almost utterly parallel to Tibet and Japan and its utilization. Why, the whole point to it all is to arouse dormant energy or transform energy from one utilization to another. Another way of putting it is liberation, freedom, from the shackles of the ignorance and the bondage of preoccupation with things that keep you where you were and condemn you to stay there always, unless there is a radical redirection. Now, for example, These tankas, this one is a bit mystifying in some ways.

[01:10]

It looks offhand as though it's Amida Buddha, Amitabha, Medicine Buddha with his bowl of medicine. I wonder if it's like the stuff that some of our hill folk friends made in North Carolina. Well, that was good medicine sometimes. At any rate, you will note the predominance of the breasts. and here and here. It was nice to have three heads. Three heads are better than one. You have to solve the problem. But you notice the androgynous character of the image, the yin-yang fusion. Now, I'd like to do a little bit of a chart.

[02:18]

short time. One of the things on which I've been so fascinated and tempted to write and never did was on the nature of the elements. The ancient Chinese, Japanese, Tibetans, Nepalese, Hindus, Greeks, Mayans, all had the same four basic elements to reality, and most of them had the fifth superelement, the ether, the void beyond perception. Now, element. In fact, in the pre-Socratics, you'll see that there'll be one guy who will say that all is air, one who will say all is water, one who will say all is fire. No one says all is earth, even though that's the one that would probably make the most sense.

[03:26]

Okay, now, here we have the ether. And the sense perception, I'll call it SP, not ESP, the sense perception and the sense organ involved in ether is the sound and the air and the ear, ear, ear, ear. OK? The ether. relates to sound, but in the sense of the sound that at its ultimate goes beyond the audible. Now the color that corresponds to this is white. And the bodily location

[04:30]

I won't say B-O because it would, or B-L, let me think of B-L-T, the bodily location, B-lock. The bodily location is the head. And the direction is the center. And the mount of the deity or reality mount represented would be the dragon. And I can go on to the bija or the appropriate ritual sound, which in this case would be the om and so on. So here we have the supreme element. point, which not using them in opposite terms of negative versus positive is a positive aspect.

[05:46]

Then we have air. And related to air, the SP, sense perception, is touch. And we feel touch where? The skin. Okay. And the color is blue. What we'll soon see is a negative dimension. The body location is the heart. And we sometimes blue and drop and... Hi.

[07:16]

I'm going to turn it to the other side. Boom! Oh, oh. Oh. Yeah.

[08:53]

Yeah. Yeah. Yeah. Here's the yellow. Sound. [...] It's a very good thing. You know, I'm... Mind, mind, transmission, good, then it works. Sensational!

[09:55]

This is really sensational. You'll pay for this. It works. It's a ritual. It's a ritual, right? And it is. It isn't something you know. It works, works, works. And it's beautiful. But, uh, if you have, uh, one who's a character like, um, you know, Molly, not as young as, uh, 15, very much a four-year-old, don't you? I mean, it's, uh, that's who the people are getting. It's not, like, just you. It's not me. So, you know, you may say, well, what? There's a new name for you. What? Orphans, nuns. One here is a priest, a specialist in Lhasa. And the Orphan is here to teach him.

[11:00]

The whole basis, by the way, I have written several lines of scriptures for you. The whole basis of Hindu aesthetic theory its taste. You must get the total sensation of all that goes into an activity in order to be present and embarrassed. If you're watching a play, the stage set, the work behind the scenes, the audience reaction other than yours, All of this in addition to what goes on on the stage, in the stage now, is a very aesthetically very interesting thing. All the lights, all the lights in the audience.

[12:03]

All scientists are involved in the NASA experience, but the stage, the tape, In a country in which food falls rapidly, in which there has always been a fixed population, food and taste both order, and that a classic diet is best served. And especially when food falls rapidly and you can just fly, you find gourmet cuisine. Domecq was leading Zuln as Christ's differentiations became greater. For example, very quickly in Europe, after the Golden Age, it was not famous for centuries until the Medici's Bologna, the central city. And when the Medici praised that in Bologna in 1813, the Italian

[13:09]

Yeah, and the only guy who worked there was a man named Timothy. I think that's the first Italian to make the class. But anyway, he came from Northern France, where he joined the Soviet Union. In that cultural, social, and economic sense. And so this is what you hear on the other side. There's three ways, if you like, to build up these, uh, sensory aspects of it, because you can fit a network of connections and relationships into one. Now, uh, and you can see that it's a bit like a big black line up line in a little bit.

