It is absolutely real. We're experienced people here, we know it works.
Most of the difficulties we have in the work we do together stems from the mask believing it is the comedian -- it doesn't understand, it gets confused. obviously it's confused, we address the comedian.
You delude yourself that it is only the consciousness that works. When you have an experience, you think it's only the consciousness participating in the experience. when something new comes along, you think it's only due to the consciousness. It's a tremendously vast illusion.
You might wonder how it is possible that we see you differently. It's very simple: your body awareness is due to your senses and the senses are limited. The activities going on in the body are a lot richer than is known through the senses. The comedian has three-and-a-half eternities of training, there is a lot you can do if you take that mask in hand and do something with it, make it effective.
Incidentally, when you are stuck with the consciousness of the mask, try being shoulder-centered instead of hip-centered. The awareness of the comedian is much easier when you are shoulder-centered.
Participant: I'd like some clarification about the positive and negative polarities. If you have a situation in which you feel a strong form of loving...
Martin: That's mainly negative polarity.
Participant: I don't sense myself coming down necessarily, but it seems very emotional, a nature expression...
Martin: You don't need to come down, there are regions in the negative polarity that are kind of even, level. A plexus condition can stay level or it can come down.
Participant: I don't know what to think about it. There is an awareness in me now that there's two ways in which love can flow out, or exist...
Martin: If you look at Georgette you will notice that you see no center activity if you are focused on the field. If you focus on the centers, they're all active, but they're active from the field, not from the person. Look at her plexus, for instance, see how it radiates? Now look around and see the lack of mastery. I want you to be as precisely aware as possible -- the work in which we are involved is not possible in that condition. I want you to realize that there are specific requirements and pretty hard requirements. You cannot be involved in the action going on without a comedian awareness no matter how dedicated the person is, it's not sufficient.
… In the book, which is an introduction, you take the position of the personality until you face something totally different. You have two ways of using the centers: from consciousness "up" to the centers or from field to center, which is actually how it works. When you have the apparent movement of consciousness toward a center it means the reverse, that is, the center is training the consciousness to adjust the action of the centers. So the consciousness looks toward the center as a response to the center's activity. In this case we simply let the illusion (that consciousness is creating the center) be. Then there is the other way around: in which the center is an aspect of a function or representative of the whole field, but this then has to be related to the personality. Actually, when you work, consciously and field-wise both, you will notice that, let us say, field is at one extreme and consciousness at the other with the center in between, and they come together until the gap between field and consciousness is gone.
Participant: But what is a center?
Martin: Nothing. But it's a nothing that is very effective.
Participant: I can relate to the field in the sense of the quality of the field, but it has nothing to do with this body.
Martin: The physical spot is only a way of relating symbolically.
Participant: But is there some meaning to the spatial...
Martin: You might realize that if centers are an event in the field, so is the personality -- the whole of it. In this case, the relation field/center/personality exists; centers have a meaning within the person, so there has to be something within the person that relates to person (some sort of functions). This is why you have functions within the body related to the centers. Functions can be nearly sensory, whereas the centers are not physical at all but there is a relation.
You can experience it with music. When the music is played it fills your image of the quality of the field. Then you notice with Beethoven, for instance, that when you look around for the average response something responds "heart", so there is something corresponding to that quality -- you have a location within the body. Now you can use this location or you can play on another principle that does not use any location, it's up to you.
Now, the other point with your friend, and it's a critical point: In transition stages, you feel something working ("the situation is being taken care of"), your consciousness acknowledges it but has nothing to do, so "it is done". This is to be considered only as a transition. It is required that you be that which is acting and thus be conscious of what you are doing. To feel "it acting" is a reality, but it's not the place to stop. otherwise, if you look at the psychological aspect, you don't take the responsibility, and before you know it you are channeling with the "other" being responsible. This is no good.
