Monroe Institute Black Box session August 3, 2004

 Edited transcript of a PREP session in the Bob Monroe Lab at TMI held Tuesday morning, August 3, 2004, Skip Atwater at the controls and at the microphone, Frank in the black box.

 An unusual session. We had determined after the previous session that this time I would not do Q&A with TGU but would experience instead, as we used to do before TGU got so talky. As a result, the transcript is very short, because I said little, and what I did say was said very slowly, very meditatively. For our final session of this series of ten, we will probably go back to our previous format of Rita asking questions, as we attempt to find out from our friends what this series has been all about.

[begin transcript]

[Resonant tuning, then long silence]

Skip: Null point crossing. Shifting now to focus 12 frequencies.

Frank: I was wondering if I had crossed the null a few minutes ago. [long pause] Let’s go to 21, Skip.

Skip: Very good.

Frank: [long pause] Getting that wavering back-and-forth feeling that I occasionally get with Hemi-Sync. It’s like my – it’s too much trouble to explain, but it goes left and right, left and right. [long pause] Some curious feeling going on, as though energy were this ball that’s slowly descending down my body repetitively. And I’m sort of watching it, observing it, as it moves down. It’s a form of moving into my body in a way. pause] It’s as though I’m more in my body than usual. It’s as thought it’s pulling me in. pause]

[sigh] So much weight on me. pause] Makes it hard to function. Oh, that’s good. A reminder of how Columba functioned with that weight. You lean on – spirit. You live on faith. pause] And the heavier the weight, the less choice you have; and the more you lean on spirit, the heavier the weight. Or at least the heavier you can bear. pause] You don’t have to know what’s coming next.

Skip, let’s go as high up as the numbers go.

Skip: Very good.

Frank: [long pause] A wooden table, like a coffee table. Squared, but not square. In the middle of a room. Sort of like Rita’s living room. A lot of light, windows, some chairs around the periphery. Circumference, whatever that is. Viewed from above, from the ceiling level, say. Nobody in the room. pause] Feels like I’m under the ceiling, looking down. pause] Feels like I’m floating. pause] Now it is the living room. I’m up with the cobwebs at the top of the ceiling.

There’s making some kind of a point, about being more in my body and floating higher. Not either-or but both. pause] Now I’m settling down into one of those chairs pause] in a form that’s not exactly human. Sort of almost an abstraction, a coil or a –

Like what George described as his character Bones. Metallic, sort of, like an abstraction of a robot, in a way. No arms or legs or anything, not even – it’s like a flexible solid coil. pause]

The table has become more like a sculpture. It’s almost like the two are interacting, the wood sculpture and the – sort of metallic being. Two kinds of existence, equal. pause] I don’t know that that means: “Two forms of non-animal being.” Us being an animal being, I guess. pause] They each have awareness and they can interact without speech, movement, touch, you know, any of those – hearing, sight. pause]

There’s something I keep missing. Somebody else in the periphery is playing with something like feathers. I keep noticing it and forgetting it. That’s more like a person, fooling around with something. pause] 

Skip: Ask if the person with feathers has a message.

Frank: pause] It’s like, just like I was looking at the two beings communicating and this was out of the corner of my eye, ordinarily our lives – we’re playing with the feathers and the other stuff is out of the corner of our eyes. We’re not seeing – not that it matters, but we’re not –

Different forms of life have different centers of attention. So that to the wooden sculpture and the metallic being, the whatever-it-is, playing, was hardly even there. Because that’s not where their attention was. And I’m sort of all of these things. pause]

There’s a connection with George whatever-his-name-is merging with things, because I’m sort of merging with this sculpture and it reminds me of him.

And it’s like being inside of a pause] beehive or something. It’s like the cells of this wood are like a palace, all these different rooms arches, space, darkness, dark but not obscure – I can’t –

There’s a world in there. But you know there’s a whole world inside of everything, in other words. pause] It’s like I’m seeing all these abstractions, and they’re so much bigger than I am, and they’re so abstract I don’t know what they are or what they mean, and don’t have any way to relate to them. And they just – they’re there. A sense of hugeness and space and – I don’t know, if you were a kid in New York City and you looked around, you might feel like this. Kind of fascinating, but also different scale, different – not obviously attached to you. pause]

The underlying question is, where do I do and what do I do, but – pause] It’s almost like they’re saying it doesn’t matter. [long pause]

It’s like floating in outer space with all these things around, some of them are stars and some of them are constructions, and the emphasis on the space and the distance and it all has its existence without reference to us. The world goes on with us or without us. What we do doesn’t matter, in a way. pause]

That’s not quite right. It means, nothing depends on us. What we do matters in its own terms; it’s just how we spend our time. [sighs]

I don’t know where we are in terms of the numbers, but bring me back a little closer to – like if we’re at 49, bring me to 35, and if we’re at 35, bring me to 27 or something.

