42 – Objects And Infinity

CHAPTER 42

OBJECTS AND INFINITY

Now we are going to work a bit more with objects, introducing exotic concepts like infinite mockups and so forth.

42.1 Must Not Touch

Go around the room and touch things, and as you touch each one, have the walls yell “Mustn’t Touch” at you and you let go very fast.

Then do the same thing mentally, spotting an object, reaching out and connecting to it, having the walls yell “mustn’t touch” and letting go of it rapidly.

Then repeat both of these steps (physically touching, then mentally touching), but when the walls yell “mustn’t touch”, you ignore it and continue to touch the object, letting go when you feel like it.

42.2 Blackness

Looking around with your eyes open, spot an object and alternately push a wave of blackness over it and pull it off a few times. Then spot another object and repeat until you feel good about this and in control.

Next, do the same with your eyes closed.

Next, pick a large city and imagine that you are looking down at it from above. Spot thinks that you like in the city until you have some perception of it. Then alternately cover the city with a huge cloud of blackness and pull the cloud off and dispel it. Run this until you feel in control of blackness and occlusion. Change to a different city occasionally.

42.3 Complex Mockups

Mockup (visualize) a large and complex building or similar structure with lots of interesting features and details. Work on this for awhile, paying special attention to working over details. Do things like mocking up the color and texture of the walls, the panes of glass, the window and doorway design, the passageways and rooms inside, and so forth. Get it so that you really feel like you have something.

Then discard it and mockup another one. Do at least 3 different ones. If you have any trouble discarding the mockup, copy it until you have enough that you feel good about throwing them away.

Now do the same with a scene in the countryside, maybe a tree covered hillside or whatever you have affinity for. Again do it in great detail. Do this at least 3 times.

42.4 Infinities

A simple infinity is actually easier to do than a complex mockup.

Imagine a road, perhaps light gray in color, hanging in empty space. Get above it and look down its length in one direction. Imagine that it goes on forever, in other words, it is infinite in length. Turn around and extend it out to infinity in that direction as well.

Now mockup a milepost or sign with a “0” on it on the side of the road.

Move to a point one mile further down the road and mockup a milepost or sign with a “1” on it. Then go a mile further and put up one with a “2” on it.

Notice that you could keep doing this forever because the road is supposed to be infinite.

Now do a simple single mockup of mileposts or signs extending out to infinity, each numbered one higher than the next. The mileposts can be all identical.

Go to milepost 100 and see it there. Then go to milepost 14,000 and see that it is there too. If you have any trouble with this, repeat the infinite postulate of mileposts and check again until you can get these things to be there.

Shift back to milepost zero, face in the opposite direction, and run an infinite series of negative mileposts off in that direction, from “-1” out to infinity.

This is, of course, nothing more than the number line in mathematics, postulated in visual form.

Notice that it is a simple and easy postulate, much easier than working on the details of a complex building.

Mock this up a few more times until you can do it easily and have no trouble discarding the mockups.

42.5 Grains of Sand

Now mockup a grain of sand, look at it closely and get some detail as to the exact shape and surface.

Mockup a dozen different individual grains of sand, with slightly different shapes and colors and textures.

Now imagine thousands of copies of each one, all mixed together forming a plot of sand. Add a few shiny specs of things and interestingly colored pebbles for variety.

Now stretch this plot of sand out to form a large beach, copying it as much as needed.

Now extend the beach out to infinity in both directions.

Check some places along the beach and assure yourself that it continues as far as you care to go along it.

Repeat until you are comfortable with doing this. You can vary this by mocking up stretches of dirt or gravel or other similar things if you like.

There is a bit more on infinities in chapter 5 of the Super Scio book.

42.6 Objects Out to Infinity

Now look around the room and pick an object that you like.

Make a copy of it, overlapping but shifted over just slightly.

Make another copy, just a tiny bit further over.

Make a bunch of copies, each one a fraction further over, a bit like a fanned deck of playing cards.

Now copy the object out to infinity. An infinite run of copies, each a tiny bit further over, making a sort of solid line that goes on forever. You can do this with a single postulate.

Then discard the mockups. If you have any trouble doing this, run another set of copies out to infinity but vary the color slightly. Keep getting more and more runs in parallel until you can discard them easily.

Pick another object and repeat.

Do this until you can handle infinite copies easily.

42.7 Who’s Mocking You Up

This might be too difficult for a first pass, but see if you can get anything on it.

Spot an object and ask it “Who is mocking you up”.

Ask this with as much intention as you would ask an important and serious question of a person, and get the intention into the object, don’t just think it in your head.

This is not done with the expectation that there is anybody in the object who will answer. It is only done this way to ensure that you hit the object with a strong questioning intention rather than simply sitting back and musing about it.

Now you permeate the object and mock it up as answering you. In other words, you draw an answer back from the object.

It is not that the object is talking to you, you are the one who is putting it all there, but you are doing it this way because you want to draw a real answer back from the object, so you supply the “theta” necessary to get an answer.

Note that if something does start answering up like a real person (and you aren’t just mocking it up for fun), then handle it as an entity with Nots techniques and get it out of the way.

If you can draw an answer back, it will be an impression of old connections and postulates and lines running off into the distance. Acknowledge these. They will generally go back to old designers or manufacturers or previous owners or admirers.

If you do this with something that somebody really wants, you will hit a strong and current reaction. In that case you just acknowledge this and leave it be. It might be somebody’s favorite car or whatever.

But if it is some old thing and the postulates are all old and unconscious and automatic on various people’s parts, you might be able to get control by carefully and thoroughly acknowledging each one.

For now, just spot objects and ask the question and see what you can learn. When you are comfortable doing this in the room, go outside and try it on objects that other people have more active connections to.

Eventually, you might try to take this a bit further and see if you can get some control over some of the agreed upon mockups that compose reality. But that is best left for a second pass through the book.