As far as the consciousness is concerned, you must realize that you have to, and because you have to you can, be aware on the level of what is at work. It's you, or, if you want, part of you, but it's not outside you. So, it being active, there is bound to be an awareness linked to that which is already working. Look in the general awareness of what is going on for the kind of form/function/quality it takes that is different and that your usual awareness does not yet acknowledge.
The search (and I don't mean the theoretical search) in your experience for what is going on at a given moment has to be quite real. Look at the components. There are the known parts, but you cannot deny that these known parts are surrounded by lots of aspects that are not known -- learn to put your attention on these. Take, for example, the situation you described with your friend. You can see all your emotional, mental and sensory activity right in front of you, and you can see that these are based within other functions. When you become able to focus on the other functions that are not conscious as usual consciousness is, you might suddenly recognize, within these other functions, the thing that was there -- thus you come closer to it. Little by little your consciousness gets used it it, adjusts to it, and can express it --and the "it" and the expression are together, meaning the "it" is the life in the expression. Then, in addition, there is the ability to act from the "it" without using consciousness as it is known-- this means you are able to act with the different functions -- it's altogether different.
I will give you another exercise that might help:
Lie down, close your eyes and feel yourself being in a beautiful condition. This can last, let us say, about five minutes. Then, open your eyes and see what happens. If everything disappears it means the whole think was a fantasy -- however clear it was, however beautiful. If it is reality the real aspect will stay whether the eyes are open or closed. All that changes belongs to the mask.
It's a way, and you might find others, to discriminate between what you really live and what you imagine living. Bear in mind that you inherited the tendency for the imagination to work first. You have to go through enough of these experiences until you clearly realize what the image is, because you believe that when the image is sufficiently vivid that it's it.
Hot Chair Experiment
Everyone who gives advice has to stand behind it, and the one who stands behind is not the consciousness, it's the comedian this is what gives life to the mask. How can you train someone if you cannot stand behind the proposition you give? This is where we are stuck. We suddenly have to face a situation. Requirements are more precise. The ability to sound a center is involved, with the ability to polarize from the field (actually more than the field) and act in a given direction. This shows when you can sound a center clearly. This means you can precisely activate, in the field, a certain type of activity. If you can do it with the centers you can do it with anything else. If you cannot do it with the centers, you cannot do it with anything else either -- there will be something floating, not anchored.
So we are going to do an experiment and I would like to have some guinea pigs. (Georgette vacates her chair) ...
First G.P. (Guinea Pig)
Martin: You will notice that the field is still active in the chair. Our first guinea pig is going to sit there and we won't do anything. We'll just observe if he slowly tunes into the field and to what degree, if at all... .
As you can notice, there is a change. If you see a change there is hope, if you don't, then the person involved is not yet ready. It does not mean there is no hope, but it does mean that the person is not yet mature enough. in this case, you might notice that the field around is very much centered in the head, in the concrete mind. The mind is involved. He is not yet joining in comedian-wise. But there is already some response which means he is sensitive to something going on. This is a basic requirement.
I'll do a little bit of something to see if he responds ...
As you can see, he does respond; so again there is hope. He responds to two basic aspects: the overall within which we work which we would call the field around the hot chair (the field that is not very specific) and to the action in which we are involved (which is much more specific).
I would like you to center with your mind on A (top of the head) ...
Here you can see the response is not very good. There is a lot of fantasy--the objectivity is not sufficient. In a fantasy for instance, one might find it fantastic, but the effectiveness would not be on par with the fantasy. In this case the effectiveness is on par with the fantasy.
Go back to field and make field-A...
Again you can see the process is controlled by the brain. There is some overall livance, but what you will have to do is train yourself to live fully field-wise without the mind interfering. The mind has to be empty. You have a hint of A. A hint of A is not an effective A; you cannot do anything with a hint.
Will you center (your choice, mind-wise or field-wise) on U..
I wonder if you notice that there is a mix-up here. There is something that wants to go directly U and there is a control by the consciousness. There is a kind of imbalance or battle between the U that is more genuine and the U that is a product of a belief.
M (at eye level back of the head) ...
