Black Box Session 10-06-00 (2)

Friday, October 6, 2000

[continuing]

[pause] I want to relate this to crystals. [pause] Well, maybe there’s not a relationship. That’s what I thought would happen. Gentlemen, what should we be ready to experience now? What do you have in mind for us? [pause]

Huh! Skip, you know how you were talking about that crystal outside [on the Institute grounds, near the lab] and how you look at it and it changes? All of us together as individual crystals are part of a big crystal that changes. I don’t know what else that has to do with the price of beans, but that just came clearly. Each of us as a crystal is a part of a larger crystal. We’re like parts of facets of crystals. Tiny but — Huh. You could even say that the inclusions and the things that don’t fit also shape it and give it color and give it interest. [pause]

You’ll notice I’m not coughing nor having to suppress a cough. Again a sense of being under that pyramid. With it comes a wave of cold through, with it comes a sense of the Englishman, and of being inside the crystal: It’s starting to come together. They had ways of magically putting themselves inside the crystal, so to speak. By magically I mean, using their mind. [pause]

If we get it right, we can communicate. [pause] It’s sort of like finding each other’s wave length and tuning in. First you have to be aware there’s another radio station, before you even start the tuning. And then you have to learn the difference between static and radio signals. And then you have to understand the language it’s coming through in. And, I started to say “and when it’s being broadcasted,” but they said that’s not a – it’s irrelevant, it’s sort of misleading in this context, because it’s — since it’s outside of time it’s always being broadcast. [pause]

The real communication can be experiences as identification with the other person or persons. At those moments even sensory data will be confusing, because the sensory data of one can be interpreted by a second. My hands, right now, are quite clearly resting on something like granite, or some kind of cold stone, and since I know that they’re not, that makes the point pretty emphatically. God knows what they’re feeling! [pause]

Gentlemen, if you could suggest ways in which this communication could be improved – things that I could do or ways that I could be that would help the process – I’d appreciate it. [pause] Ooh. [pause] Sort of a vision of like standing, they’re part – you could look at them as pillars or as crystals or as, no, one of those – and it’s like we’re standing in a fixed relationship to each other [pause] no, I’ve lost it.

Holding ourselves in a fixed relationship to each other will improve the communication. Well how do we do that? [pause] Just intend to do it; that’s what we are doing. [pause] [sigh]

It occurs to me that, with no time, and no space constraints, something led me to think of Joe [McMoneagle]’s people on Mars, that he contacted once. He didn’t contact them, he saw it. And then the thought bounces to your four mountains, Skip, [Skip’s report of four mountains containing UFO bases] and to this woman on Mount Shasta that I met. Huh! Okay, the answer is – boy, the feeling of rock under my hands is so strong! – there are places – oh! and it connects with Richard’s sacred geometry, too – because there’s places all over, and in all times as well, it isn’t like you have to reach way the hell out and gone to find somebody. But there’s two kinds of communication possible. Well, that’s not what I mean. But you can go to the ones you’re connected to, like these two [Egypt and England] that’s easy, or if you want to move externally, you can go to power spots or to places you’re guided to and connect there. In other words you can use the outer space or you can use your inner space. [pause]

Is there anything specifically going on physically with me that needs to be worked on, or can I just observe? [pause] No sense of anything except just ride it. [cough] And there’s a cough. [pause]

Those lines [on the instruments measuring my relaxation] ought to be diving to the bottom. Skip, were there things I wanted to ask that I’ve forgotten about? Because I’m sort of totally blank now.

S: I’m going to go ahead and more on to the 21 frequencies? And you might turn yourself over to the inside of the crystal and just go for a ride on the inside of the crystal and see where —

F: All right, that’s a good idea. [long pause] UFOs are crystals too. They’re what we see of something that can’t be seen. [pause]

[laughs] A sense of a big crystal in the shape of, like a snowman, rolling around in – except that it isn’t rolling in snow, it’s rolling in crystal mountain, or rock matrix or something. [pause]

Desert with rocks sticking up out of it. [pause] Nothing appears to be alive, but – I don’t know, I want to say it’s all alive, and yet that’s not quite the meaning. [pause] It’s like half buried are these crystallizations, these nuggets, of more larger, or – more consciousness, more awake-ness, more awareness, something. If you knew what a crystal was and you saw a crystal in the desert, you’d know, “ah, that’s a crystal!” but if you didn’t, you’d just say “there’s a rock.” And the difference is not in the crystal but it’s in the observer, and what the observer knows to make of it. Except, it’s not all conscious, because a person can come to a crystal, use the crystal without knowing they’re using it, profit from it, if you want to put it that way, it’s not – and at that level—on a Downstairs level, there are huge differences seemingly in intelligence, but on the Upstairs level there really aren’t. And so the difference is the degree of connection a person has to his own Upstairs. If everyone had equal connection, everyone would be basically equally intelligent and equally aware and equally conscious. I’ve forgotten what this has to do with anything. [pause]