[14:20]

See him? You'd love it. Now, you know what I'm saying, yeah. Yeah, we can. Now I'm going to follow. Yeah. And, uh, I didn't. In addition, the salivating yeast that starts with lactobacillus and in relation to the sarcoid dementia is the one they don't have. And the mouse on the direction There's less. We know that there's a teapot. Now, then there's Earth.

[15:21]

Earth. There's Earth. Now, we know that there's a teapot. The third point is Giddings. There is a lesson of the God-realization of the life. And that is the lesson of the God-realization of the life. That is the lesson now of the God-realization. The daludda is a mythological source which is like a one fish cup combination. And when you take a close look at a strange power, you will see on either side of the mound, at about eye level, on either side is a daludda period.

[16:36]

And then the incandescence of all the food out to the cannon at the top. The thing takes it all the way up to here. And it's about being in, like, the mountains of the dream world, okay, that we've got to play in. Now, okay, well, you might say, well, now, why is this that you And that comes down to the fact that red is not white. See? And blue? It's here. And red is not white. And yellow is not brown. And blue is not green. And so on.

[17:38]

And that's dependent on the sun. Why? because this is a plasma parameter for the divine wisdom counter. But what we're doing, the manifestation of power is right here. And so, we have this infinity. Well, we need to divide it, but we can't do it. are set for that reason. Now, visualize with the sacred wisdom. Identify yourself with the sacred wisdom. And in doing so,

[18:39]

You can, if you would, visualize a red tower. A medium here, the androgynous is also a red tower, and goes through this. You know, as if it takes place. This is a visualization of the distant universe. The very point of which is the action of a personification in the center. So that through its use, you project whatever are your areas of use, of hope, or whatever it may be, and experience them, their golden selves, and go beyond them with an awareness that whatever they may be, they are transitory in the timelessness of new things, which has no beginning, no end.

[19:56]

In the timelessness of reality, which has no beginning and no end. And so you go into And in the void, and thereby go through and You have another channel, like an algebraic digit, for the diversion of libido from one aim to others, or from specific aims to three different. Now, one of the things that I'd like to do is to also suggest to others for visualization,

[21:06]

especially suggestions that you're making of your own, it is extremely complicated. So those little single details have gone about time. And then it becomes a privilege then to speak all through the studio stands and discos with a shining thumbtack and very much fun. and the flat head, the little fingers, clear, firm, shiny hair. Very, very hard to look at. So, you set up early in the morning, and there's no hard work, there's no stress. And by the end of the day, you notice that you've been paid at least some time. Yeah, and if you don't go so fast, Now, signs and fencing spots on the walls, that may take a lot of blippin' s**t. And let's just say it's a fencing spot.

[22:34]

Hmm? Hmm. Just get words out of your mouth! And there, just simple, after you've jumped in the void, if you know the same kind of up-skilling system, just reaching that point of going to everywhere and then just start to the unseen circle, and heading into the unseen circle, there you can have it. And you don't have to come back and go, wow, I've got to look back at you! So just change your look, and close your eyes, and still see it. And project a focal point, a dim do, a T-spot in your psyche, and travel hours to this path.

[23:38]

And then travel again. from limiting your time in Jesus, then there you will have done a response that literally can go on anything else and everyone can do it. Not going back They are very technical, and in Sanskrit, where you can't say it in English, the first equivalent of which is Jain. So, this visualization will do what you can do, the publicity can do for you, which is to taste and experience

[24:45]

And I know you, that even if I'm unknown to you some, then channel it and both of us, with a sense of time, that will see you, I'm not unknown, but let it listen to you, and you will see me again. channel that is really good for spiritual energy. Now, we are here on Earth, just like I am. Here is the earth, right? Here is the moon. Jay the Sun, Yin Yang.

[25:49]

Not opposition, but all the aspects of reality, all of which need to come together to be transcendent. But you will notice there's a totalistic and portraiture scrolls, especially. The polinities are always there, and again, never as opponents, but as united elements, to be transcendent. And here is the green, and here is the blue, and there is the yellow color. And so the realities are depicted here.

[26:58]

So you see, you can even utilize one icon for any and all purposes as you choose. You can go to and through the moon, or the sun, or the green drink, or the blue halo, or especially the eye, or any of the chakra points. And in this case, when you especially pay attention to the bindu, the third eye, which leads up to a higher consciousness. Only a thousand held notice. And that we could spend so much time, this is the first time I've seen this, you know, but we can count the petals on the ground.