Here we have something quite surprising. Do you realize that the M comes out with a kind of steadiness, balanced. His tendency is to be mainly U, but the factual side is M. It's the strongest point. This means that his personality is not adjusted at all to what he is. The personality tends to work by feeling, which is a kind of U function, and there is something much more pragmatic behind. Do you recognize yourself when you radiate M--that presence which is much clearer?
The rule is the center that comes out the best is obviously where you are the strongest at the moment--the moment might last a full lifetime, not always, but very often.
To put it another way, you had a spiritual training in which you came out with the M, but your memory of it and also the tendency you adopted in this life goes much more toward the feeling side, thus making the M pretty much ineffective. You have to readjust your personality. M goes toward the Doer side. It's not a dreamer and what you show is more of a dreamer and these don't go together.
What about your heart...
Now you can see the strength/balance/steadiness of the M is gone and you have heart that is mainly conceptual/emotional.
What about,-throat...
Okay, you still have the M of the head as the strongest point.
Now will somebody go there and put your finger at the top of the M and then go slowly down (all the way down to the neck) ...
You see the subconscious awakening. You can see that he has no control over the subconscious. If you relate to that positive M that he showed before, when you go too low, it's reason that is lost. This is an important point.
Participant: When you asked him to center on M, I thought I saw a change that was related to the A also. I was wondering whether it was because of the strength of the direction that was in the M, or is there was a relation...
Martin: You have to bear in mind that all the centers work all the time. The abstraction we make that we call M is simply because we are focusing on that activity, if you happen to be sensitive to A and you are, you might pick up the A at the same time. Tell yourself: "This is not the topic. Let's look at what happens on the M side". We place an emphasis on a certain point and we look at that point. This does not mean that the others don't work--they do, all the time.
Second G.P.
Martin: So first there is nothing, just the field...
You might notice that her consciousness is fully personal. Field relation has to do with the comedian, what is real, not just your person. On your personal level you don't respond, the performance is quite poor, but there is another side to you. You can see that she doesn't show the change that the first guinea pig showed.
Now let's see how she responds when I do something... When I do something I leave room so that she can respond or not respond. If, there is an urgency, the doing becomes much more imperative and then it works. In this case, it's not so.
Did she change when I did something?
Participant: Around her changed, she didn't change.
Martin: It's mainly field we are talking about. In the first instance, she changed spontaneously very little, in the second instance she changed up to a certain degree. It makes me think of a baby to whom you give a bottle. The baby thrives on what is given. This means you are not yourself. Act on it.
A of the head, whatever way you want...
It's a pity. The real you is just on the borderline behind. You show something that is not effective and it could be somewhat effective.
What about the U..
What about the M...
What about the heart...
Up to this point, the heart is potentially the best one, which means use it.
Incidentally, when you look for centers in this way, it does not mean that one center is better than another. The purpose of it is simply to show where you are good. In this instance when she comes out with heart it's more effective than the centers of the head. It might change in time, because this is personality-related, her spirit side is still hidden behind. I am surprised that you are not more aware of it because it's quite close. This means that the way you look for it is not efficient, because you are not realizing that it looks for you--otherwise it wouldn't be that close.
G.P.: It's a shock...
Martin: In a way, one of my purposes of doing this is to bring a shock to everyone because we have always spoken in terms of efficiency and when we put it to the test you realize that the efficiency is awfully poor. You never realized that it is for real. You might begin to realize why I always call you dreamers.
Now for the back of the head, starting at the top of the M and going down to the neck. This shows you how she manages with the subconsciousness ...
It's practically mask-related all the way. The mask is the tool that was built from nature side up, you have to work seriously--you as spirit. You are carried away by impulses and thus are not really free.
Third G.P.
Martin.: See the contrast? He nearly blends with the physical chair and all that is symbolic around it too, up to a certain degree--it's not the full tuning, it's not fully clear, but at least it's a response.
Now let's do something about that...
For those who are more sensitive, you begin to see the real one behind.