Skip: Very good.

Frank: We’re pretty far out. pause] Looks like I’m an any with an erector set [laughs]. There’s not much you can do.

Skip: Perhaps the value is in the experience and not in understanding or explaining.

Frank: Sure, but I’m not actually doing either of those, I’m recording, because otherwise I’ll never remember it. pause] Wherever this is feels more like home, I’ll tell you. pause] Sense of great silence. Reminds me of 15. pause]

I need to not distrust my gliding. [long pause]

Remembering Iona. pause]

An old man in a hospital bed. Remember that.  pause] I’m very aware of the waterbed under my back. It feels like a foam cushion today, from shoulders down to ankles. [long pause]

[change sides of tape]

[very long pause]

Frank: [stretches, sighs]

Skip: Where have you been?

Frank: To London to visit the queen, I guess. pause] I lost it when I moved. Doesn’t matter much. pause]

Skip: Do you remember anything from that period of time?

Frank: No, I really lost it when I stretched. It just disappeared. This feels like a “null” session. In many ways. [laughs]

Getting a sense now of a dark room with like a kitchen. Dark, small. Primitive, in a way. pause] [sighs] Just some light reflected from outside, not much. That’s me.

[very long pause]

[coughs] Having this long conversation with a guy about – oh God, it’s gone. Something about his gifts and how to use them, but I’ve lost it. I’m getting very cold now. pause] Not like the good old days, either; this is my lungs and chest and upper body. [yawns] You’ve obviously got the icemakers working again. [long pause]

I don’t think I can remember this. It would have to stay in cartoon for them. But I’m not sure I remember what it means. I was looking at one of my pictures which fell off the wall, and then I said, “if that fell off the wall– ” and then I remembered that it had fallen off the wall, and there was something about, the point of all that was, that we see a very cartoon simplified version of things so that we can make sense of it, and that if we could see it in its real complexity we wouldn’t be able to make sense of it the same way, and so couldn’t’ function. And I think as a matter of fact that’s an over-simplified version of what I was shown, but that’s all I can bring back. pause] Tones just changed quite a bit. [pause]

Skip: Soon it will be time for returning. You might like to take the next few minutes to be asking for a very special message, a message you can take with you when you return.

Frank: [pause] God, overwhelming cold again. I’ve had my hand on my chest for the past few minutes to warm it up. Then the cold just came in all around. pause] I remember a few years ago in these sessions, the cold we took to be the presence of spirit, I guess. Can’t quite remember.

Skip: Certainly physically, in terms of my measurements, you have not been cold at all.

Frank: No, I know.

Skip: And there was something about providing you with a message that this is powerful enough to chill you to the bone, or something like that, if I remember your phrase.

Frank: It’s like you, I remember it more or less.

Skip: All right, follow the sounds back to focus 10 now, staying with the sounds.

Frank: Remind me later, Skip – or maybe, say it in the phone, what various levels we’ve been in.

Skip: We went up to 27 for a while, and you said “let’s back off” and went down to 25 belief-system territories. It’s very interesting, when you say “you lost it,” because from here it looked like “something’s got a hold of Frank, and they just jerked you down – huge depth in the polarity shift. I mean, huge depth in the polarity shift. And then you came back. I wish I knew what went on down there.

Frank: Huh. Well, me too. Me too, I don’t have anything. Maybe next time we’ll ask ‘em. Or I suppose we could ask ‘em this time, if we still have time, I don’t know. I sort of feel lazy. pause] Not to mention cold. [long pause]

When you say a huge polarity shift —

Skip: You had already stabilized below – you know, when you first shift, you jump back and forth a couple times, because you can sense it yourself, so your curiosity peaks up, so you jump back and forth. And then later you stabilized, down in the teens, you know, 10, 13, 15 negative values. But you plummeted, as you’ll see here, to minus 60.

Frank: Wow!

Skip: It was a huge dip across the thing. Let’s do the countdown now.

Frank: Yeah, I feel like I’m basically back anyway, but go ahead.

Skip: [counts me back]

Frank: Do you have much experience with that kind of a shift?

Skip: No, that’s a very, very large shift. I liked the fact that –

I like it when somebody stabilizes. In other words, sometimes people will dip across the null point and they’ll pop down and come back up, pop down and come back up, as though they sense it’s there and it brightens their curiosity, rather than going with the flow. But after a while you were able to commit, or stay below the zero point and talk, and then, when you disappeared, you just continued to plummet. “Dive, dive, dive,” and I was sitting in here saying, “goodbye, Frank.” [they laugh]

Frank: Got your hopes up, huh?

Skip: I’ll come in and get those things off your fingers.

 [end transcript]

 

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