[change to second side of tape]

… maybe hampered by one’s lack of connection to one’s larger self. [pause]

It may be that the Egyptian or the Englishman, one, was suspended in the air, lying down, on some kind of a litter, and was held up in the air by ropes or something, for some reason. Held motionless, but up in the air. [long pause]

I start to see racks of them, you know, like on after another, but it turns into a sort of a roof on a Mexican-kind of a house, or – not quite a roof, but it’s in – I don’t know, it’s as though it were a roof, but with spaces between the parallel boards, or logs, or beams. It’s not meant to hold out the weather, it’s like an open platform, is what it is. [pause] These things could be done under the stars, too. [pause]

It’s a matter of knowing how to tweak the energy of the victim being sacrificed if it’s an animal. It wasn’t just to kill it, it was to produce changes in something that could be used. It was like a field. It could be used for a purpose. The energy – I guess the life-field somehow could be used. I get the vision of a smallish calf or a bull or something, on its right side (if that matters) partly curled up, in the middle of a circular kind of – I don’t know, it’s got stones on it, it’s lying on like somewhere between stone and concrete, and I think it’s either been killed – it looks like it’s dead now, anyway – I don’t know where this came from. It came from that open platform thing in the southwest and now I’m looking at this thing, and I know that they killed things not out of cruelty but out of transmuting energy. They used that somehow. They used it to extend their own ability to see. And as I say this I’m getting a very sharp stabbing pain in my left temple. Has something to do with this. [pause] Which now eases. [pause] For just a minute, Skip, I forgot you were there, and I actually forgot I was here. [pause] And yet I was able to report.

S: Continue.

F: I think I’d like to follow the pain in my temple. What’s the meaning of that, or what is it leading to, or why does it manifest right at this moment? It’s like, a small —

S: Listen to the pun in the word temple.

F: [sigh] Well, it doesn’t resonate at the moment, although I know where you’re going with it. It’s like a small triangular thing has been punched into it, maybe a knife, but maybe a three-cornered kind of – a three-sided thing with a long point, and it doesn’t go in far, just like an inch. It’s like it’s punched into it. [pause] With the concentration on that little device, everything else went away. That’s an activation of something too. Maybe it didn’t actually puncture the temple, but it was a blow that was aimed at it, quite precisely.

S: [This was superimposed on the tape for my later consideration. I did not hear this at the time.] (What is the meaning of the experience of pain in the temple? In the routine of the storyline, what does the expression “pain in the temple” mean? )

F: I don’t think this is the kind of ritual that is temple ritual as much as an out of doors – this wasn’t so much for public consumption as it was for private –. The words aren’t right. It was done in quiet, just as we’re doing this in quiet, for the sake of the quiet, not for the sake of secrecy, and it was done for the sake of augmenting that person’s abilities to see — for the benefit of all, though; it wasn’t like black magic, he was like the eyes of the people. Temporarily. They would take turns, I think. Or more like they would work as teams or – they’d alternate somehow. [pause]

S: Did they benefit in some way from this ceremony of pain in the temple? [inaudible]

F: It’s funny, we’re more spiritual than they were because we’re less spiritual than they were. That is, we have a division that they don’t even see, which gives us perspective that comes from a split vision, and they have the unity that comes from a single vision. No way would that guy sit around and wonder about, “what is this really mean, and what’s going on, and is my beta moving up and down” and that kind of thing. And yet – Well, we have something he doesn’t have, and he has something we don’t have. He would do all that, and get all that connection, and use it, but it wouldn’t mean to him what it would mean to us. It’s – it’s almost like a day at the office [for him]. [pause]

This is one reason why the people who have the most connection inside can be the most weird. Because the more they connect with these other places,

S: [Superimposed:] (We’re an hour in the session now, and your electrical indicators show that you’re the deepest you’ve been all day, so I’m reluctant to put any stop to this. I’m very interested in what you’ll be saying.)

F: — the more you’ve got like dissenting views on, or incompatibles, living together. [pause]

Now if we can get the various ones – if we can establish—Okay, that vision a while ago about the pillars: If we can establish a stable relationship among ourselves, then we have what we have. We have something that can be – that can endure, sort of. If we CAN’T establish a stable relationship – I don’t know. [pause] First part of the task is to establish contact, and then it’s to listen to the radio program, and then it’s to decide which radio programs you like and which ones you don’t like, but ultimately it’s to realize the whole spectrum is there, and it’s not just a matter of picking one channel – but then, as you realize the whole spectrum is there, the temptation, or the difficulty is to not just perceive it all as chaos, but to recognize that each one is a different band of inform – of structured information.