It might be good to look at others around to make the difference between what is happening in the chair and the general condition of the group, because if you always look in the same place you might lack the comparison. Comparison gives you a kind of scale if you want.
You will notice that there is something very clear showing behind and you have a mind that is not yet adjusted. He has trouble with his mind.
A (top of head) ...
It's funny, this triggers a chain reaction, you feel points above the head. Can you maintain the A and forget about your brain. Just be field and A and forget your person.
Potential is quite good, but the consciousness interferes pretty much.
U (forehead) ...
This U has some specifics I don't know if any of you recognize, the type of activity and the type of training.
M (eye level, back of the head) ...
Heart...
This one doesn't work well.
Going down the back of the head. This test is to show how far the spirit aspect goes, how soon the consciousness steps in...
As compared to the previous one, you have a control all the way down.
Participant: It wasn't the same all the way down ...
Martin: No, you had the subconscious coming in but what I look at here is how much control someone has over the subconscious activities (instinctive activities). Here for instance there is an awareness that controls up to a point. Sometimes there is no control at all with some people. If you go low enough you see just plain no control and what we want is precisely what he shows--the beginning of an awareness that controls all activities. This means going down you see the sub-aspect coming in, but also a continuance of the other side. Whereas with other people (with the previous guinea pig for instance) you don't have that continuance.
Fourth G.P.
Martin: Here we have a fully different story.
So now I do something...
Can you feel someone above you and slightly to the side? You don't?
Your mind has to be freed. Your mind is in a given track and what shows in not in that track. You are not free to connect with whatever is going on at the moment because it's not according to your track. In this condition the mind has to be free. I want to give you an example: When you have a gemstone, you will notice that the purer the inside the better the reflection--the interface between the inside and the outside--thus the play of the light. When there is something inside it's called a flaw. If you want the gemstone to be beautiful it has to have nothing in it--utterly, fully, completely transparent. If you want your mind to work properly it has to be utterly, fully, completely transparent -- in other words empty. You are linked to someone and you don't even recognize it.
Now come out with an A...
That's not clear. it makes nearly no difference in the field.
U...
M...
Heart...
Field response is good, but specifics are not good. I mean relative to the quality of the field, specifics (here, the centers) ought to be a lot sharper. But you have a strong interference of what your mind believes is needed. When such a field is active and brings centers into activity, you don't need any mind--you just do it. I would suggest that when you live field as you do now, you live it until the body feels, utterly, completely transparent, and I mean it very concretely, and this includes everything, including the brain.
Back of the head...
It is relatively good except for the lowest parts. They tend to upset you.
What you don't realize is that when you follow the field adjusting, you have many things showing. Among other things the kind of activity, the degree of maturity or initiation someone has, the relation within the Hierarchy and so on. This sounds like Chinese for you but there are those who understand Chinese.
Fifth G.P.
Martin: Okay, let me do something now...
There is something showing that is a lot more mature than your mind. You have to work on your mind to be more mature --you being the comedian, By more mature I mean more geared to the factual situation, less considerations. Considerations are linked with wanting to, the mature one comes out and acts.
A...
It's relatively effective on the personal level, but you miss the backing of the mature one behind. In other words, it's an A going-up-toward, it's not heaven coming down.
U...
This is the same. You have trained it on the personal level, but it is not sufficiently backed.
M...
All three pretty equal.
Heart...
This for the time being would be the most effective. I guess you have an inkling of that, don't you? All three are characteristically trained, let us say, like in the book.
This is the first stage. Now they have to be trained field-center and this implies presence of the real you behind.
Let's check for control of the subconscious ...
Okay, I don't think you need any feedback. You are aware of the change, aren't you?
G.P.: I was aware of some change, but I was also aware of something that seemed to be steady.
Martin: Relatively steady, yes, except in the very lowest parts.
Sixth G.P.
Martin: I hope you could follow the strong interference of consciousness in the beginning and little by little it gives way to something else.
