Author_at_workM: Let us say because as we have pointed out, the laws, the universal laws, do indeed have to be met. That is, the Law of Polarity, that is being on the inside of one’s reality, and also being on the outside of it. Let us go back to our allegory of the author.

So the author is on the outside of the universe it is creating. However, unless you can put your imagination into the inside, you cannot really know how your character will respond or react. So you make up the storyline. Then you have to descend into the character to gain the information, the experience that was the point of writing the novel in the first place.

S: I see. I understand.

M: The point, then, is to understand the paradoxes that you are both inside and outside at the same time.

S: Okay. And is that why I’m feeling this push-pull between…

universe-boxM: Of course. Because one wants to be on the outside looking in, but you cannot be on the outside without being also on the inside. It is what you would call the binary system. You are either… You understand what I mean?

S: I think so. Why did I bring these flights of fancy into my life? [S has been visited by colourful parrots.]

M: Let us say you want some colour. You want to find your creativity again. You understand what creativity is. You understand what balance and harmony is in terms of colour and fabric, paintings and music and so on. But only from the outside. How will you manage to become one with it, learn how to create magnificence? Do you understand what I mean?

S: I think so, because you’ve just asked the question that we all want to know the answer to, which is, How do we do that?

M: First of all, one begins to play with it. In your world, often you talk about playing with the clay to create shape, to create form. It is pliable. It is able to be manipulated into varying shapes with various subtleties. And some forms have a sense of harmony and balance. You can create a form, but to create a form that is pleasing takes some effort and some perception. And because it is again significant, those that create form that is pleasing understand the nature of balance, because a form that is made of your clay has to be able to find that place. It cannot be falling over. And that is the same with your paintings. You can paint colors upon canvas, of course, but to find the shapes and forms that deliver a sensation of harmony and quietude and pleasing, requires something extra. Do you follow what I am saying?

S: I think I do because I feel like there are other people around me who can do that, and I mean literally with painting and colour, and I can’t create it myself. I recognize it when I see it, and I like it, but I can’t figure out to get there.

M: You understand, you can’t get there by thinking about it! This is exactly the same thing as being involved in your own work of art. Your reality is your work of art! And the more you begin to experiment with the colour on the canvas, the more you become skilful. The more you play with your clays, the more skilful you get at delivering pleasing sculpture. So the more you experiment with creation, the more pleasing it becomes!

S: Okay. And when you say that, are you talking about experimenting with creation on a conscious level or more just being receptive and creating…

M: The point is that they are both the same! First of all experimenting and then becoming conscious of the experimentation, not fighting it or intellectualizing. Then look at the colourful flights of fancy! Do you understand how colourful and how pleasing such is as part of your creation something that seemingly has simply descended upon you, rather than it is significant? It is even, shall we put it, a test result. The consciousness then is, how would you improve this? How does it make it even more harmonious?

S: How would I improve…

M: The creation, of course! The flights of fancy and how you interact with it. How does it become more pleasing if, indeed, you are the creator of it all?

S: Okay.

M: So you are not seeing it as something that is outside of your work of art.

S: Okay.

M: Shall we put it in a slightly different context? As one is the actor on the stage, like so many good actors, they decide to become the director as well. So you are the director of your animation, your play if you like, and everybody can be asked to practice a slightly different entrance to this scene. And it is not as if you are asking somebody to do something different, but in your imaginary world, that is when you are at the level of author, you are intending a different situation. Do you follow?

S: Kind of. I just feel like my mind is not connected with what you’re saying today. I’m thinking of things too much in the concrete, in the here and now; I’m thinking too literally.

M: That is the point. The interest gets one trapped. Because you think that the world is indeed concrete, and yet what I am saying is that appearance only comes from the point of creation, the singularity. So indeed when one intends to explore a different relationship, you would be surprised how radical a shift one might experience. If you have come to the point where you would like your flight of fancy to react in a different fashion, in the concrete world, then by putting in the intention, that is by imagining how that would play out, how it would be if it were acted out on the stage. Do you follow?

S: Yes, I do.

M: So as a director, you are standing back from the creation, from the play as it acts out, and you imagine how it could look, how it would appear, how it would please the audience if this were to be like you imagine! Great directors have that already playing in their mind. The play begins to take form and suddenly they are already a few steps ahead, knowing what nuance in the language, what sound, and sometimes even to change the dialogue. And it is simply panning in front of their mind.

First of all, you are not just the author, but you are the director as well, as well as also the producer, because you have all your capital invested in it. Not just the money, of course, but your life invested in it. And you are also the audience as well. Because when you perceive yourself in this light, then you begin to realize that there is an interaction happening between the author, the script-writer that is, and the action and the direction.

S: Okay. I’m having a hard time conceptually tying this together with the flights of fancy and the significance of why I happened to bring those into my life right now.

M: You understand, the question is to be answered first: What is the benefit of having your flights of fancy? What is the benefit, what is happening? [long pause] (He’s asking you to create! He’s not saying find the benefits that are there, but create the benefits!)