S: And I think you said before that even when we look at this structure and see, seemingly, flaws, or character defects, that they in fact give shape and form and character to the greater whole.

F: Yep. And in fact, crystals are often not useful unless they have flaws. They build them in, I know. What seem to be flaws. [pause] They reflect light in unpredictable ways, too, which is beautiful. If you will put me up somewhere – I think 27 might be a nice place to be – I may just, I may just experience for a bit. I mean, not report for a while..

S: All right. I’ll guide you with the tones through 23 – you’ll hear some sound effects – and 25 – you’ll hear a little music reminding you where you are – and then we’ll go on to 27.

F: [pause] Wherever we are now, hold on for a minute. This is like big stone things like I saw at, like I saw at Sacsehauman. You could look at them as structures or you could look at them as sculptures, because they were on that vast a scale. It’s on the side, the top I guess of a hill. Well, maybe it is Sacsehauman, it’s in the mountains. What’s the reason, why was I led to start — stop here? I think we’ll put a bookmark on this, there’s something about crystals and the Andes. Like Richard said, you go to a sacred spot to be infected, and that’s what happened at Machu Picchu. Huayna Picchu, actually. That’s part of what’s going on now. It’s just taken almost a year to begin to bleed through. That sort of helped attune things a little bit. [pause] Okay, we can go on. I bet you’re at — I don’t know if you can tell, are at 24?

S: Moving on now, moving past this area, on to 27.

F: [coughs]

S: Don’t get choked up.

F: [pause] I’m experiencing a tightness in my chest again. Stay here a little bit, if we can. A sense of being in a high place with a vast abyss in front of me, rounded a little bit, but way down, all – oh, I could paint this, that’d be neat – it’s all cloud and like a picture of space, rather than a picture of objects, because it’s – it gives a sense of being somewhere where there’s a long way down. [pause] Huh, what comes to mind is fear of heights. My chest has cleared up again, so let’s go on.

S: Very good. Remember your favorite place in 27 and seek out your favorite place in 27.

F: Okay, haven’t been there for a while. [long pause] Mark this spot, Skip, on the chart. [very long pause]

Lost, daydreaming. Big underground chamber now, squared off and rock face – must be 15 feet up, it’s like used as a room somehow. Maybe it’s carved on. Maybe some writing or symbol or something. Why are you showing me this? [pause]

The front desk counter looks like a miniature little – like a candy store, it’s got all these things for sale. And they’re two rows of chocolates, and two rows of this, and two rows of that and all that way around. [pause]

Things available for consumption. Out of time. In other words, not no time left, meaning chronologically -–chronology doesn’t apply to it. I think it’s a way of saying all that stuff is timeless, and available to all. [pause]

S: (Your electrical signals show you being very deep right now, I hope you’re able to comfortably stay there.)

F: [long pause] [A friend] stopped by and just left.

S: (Now and hour and ten minutes in.)

F: Looking into a cave. But it looks more like a three-dimensional picture of a cave. It’s real low – and artificially low, you couldn’t really use it that way, it’s almost like an oven. Kind of reddish brick, reddish stone, you look into it and seems there’s some shelves or something in there. No context for it. [pause]

What was extraordinary – I went out on the river, one of my favorite places there, and it was – I just before and after I was just in love with the whole thing, the hills and the trees, and my body just changed – I asked you to mark that spot to see if there was any effect of it, it was like I lost contact with almost any of it, except for one elbow, oddly enough, and – I don’t know, it was just like a – pardon the pun – a crystal moment. Just full of intense delight in being in 27 again. That was a while ago now, though.[pause] [yawn]

S: (I like the yawning, an idea of breathing deeply, taking in life.)

F: I get a sense of like storage compartments for our lives, and each storage compartment is like a floppy disk. I’m looking at it, to my left; it’s something between a bookshelf and a low credenza or something, and it’s got all the stuff in there, each one is people, I guess. [yawn]

S: (There’s another wonderful big expansive breath of life.)

F: [pause] There are fields down there and people working, and this is scratching-my-head-ly familiar. I’ve been here before; I can’t quite remember it. It’s like a real shallow bowl, and they’re in the bowl – I mean that’s the way the terrain is. I’ve been here before. I’d forgotten it. Sort of like Jenny’s garden, the way it is. [long pause]

S: (It’s now one hour and 25 minutes. The electrical pattern very deep now.)

F: [pause] More day-dreaming. Visiting Rita [Warren] in her house just then. [very long pause]

S: (I’ve shut off the physiological monitoring and I’m ready to bring you back now.) Move now from focus 27 [etc.]

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