Now let's see if you change again...
I wonder if you can see something coming out which gives the field a very specific characteristic. It's kind of different from everything we saw tonight. Usually a field is just a field (if we can say so), but in this field she is shooting rays. There is field and rays.
okay, let's come out with an A...
U...
M...
Did you ever observe that your effectiveness was on comedian level and not mask level? Something worked when you touched the comedian. There are many ways of acting, but in the condition you are in, the relation with the personality is poor, but there is an activity otherwise. You could be one of those people who are able to work abstractly. Does that make sense for you?
G.P. : My mind does not understand it.
Martin: Yes, your mind does not understand, it is not used to it. You mind has images that are beside the point. You face a situation that your mind does not understand because it is not a classical example. The habit of equating the comedian to the aspect of the mask is definitely no good. You might finally manage to come through the mask, possibly, but as for now, there is already an effectiveness in a much more abstract way. But then your consciousness doesn't help.
Now we'll test the control of the subconscious...
Do you notice how your brain takes over and it's nearly gone at the end. There is no reason for that. You are not obliged to follow that pattern, not at all.
Seventh G.P.
Martin: You will notice that she tunes in from the outside of the field toward the inside, little by little. The tuning shows better at a certain distance. You can see it at about seven feet, and then it slowly comes closer, but the awareness in her head does not tune in. The mask has little awareness, some feeling, but not enough. However, the main point is not what the mask does, because this can be changed, but the ability to respond to the field. She shows a progressive response.
Now I do something ...
You can see a response right above her head, but, again, the awareness is quite poor on the level of the mask. You can even see that the response to what I do is even better than the first response of the field in general. This kind of reaction is needed, if it doesn't happen the work is useless, meaning the person does not respond to what we do.
Now we will center on the A of the head...
Here we have something interesting, for those who can follow. She centers on A with her mind and what actually appears is an A due to the field. I would like those who can to register this the comedian is not a myth. She does not have the awareness of doing it but the comedian has, so you see the comedian acting with the person not fully conscious.
Participant: Haven't the different centers responded naturally throughout all this? When she first sat down my impression was that when she first tuned to the field that the mA moved up and became a little more active and clearer.
Martin: Yes.
Participant: And when you worked with her the strongest sense I had was that her heart became more clear and more radiant.
Martin: This is a secondary aspect to the A becoming more active. The heart is an A too (aU). The heart is an A that is closer to the consciousness.
Center on the uA (forehead) ...
Now again you have a response that doesn't correspond to her awareness -- she performs a lot better than she is aware of.
Back of the head at eye level ...
Here we have some confusion. As I said earlier, everyone has a kind of dominant note. Then we have to look for another aspect. The dominant note is sometimes heart so we'll look at the heart now...
The heart is more powerful, but more concrete than A, meaning the heart contains more mask aspect than A.
Go back to A...
Because the heart is more concrete it appears to be more powerful, which it isn't. When a center is more bodied, more concrete, it's less powerful than when it is more abstract, contrary to what your mind thinks. She would be a lot more effective in life if the A were radiating all the time as she does now. In practice the A will clarify and become more transparent. When the A becomes more fully transparent it will be powerful. If the heart is more concrete, it's less transparent. Do you see the difference? And when the A is clearer, the heart will come out clearer too.
Let's check the control of the subconscious ...
You will notice that she still has something. Now it's beginning to change the quality of the radiance there was with the A. Now it begins to be mixed up. Now it's getting lost. Now there is a reaction from the lower part.
Participant: She became dull, smaller and duller.
Martin: Yes, this means that the lower subconscious, which is sometimes called the instinctual side, is still not in hand. Actually she does show some control all the way down, the control is never fully lost--with some people it's fully lost. Here there is some, but what we want is that the person be able to keep the clarity she has naturally behind her mask, and that this be fully alive, even when the lower subconscious shows up. This would mean that the subconscious no longer has a hold over you.