[28:12]

We can count the petals On the periphery, each one of them will have a different meaning, represent a different vocalization or mantra, and depict various levels of reality, consciousness, anything, everything. And so the meanings to anything, everything, are just so fantastic. But here you see the pathway that you enter. And if you want to, you can enter the Tanka through its pathway and stay in the waters to home, the deep. The blue unknown.

[29:18]

Or anywhere. And it is what you do. You identify them first of all by their colors. If there's no color, you look for the animal's description. The mouth. And if there isn't a color in the figure, you essentially would think they'd be thinnable. If, for example, this was a neutral skin tone, you'd immediately think it was a green color. Now, it doesn't have an animal depiction. It doesn't have a mouth. And... There's no dragon looking in the well. Well, I guess that it must be dragon lunch hour out of the time that this was painted.

[30:30]

You know, the dragon is eating dragon oats. He's probably dragging his tail behind him. Is there a coral up there or is that the same thing? No. No, the power of the fiction. Right, the white power has a little bit. And the iconography of every representation of Tara is incredible. The Cult of Tara by Byer, the book that the library should have. And I mean, it's so complicated. Oh, OK. Well, people who think that Western religions are theological and complicated and Eastern religions are simple don't know a thing about Buddhist logic and Tibetan scriptures and the earlier Buddhist scriptures from the 9th century in Alanda and so on.

[31:44]

incredibly complicated, complication upon complication. Why did I put a marker here? Oh, and by the way, In each Tara, for example, I mentioned the petals and the vocalizations. These, in the devotional use, are accompanied by mudras, by hand gestures. Here's a white Tara depicted in the book that's very much like Our Lady over there. I'm looking for a chart of gestures. There are about eight of them. Well, why doesn't one pop up? Come on, chart. Chart. Chart. Well, there's a

[32:51]

There are a couple of pages in here that show many different gestures, but this is typical of one particular gesture that accompanies the use of the mandala symbol. And if you can do that and get your fingers and hand in that position to say the one evocation and then another one to say another and all the rest, Wow. Oh, hey, hey. I think we, yeah. Yeah. This is the six gestures that generate the substitutes. Well, I'm not saying a whole long text. You do these six gestures, and it does the job for you, and it's very economical. And it takes a Tibetan to write complicated theology on how to save time. They have gestures that substitute for text.

[33:55]

Prayer wheels that at each turn say a thousand prayers. All sorts of labor-saving devices. And you have to spend your lifetime reading all the complicated stuff on how to use them. So there's no end, there is no limit to the complexity of each object, each item, each, as I say, and the representation of the accompanying object for each of the tower. But what they are are the representations as well for each of the corresponding Buddhas or bodhisattvas of which they are from and counterpart. Well, that sounds simple. And you'd think I could put down five names.

[34:58]

Different traditions have different combinations. And so you cannot do it. It's, in fact, easier to equate the different colored taras with Hindu deities that were the origins of the Buddhist ones than the particular Buddhist deities because the complications are so extraordinary. For example, the yellow tara can be shown as a feminine version of the satipata with a skull in the hand, a kind of a ear, and a spear, and a rope with a little skull like Shiva. And an easier correspondence to Hinduism than to Buddhism.

[36:00]

But now the positive and the negative. Right off bat, you'll note that the two positive Torahs are moderate. Green is at the center of the spectrum of colors. It is at the center of the rainbow. And it is at the center of reality. It represents the earth, the ground, the grass, plants. It turns the water into green, even though it's usually blue. But its centrality as a color, its moderation, its middle stance, is one of the attributes that makes green the color of moderation.

[37:07]

And white, as the harmony of all colors, and they were aware of that too from just the observation of light in antiquity, is likewise moderate. And so the most affirmative dimensions of Torah or of any spiritual reality in terms of color correspondences, and these apply to all sorts of other traditions. And for example, if we read something that's way out, that's Aleister Crowley's 777, the great occult magician. of the early 20th century, you will find in this table the correspondence of Egyptian pantheon, Canaanitic, Great Roman, Hindu, Chinese, Japanese, Shinto, all sorts of correspondence that show the universality of these symbols.

[38:27]

Now, white, white purity, it absorbs all the colors, contains all the realities. And so white is the highest representation. Now, Torah in all aspects represents the divine wisdom. the divine wisdom to the other shore, literally. But the most obvious and most blind is the white. But as legitimate and as real is the blue, the yellow, the red, the green.

