Black Box Session 10-06-00 (1)

Session four of ten (part1)

Friday, October 6, 2000

F: Crystals. Thinking about crystals. Visualizing myself polishing them, actually. [coughs, yawns] Might look at it like, they’re polishing us; they’re polishing their crystal receiver sets.

S: We’ll change over to the focus 12 frequencies now, and you might carry this theme forward, asking, what is this relatively newfound interest in crystals have to do with the other things going on in my life?

F: Instantly an image of a little boy in one of those old, old crystal headsets of the 1920s – real big headsets – the idea being, we’re just at the beginning of learning a new way to communicate, I guess. The crystals in my particular life are a concentration, actually; an aid to concentration. The pun that’s involved in their name is really literally true; it’s a crystallization. It’s also a beautiful symbol; the light shining through matter, so to speak. Which could describe us. [pause] The crystals and them tuning me and all of this together is – you said a wave, I think – it’s sort of a milepost. Stepping-stone. Something like that. Now my legs, starting from the feet, have that feeling that I interpreted first as cold, and now I would almost incline to interpret it as being in crystal, or being in glass or something. It’s up to my knees, almost.

S: Try approaching the energy this time not in terms of defining, understanding, figuring out, but in welcoming back and accepting and rejoicing with great expectation.

F: Mm-hmm. And I do, deeply. It’s like that metaphor about outer space; it’s like the way we tend to think of beings or intelligences that are not here on physical-matter-reality earth, but it’s more like they’re not in physical matter than that they’re not on earth. So when I had that sense of outer-space cold, it was really like some other non-places. I don’t know how else to put it.

S: Very good.

F: Very intense cold now, centering on my shins, or the outsides of my shins. It’s as though that area was white and glowing.

S: Attempt an internal dialogue of welcoming and accepting rather than analyzing and describing.

F: I feel like I need to describe it, so I’ll remember later. The unspoken part is – I’m not only welcoming it, I’m encouraging it to come further, but that I will remember. [pause] I’m going to sort of go into that and see what it feels like. [pause] Asking for contact… Something about being at the very bottom of a valley. Slopes up symmetrically from either side. Thinking of a scene from “What Dreams May Come”; it was at the bottom of that upside-down arch. I think, in England, in that monastery in the middle ages, they used crystals. They knew how to use them. And I’d bet on Egypt too. And we don’t find the crystals because there would be no reason to leave them. That’s what’s going on. And the memory will be there – of how to use them. [pause] It’s like, too — that crystal analogy – we’re needing to solidify ourselves in some way. That may be a metaphor (it’s up to my shoulders now, it’s really neat); it’s like, we need to crystallize what we really are while we’re in the body.

S: Before the session (again in a universe of no space and time, if there is such a thing as before the session) we were talking about several things happening in your life and crystals are happening in your life. I’m wondering metaphorically if these areas and expressions that we talked about of desperation and work and family and romance and all these facets of your life and the idea of crystallizing and focusing in this moment now – you can take that whole concept and wrap it up in a rote and ask guidance about that.

F: Okay.

S: Crystals are happening. Maybe that’s a way of saying, all these things coming together describe a crystallizing process.

F: It’s like I’m within the crystal now. The thing has grown up and if you can envision a hexagonal double-terminated quartz, it’s got terminators on either end and it’s longer than it is wide, and it’s like I’m in the middle of it, and it – it, like, I want to say “radiates me,” but I’m not sure what that means, it’s just the words that come. It radiates me. It’s’ my interface with something, that’s what’s going on. It lets me translate to something. And it’s like all those things that we mentioned are between crystallizations, actually. It’s like, part of what’s going on is the shattering of an old crystallization and the sort of re-melting it down, or whatever one does, and the forming of a new one. [pause] [laughs] And in the back of my mind I’m still thinking, what romance? [coughs] [pause] All of that churning up of my life has been to get it into active play, so it could crystallize. So that it would be magnetized by the moment, if you know what I mean, just like a magnet would magnetize iron filings, it’s all been un-congealed so it could be congruent with the rest. There’s a sense here of being inside the crystal. No sense of confinement or of imprisonment, but of being —

S: And that’s what I would like to know, for when I look at you in the crystal, I choose to see different facets of you and yet in there looking out, must be so wonderful.