Incidentally, this is why I tell you to be careful with music. The popular music that stems from rhythm awakens the subconscious aspect. If you learn to read what is going on in society you can see that the introduction of this music in the beginning of this century brought along the huge problems related with violence, drugs, alcohol, and sex - all pertain to subconscious activity. You have no reasonable defense (meaning your reason does not help) against music. So, don't fool around with music unless you can counteract its effects. Usually you are not that masterful.
The ability to show something in spite of the personality means that there is a soul relation that is active and that does respond.
Eighth G.P.
Martin: Here we have the same situation, except that she is aware of it. You can see the way she relates is not from the mind. This does not mean that the mind is not active, but it's deeper than the mind. This is actually what is called a soul response. In our symbolism, it's the comedian behind the mask.
Okay now let's do something...
It's interesting, because every situation is different. We just saw, for instance, the soul connection, but there is more than a simple soul connection. There is something she recognizes with us, so it is more than just vaguely soul. Do you realize that you do recognize something here? You recognize also the comedian behind the mask, which gives a relation that is a lot deeper than mask to mask. Can you acknowledge that?
G.P.: If I try to understand from my mind I would say, no, I don't; but, yes, I do.
Martin: I agree with you. On the level of your mind you don't understand what is going on, but as far as experience goes you do. This is a nice example to show you how attentive you have to be. The mind does not recognize it because it's territory that is unknown to the mind, not yet acknowledged, but the experience itself contains more than the mind and on that level you can acknowledge something. This pertains to something I call livance, which is not based on mind--it can include it but it is not based there, Training requires you to be fully aware, learning to acknowledge more and more of what you really live, not what you extract from livance because of the paradigm in your mind. Your mind says it ought to be so and so, but the experience is different-- there is a level of familiarity that the consciousness, the mask, cannot understand because it is not made for that.
Okay, let's come out with A...
She's just proving what I said, she's responding from that deeper relation and you have an A that is quite surprising -- a little above the head, but it doesn't matter. This does not correspond to the capacities of her mask, meaning if she were more self-conscious or, let us say, not on the hot chair she might not be able to show what she shows now.
U...
This U has been trained in the past; she has practiced meditation and things like that in the past -- it has a quality to it again that the consciousness does not know, but it is there. It has an aspect that is definite, not just vague.
M...
That's pretty nice.
Now someone check the back of the head...
Now you have something quite special. You have two movements: the personality that tends to go toward subconsciousness but behind you have someone that won't let go and doesn't change. Actually there is a mastery that is a lot bigger than she is aware of. Can you see how the mask can fool you? You have an image of yourself that does not correspond to what you show. This is one of the instances where there is already a training in the past that is acknowledged by the consciousness.
We have initiates in our groups, practically none are aware of it, and none have resumed their professional aspects. There is as much difference between an initiate and a man as there is between a man and an animal. Remember that.
Those of you who direct training groups: When you see something like this how would you handle it? Unless you are trained on the level she shows you cannot. So, you will counsel the person until the person "reaches" a level where she is anyway. She's in a position to take shortcuts, whatever the personal appearance. She might or might not take the shortcuts, but it wouldn't be because the qualification is not here. But it can be blocked with the mind.
Ninth G.P.
Martin: Here is something that might not be very easy to see. There is an overall response in the field and, at the same time, a subconscious activity interfering quite strongly, otherwise the body aspect would change.
This changes much too little, because of the subconscious interference.
Okay now, I'll do something...
We still have the interference pretty strong, pretty stiff, and pretty stubborn. Basically there is a misunderstanding: you relate to spirituality in the direction of the past instead of in the direction of what is coming -- this triggers the subconscious activity quite a bit. Can you make a total blank? That's better. Lift the center of gravity to the shoulders.
Now sound an A:
That is zero, no A.
U...
U doesn't work.
M...
A flicker of something.
Heart ...
That's a personal heart.
The centers are completely ineffective, which means what you have trained and exercised is entirely within the realm of your concrete mind -- you have dealt with an image, not a reality.
