43.1 Courage and Beauty
Courage was messed up very early in our history by convincing people how beautiful and glorious it was to be courageous and fight against overwhelming odds and loose.
So one tends to postulate one's opponents as stronger when one is being courageous.
The following process should clean this up.
a) get the beauty of being courageous and losing
b) get the beauty of another being courageous and losing
c) get the beauty of being courageous and winning
d) get the beauty of another being courageous and winning
Run this at least to the point where you have no need to make an opponent stronger to show off how courageous you are.
At basic, this underlies the tendency to mockup one's own opposition.
43.2 More on Courage
Now mockup a feeling of strong and contemptuous courage that has no need of opponents or any desire to prove anything but simply is willing to face anything.
If you have trouble with this, or there is any tendency to want to mock up opponents to prove anything, go back and run more of the first process given above.
When you can get a strong and contemptuous courage, then use it in the following process:
a) mockup clouds of strong and contemptuous courage and a willingness to face anything above large cities
b) postulate a strong and contemptuous courage and a willingness to face anything into the inhabitants of large cities
If it seems necessary, you can go back and run more of the first process given above.
Pick an object in the room.
Mockup a copy of it.
Have the copy decay, rusting, collapsing, deteriorating, or whatever seems appropriate. Then have it break completely and become scrap or shattered fragments.
Now run this in reverse, having the shattered fragments or whatever pull together and gradually heal and improve until the copy again matches the original.
Do this decay and reverse decay on the object selected a number of times. Then pick another object and repeat.
Do this until you can confront decay.
Then mockup a thriving city. Imagine it decaying, falling apart and becoming a ghost town. Then reverse the process and get it back to being a thriving city again. Repeat.
43.4 Decay of Bodies
Now mockup a tree in its ideal state and have it decay and then reverse it and have it return to its ideal state, back and forth as above.
Then do the same with a mockup of an animal.
Do it with more lifeforms of various sorts until you begin to feel causative over this.
Then mockup a young human body (not your own) and run it to old age and back again a number of times.
Then mockup another different human body and do the same. Pay attention to the decay in various organs and exaggerate it. Continue until you have no flinch at decayed human bodies and feel some cause over this process.
Now close your eyes and spot your own body. Visualize it aging to a decrepit old state and then reverse it making it younger. Go back to an early ideal age. Then age it again, working it back and forth.
When you feel causative about this, do it some more paying attention to a specific organ or feature and concentrate on its aging and the reversal of it.
End off with the mockup in an ideal young state and intend that into the GE machinery of the body (see the earlier chapter on bodies). Just do this as well as you can and see if anything happens over the next few weeks while you continue on with other processes.
43.5 The Past
Think of an interesting object. Anything that you like.
Visualize it in some detail.
Now push a history behind it, where is came from, what its been through, etc.
Discard it and then mock it up again, but this time push a different history behind it. Repeat.
Then pick another object and do the same, mocking up various histories behind it.
Continue until you can do this comfortably.
Run these commands alternately:
a) Mock yourself up with experience
b) Mock yourself up without experience
When this is comfortable, then do it again but mock yourself up with different experiences than the ones you actually had, again alternating it with mocking yourself up without experience. When you do this, vary the experience each time.
This is a Zen style drill to help you exteriorize from the current frame of reference.
a) Think of something which is truly impossible by definition. Something like two plus two equaling five.
b) Then, knowing that such a place could not exist, spot the place where this could be true anyway.
43.8 Stepping Out of the Struggle
This does not produce the apathy of not caring. It produces the freedom of not having to fight for survival.
a) Decide that you are willing to exist in the future
b) Decide that you are willing to not exist in the future
This can go to the point where the game and the struggle fall away.
Once this happens, you will find that you are still here but no longer under pressure.
Then notice which things you still enjoy or like better than others. See what remains with you when you no longer have to fight for survival.
The freedom from struggling may not be stable. One tends to get drawn back into the game.
But after this you will know which of your likes and desires are more basic and which are transient products of the current game and struggle.
43.9 Spotting Spots in Space
This is an advanced variation on the processes in chapter one.
Look around the room and spot precise points in the space of the room, in other words, points in mid air.
When this feel good, begin spotting specific points outside of the room. This can be done with the eyes opened or closed, but is done mentally rather than by looking at the spots with the body's eyes.
This can significantly improve one's exterior (bodiless) perceptions.