F: Well, just as you were saying that, they gave me a sense, we’re all – you could look at our personalities as being crystals, because that’s what other people can experience of that thing inside of us that is unknowable in a sense, unknowable in the body; it’s translated by way of the body and the mind and the spirit and all, and so people make guesses about each other, but the crystal is the way that we project what we are – but projecting inherently distorts, there’s no way to avoid it, because it emphasizes one thing and de-emphasizes another thing. If one projects oneself as a male, there’s also the female that doesn’t get – well, it’s not that simple. [pause] I get the sense of being in the middle of this huge crystal, that radiates in all directions, and what it’s radiating is me, but the passing through the crystal facets selects and therefore changes. That’s the best I can do with that, I think.

S: Yes, I can – I imagine you in that way in the crystal, and when I say “who is Frank” I am forced by the physics to only see one facet of Frank.

F: That’s right. Or maybe many facets, but even if you were to see all the facets, it wouldn’t be the same as seeing the inside. And that’s true of all of us.

S: So then I ask you, from inside the crystal, then I ask you, “who are you?”

F: Ah. Well, the answer that immediately arises, you know the answer to that: We are the same thing. We are part of the same thing.

S: I’m going to move the sound patterns onto 15; try asking that question again.

F: Okay. [pause] Something just got real quiet. It’s as though I’ve heard a sound and it stopped. [pause] There’s a problem with out words “play” and, like, “real.” You could look at what we’re doing down here as all just play of the larger being, or the INSPEC, or even of God if you wanted to go that far, and in as sense that’s true. Or you could look at it as all real, and in a sense it’s true. And our language tends to make us think the two are either contradictory or different, but they aren’t. The play is real, I don’t – all right, why? Tell me why are you saying this? What are we coming up with, here?

Oh! That was an aspect of, figure that we’re all here as parts of the INSPEC, probes sent down. Or of God, or of – the something that’s larger than all of us, that we’re all a part of, I don’t know, there’s no reason to define it. While we’re here in physical matter, it seems real in a way that will not seem real when we’re outside of Time/Space, but even outside of Time/Space it will be real in its own way. It has real consequences. It isn’t just – Oh! It has real consequences in the way that a moving performance of a play has real consequences. That doesn’t mean that the action of the play was real in the level – hoo boy.

[Trying again] It’s a different level of representation. If you see a murder in a play, it doesn’t mean it was a real murder, but it has real effects among the audience who are moved by it. And so our play down here has real effects on the audience that is experiencing it there. The INSPEC. The larger being. God. It isn’t just meaningless. [pause] So what we are isn’t meaningless, it isn’t just passing the time.

S: But the context in which we place the meaning seems somewhat obscure.

F: Well, there – many people think that space and time are real and therefore things that happen are real that way. They’re lost inside the play, and they believe the play is real. But even if you back up one and say, “it’s only in Space/Time, it’s not the ultimate reality,” it’s still real as part of that play, and somehow that play has its effect. It makes a difference to someone, somehow, how the plays work out each time they’re played.

S: Yes, you’ve explained that very well. I was attempting to comment or understand that in the play, when someone is murdered, in the context of the play it’s the fact that someone was murdered; however from the audience point of view, it is sort of an emotional, moral, impressionistic concept of the crime happening, and in their reality, it’s that impact which is the consequence, rather than the death of the supposed person.

F: Yes. And more, because the audience can and should identify with the murderer and the murdered man and the by-witness and all that. So they have a wider understanding than any of the people within the play.

S: Ah, sounds like a pretty good place for God to be observing, and something that we in ourselves might look around and observe the things going on here from that same perspective.

F: Uh-huh. We as God have a stake in this somehow, though, and I can’t figure that out. But there is something going on that matters. In other words, the outcomes of these plays matters somehow. Oh, it’s because it changes – changes what? What we are? Yeah, changes what we are somehow, in the way that watching a play can change what one is.

[continued, next post]

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