Incidentally, when you work with centers your awareness has to be livance-wise. If you see the person sitting there and the field emanating from the body, this is a reflection of the reality, the body is a product of the field which is the reality. she shows the reverse, which means she is pretty much in reflection. If you want to work you have to face the situation as it is, not as you imagine it to be.
Tenth G.P.
Martin: Can you follow the movement? As far as joining in is concerned the reaction is pretty poor. She is used to expecting something coming to her. Now, it's getting somewhat better. You ought to know you can do a lot better than that.
Now let me do something...
You can see the center of gravity changing. She becomes more transparent in a way. Are you aware of the soul relation? This ought to always be present, otherwise you lose yourself, you get entangled in a lot of things.
I want you to stand up to see how it feels...
See? Those who are observing: do you realize that you are looking at something different, and that the image she has of herself does not correspond to what she shows? You can feel that in your relation to the room can't you?
Sit down again...
it happens that desperate situations only look desperate because you like it that way, but the real situation is not so.
A...
You can see, again, the situation that we have already seen: something is working directly from the field -- or if you want -- directly from the comedian or the soul.
U...
This could be improved. It's not definite, it's not active. It's not absent, but it's not sufficiently defined.
M...
Heart...
Now here again we have a heart that tends to be too concrete -- too entangled with concepts of the personality.
A again...
This one is much clearer. Practice aA for a while until you are perfectly conscious of the clarity, the transparency.
Back of the head.
That's funny, she,is already anticipating the subconscious reaction. Now, here we lose control. You can establish a control halfway down if you want, the capacity is here; mostly you forget, but you can do it. However, past a certain point you become lost, meaning there is some part of your instinctive side that is in control of you. You let yourself be carried away, which is not in accordance with what you show in other ways. What you show implies some degree of mastery, so you have to exert it whether your mask understands or not.
Eleventh G.P.
Martin: That shows a pretty good relation. There is one point I,want you to draw, your attention to: you see that there is a relation, but the transparency is missing. Afterwards you will see Georgette over there and you will be surprised at how utterly transparent the field is. When you see a relation like this one you might be tempted to think that it fits in fully, but it does not fit in the way of transparency.
There are several measures you make when you observe. One is the extent of freedom with which she matches what is going on, and the other would be more quality-wise. Quality-wise you can see the degree of initiation if there is one.
Okay, let's do something...
Now you can see another quality that is appearing. This is more, well, a little bit more transparent. If I help a little bit, she is much more real with what she shows, she is more herself. Prior to this, it was more a kind of generality here you have more specifics.
A...
Here a genuine action is working on an A and the consciousness is working on an A and the two don't meet. Two different actions going on at the same time. What about being what is around and way above, an A, and forgetting about that person. It's not yet very active but much better, much more-free.
U...
There is some training behind, but not yet brought out. On the surface you don't show much, but behind you do.
M...
Heart...
Here we have a mix-up. There is the endeavor of the comedian to come out with heart and the mix-up with the, understanding of the consciousness about heart. The difference between a reflection and a reality is much more pronounced on this level than it is in the head (which is usually the case). The heart level belongs to the conscious zone where you have the working together of negative and positive polarities, whereas in the head you have a super conscious zone so that the clarity of spirit can come out much more easily. In the conscious zone you can easily have a mix-up between negative and positive. As far as the centers are concerned the centers are always positive.
Back of the head...
There is a strong effort to stay master of the situation, but there are aspects you can't fully master. You might know that. You show aspects of the subconscious or instinct or memory side that pop up. You hold a certain mastery but you are not fully master--the intent is here but the ability is not yet full. Just continue to practice. But as average goes there is nothing to worry about, it works nice.
Twelfth G.P.
Martin: Here we have another one that doesn't know himself. It's surprising how blind people can be.
Okay, let's do something...
Can you see the nature of the change? There is one thing in the change and another in the nature of the change. The nature of the change might show you what stands behind the mask, but when you follow the nature of the change it means you have to live it. If you perceive it, it's not reliable because the perception is always reflective.