S: And I don’t know what the benefit is. I know it’s been fun to look at them. I know their owners [of the parrots] are in a very rigid, dogmatic place and that makes me feel sad…

M: And what would the breakthrough be if they were not in such a fixed position?

S: Well, the breakthrough that I would love to see is for them (and I guess “them” is a reflection of myself) to realize that it’s much, much bigger than the little box that they’re in.

M: And it’s much more fun!

S: Yes, for sure!

M: And so what occurs in your reality is you allow these people to affect your degree of fun, rather than having your fun affect their fixed position! If you are having fun, if you are colourful… Because they obviously want some colour in their life, because they have brought it onto the outside. The very spin-off of their own creation is the colourful flights of fancy that they do not have inside! Do you understand what I am saying?

S: Not quite. [I was finding it impossible to stay focused during this session.]

M: These significant birds, as you put it, their colourful plumage, their flight of fancy, their ideas, are on the outside of a rigid pattern.

S: Yes…

M: And if that interest, that colourful nature were to go onto the inside of these people, then they would indeed change their way of being.

S: I totally understand.

M: You understand what I’m talking about! And the point of what we are saying is, everything in your universe is significant, not just in your universe, but in everybody’s universe reflecting to them. The world reflects the inner from whence it emerged. So important, so helpful because what you experience on the outside is a literal description of what is on the inside.

[private discussion]

M: You have so much ideas of what is called the aging process. You are only as old as you feel! You have heard of that. However, there are some agreements that you make with other people, other realities, that you will indeed show signs of your age. That is, you have to allow them to see you with some signs. Of course as long as you have the signs, then you can have them tell you how well you are doing “for your age.”

You can be full of vitality, full of energy, full of enthusiasm, full of all of that as long as you show some signs. So the question is, choose wisely the sign you will give them so they can relax. Because if you look like you were 20 years old, they would find you quite disturbing and they would be seen as if something were not right. But one can have grace, there is nothing wrong with grace, and deportment, I think you would call it. And nothing wrong with a young mind! Nothing wrong with having lots of vitality.

S: Right. I wish I could take an energy pill!

M: And that is so human, isn’t it, to want to simply take the pill and not truly deal with the elements that make it up. But you are exploring and integrating as much as you can.

S: It seems like it’s not very much, but… [sigh]

M: You want to understand this is, while you think it is not very much, I would have to say maybe there isn’t very much that is needed!

S: Oh, that’s interesting!

M: You think that you have so much to learn to pass with your Doctor of Philosophy, there is so much because you are taught you need so much information. Yet in reality you need very little information and lots of practice!

Let us put it this way. Once you have the violin and you have learned how to hold it and how to press down on the strings and where about to press, and how to use the bow, the rest of it is practice! Over and over the same things until you have got it. And at a certain point, you realize that mostly you have it all! Then it is practising different sequences and different timings and so on. Then you can make great music.

S: Okay.

M: Less to know, more to practice.

S: And I know you’ve told us before what constitutes practice…

M: Being present! You understand, being at the center of your universe, realizing it is your living artwork. That is all it is. Your living artwork. Every new colour you put in will either make it more harmonious and more pleasing or it will be disparaging, discordant. Do you understand what I am talking about?

S: I do.

M: So in many ways, we constantly keep saying the same thing with more interesting the complexity. And more fleshing out the universal principles.

"Pinna's illusory intertwining effect" by Jochen Burghardt

“Pinna’s illusory intertwining effect” by Jochen Burghardt

S: Okay. The Law of Polarity, the Law of Paradox…

M: Of course. The cyclic laws that govern everything… Shall we say the evolutionary cycles of experience. All of these things. The Law of Magnetism. Because it is also the Law that govern the focus of energy. The Law of Magnetism will not work until you have truly realized the degree of singularity. That is being present.

S: Okay. Okay. Wow.

M: When you are present, you are not wasting energy on others. You are not wasting your energy thinking about how these others interfere with your life or disturb it or could be this way or could be that way. Being present one will simply drop in the intention, “This is how it will be!” My imaginary world I am the director. I will insist, because if not I will find another actor to take the part. Because there is a degree of definition.

S: I’m not sure I understand that. A degree of definition.

M: When one invokes an intention, you are setting in place the definition of reality. [I still don’t get it.] (Isn’t he saying that intention describes the way you describe your world. I think this really means how you see the world. We think that we see a world that exists that way, rather than seeing by altering the way we perceive reality. Is this why Mercredan wanted the Seer included as this sites title?)

M: The intention is what governs it all.

S: Okay. All right. And if we all are of the same intent, does that make our reality become more probable?

M: Of course. Then one’s realities match one another. But put it this way: You do not have to share the same reality for the experience to remain as you dictate it.

S: Oh, that’s interesting.

M: You understand how interesting that is. Of course, when you imply the same reality, of course it energizes with more potency.

S: Okay.