[39:34]

as real as our most exalted thought or feeling is our most earthly one. It is as real and as natural to us to feel thirsty as to be inspired by a work of music or art or whatever. It's all a part of reality. And so the path to the divine wisdom to the other shore is where one is at. And that, in a nutshell, is why there are so many different representations. Because along with these five colors are literally hundreds upon hundreds of other forms. For example, yeah?

[40:38]

No. No. Gold is a symbol of power or a symbol of the sun but more often than not in tibetan art it's a symbol of the vajra power the thunderbolt power and by the way the thunderbolt vajra power um one-to-one relationship to a serpent power kundalini or the awakening of altered states of consciousness, but some other god, yikriyakin person, will call it, or whatever. Okay, the blue Tara, the air, the heart, the east, the east, the right hand.

[41:46]

If you know the Christian creed, For example, in the Nicene Creed, Christ sits at the right hand of the Father. The East is primacy in the world. It is the direction of primacy. It is the direction of power. The West is the direction of renunciation of power. The Western Shore, in all of Buddhist literature, the Western Paradise, the realm of Amida Buddha, is the Western Paradise, the exact opposite. In going beyond the world, you go to the west, to the other shore.

[42:51]

And to get to the other shore requires a burning. The burning of the usually most vengeful aspect of Tara, the red Tara, who is often shown as Kali and it's very negative and destructive and represents the destruction that must take place to get to the other shore because we're in a granite house. As you know from the early things of Buddha, the house that's on fire, the yellow, the yellow, the navel, represent the dormant, slumbering, passive forces.

[43:55]

Flaw, indolence are the mental attributes of the navel. And so the navel is related to the element of fire because it requires fire to overcome the slondering feature of the metal regions of our reality, which are yellow billiards. And of course, the blue. The blue. Well, and Most of the world, you know the hot water from the cold, which is red, which is blue. Universally, blue is the color of the cold, the forbidding, the chilling.

[45:01]

And so what better organ for it to be appropriate for, for arousal, than your heart? And so the heart is the counter product to the color blue. The awakening of the power that must take place is the eradication of moral chill, moral indifference. And the force of indifference is represented by that tarot. So again, why? Meditate with, pray to, worship what you will, a seemingly negative component, because it's real. And in reenacting the drama of the living through process, one goes beyond from transcendence.

[46:03]

Now, while we're on the word transcend, what's the time? I believe to being young. the essence of what the tantric tradition is driving at in its utilization and representation of the feminine component. But likewise, of all the other components that are over-referred, over-denied, and all the rest, and all of which must be encountered and utilized as part of the process of burning out that requires the two components of knowledge and wisdom or intuition and going into and through both of them to the higher state of pure freedom beyond language, beyond expressed feeling.

[47:14]

And in doing so, I have indicated something that I believe is utterly compatible with the Zen tradition, with the main traditions of Christianity, Judaism, Islam, Hinduism. And I see this from a point of view that would never, ever say that all the religions of the world drive the same thing, because they don't. All the basic religions in the world contradict each other, have different and opposed premises, and there is no such thing as a harmony or unity of all the world's religions. There is only a harmony if you abandon very strong aspects of each and every one of them, basic components of each and every one of them.

[48:21]

From a prima facie point of view, they stand for different things and have different and contradictory goals. speaking from a narrow unity of views or something like that point of view, which would say that everybody who smiles at you has natural goodness, and everything that he says is at one with the nice things that everybody else says, and it's all so nice and so good. Well, this is not the case. Well, I do believe that with their major traditions, It is possible to hold basic core and go far afield, maintaining the vital element, cauterizing that which is overly conditioned by time, tradition, outmoded mythological ways of thinking, and all the rest, and move ahead.

[49:31]

So it's from that perspective that I have presented the data, and I'm sure that as you've listened, you've taken into account who had done the presentation and his own perspective. I hope that If anything has come of your two sessions with me on this subject, it isn't so much that any particular data were communicated, but certain modalities of responding to yourself, which means the world around you and you. and suggestive techniques that are far from new, far from innovative, but mighty suggestive, will have had some value and can be utilized in their own way.

[50:51]

Before we say adieu, does anyone have a thought to share? Adieu, adieu, kind friends, adieu. Yeah, adieu. Thank you, thank you. And I'll see some of you, I hope, on Tuesday night. Oh, that's true. Yeah. From the moor to Greece. Greece and to... Greece. Well... Thank you.

[51:33]

@Transcribed_UNK
@Text_v005
@Score_82.0