A...
U...
M...
Heart...
Back of the head...
Now we have a situation. On the level of the mask it's wonderfully ineffective, but on the other side it's practically the reverse -- meaning you systematically ignore yourself in spite of what shows. If you want to work you have to work according to what you are in reality, what you show now, and not from the person, because the person is just plain fully blind. In other practical terms, you have to work from the position that has turned around and is coming down -- all else will end in illusions and frustration. There is too much here to be ignored, so accept the responsibility and come out.
Participant: You said that the person seems to be fully blind to what he is and yet he acknowledges or agrees with you in each thing that you say -- how can that be?
Martin: Easy.
Participant: You mean by fully blind that the person doesn't respond to the being that's behind that's active?
Martin: The person is blind to the actual situation, he doesn't know who he is.
Participant: And he knows that he doesn't know?
Martin: Well, yes he knows that he doesn't know -- a little.
The point is that he hasn't decided to take the responsibility, because there is a responsibility involved.
I have to caution you, there is a lot of responsibility involved in what we do, and you have to be able to assume responsibilities. You will notice that I always gear you toward the fact that you have a creator position, the Doer. As Doer you are fully responsible for what you do, or do not do.
G.P.: You mean that's the single most important factor in my position?
Martin: In your position what is important, symbolically speaking, is that you come out in order to act. All positions that go up in order to reach are just plain no good -- there is too much showing. It might have been good once, but it is not good any longer.
G.P.: What about wanting to have as well as going up to reach ?
Martin: The having, the reaching, they are of no use.
I don't know if you noticed when Gary was beside him that they were pretty close. What I call cycling or making something of the Impulse within mankind and within the earth itself comes under the Hierarchy, and if you open your eyes just a little bit you will begin to see the workings of the Hierarchy. What we bring does not stem from the Hierarchy, but as you observe the movements little by little, you will be aware of the practical side and begin to recognize some activities. The radiance that he and Gary show is typical of the Hierarchy.
Participant: Martin, are you saying that, if we act in the Doer Impulse, that the Hierarchical activity responds to that like dominoes?
Martin: Everyone responds, everywhere, whatever level, whatever the title, whatever the function.
Now, notice the difference when Georgette resumes her seat. Can you follow the appearance from the field? There is the fullness of that immediately.
Now, Dany, do the back of the head test...
There might have been a change in you, but not in her. Do you notice that there is a control that is not of the person, it is absolutely steady, no wavering whatsoever. I want you to realize that it can be done, it exists. I am not talking about things, I am talking things. I encourage you to do the same.
Here is another experiment you can do:
First, you are yourself, bodily personality-wise, then if you radiate the field, you discover a relation of causality -- the person producing the field. If you look around the room you can see/feel the relation of the person creating the field. Then, tune into the reverse, the field creating the person. When you look at Georgette, it's quite evident that the field generates the person, whereas when you look at each other, it's not the same. The general tendency is still one of you generating the field, when in reality it is the field that generates the person.
Speaking technically, none of you showed a clear center. Now if you want to be efficient this has to be clear. It's a tool, the tool has to be really operational -- the hint of a tool is of no use. You have to start working until it works positively.
When we work here together as a group there is a generation of heaven on earth. It's already effective, but what do you think it will be when we all work together. But there are requirements, specific requirements. As I said, dedication is not sufficient. I would say all of you are dedicated, but involvement takes more than that, it costs your person in one way or another. There is a choice, and once the choice is made you move.
What I want you to realize is that we are no longer free to wait and wait. We are obliged to step up the pace, so you have to become more realistic. It's not that the possibility is not here, don't fool yourself -- it's a matter of movement.
Use this summer to start moving and see what happens.
Note: A form of hot chair exists constantly when you tune in to us. If you tune in to us the change that you saw on the chair ought to happen wherever you are. If it does not it means you don't respond to what is going on -- everything is going on in your head, but not factually.