Q: (L) So it is by agreement. (A) What is by agreement? (L) To be in the orchestra, frequency resonance envelope. (B) Not only to be, but to play within those parameters. (L) Who gets to pick what gets played?
A: Ah! There's the rub!
Q: (B) That means it's up for grabs. Which is why they're interested in us grounding a certain frequency resonance so STS doesn't.
A: No, you don't get to pick the selection at this level. But you in the future does. The question is: How well do you play, and can you play true if the others don't?
Q: (M) That's the second time they said that. (R) Yeah, okay, so in essence, that means what we are doing now is assembling the orchestra before the concert, and tuning the instruments. (L) Have you ever sat in the concert hall when they were getting ready, warming up? (J) It's chaos. (L) It is. (R) But after awhile it starts getting tuned. But that's what this is all about - the whole Cassiopaean Communication. Were not playing yet. We're just tuning. (L) Yeah. (JN) So if our level of consciousness creates the barriers of where this wave can go and how it behaves, can we ... (R) No, No. No. Excuse me for interrupting. Our level of consciousness doesn't create the barriers, it's only aware of those barriers. It can see, okay, what are the barriers: "oh these are the barriers. I can see, okay. So here's what I get to play." But if your awareness grows, then you get to see an array of barriers. "Okay I want to play with this bigger one. I can play with the smaller ones if I want to, but I have the awareness to see other barriers that are more extensive." (L) I think that the concept that we have a hard time grasping is that - going with the analogy - the musical selection is made, more or less. We at some level - us in the future - have chosen what instrument to play, what part to play. And so, the options that we really have now are: how well we play, how loud we play, how in tune we play with others; can we practice, can we stay in tune, can we do any numbers of these things? And even if we find ourselves sitting next to some jerk who can't carry a tune, and whose instrument is all screwed up, can we still continue to play true? Because even though the rest of the orchestra, being heard from a distance, may sound quite melodic, because we are sitting next to this guy who can't play, it is possible for us to be distracted - pulled off track - and then to distract the guy on the other side of us, leading to general chaos. (R) It's about focus. (L) Yeah. I'm getting tired. (A) I have still a question, because all the discussion around this computer modeling, whether it can be helpful or should be developed, or can lead to something; and all these spirals and barriers; they are all about, it's a standard, there are no events, there are no detectors yet. My idea was that it is the detectors which make events which make the wave collapse. Until now, in all our simulations, there is no collapse and no jumps. And yet we speak about consciousness, while there is this other concept that it is consciousness that makes the wave collapse. Okay. So I see a contradiction and I don't know how to get out of this contradiction. There is no collapse, and yet there was some encouragement that what we have relates to ...
A: The music is on the page long before it is played.
Q: (R) So, when the orchestra starts playing you have the musical notes, the timing instructions. Right. So it's the same music. You can play over and over again. But the difference is how well the orchestra plays and how well it is tuned. Okay, so one implication can be that ...
A: The FRE is the notes on the page. It is the selection. The "playing" constitutes "events." Frequency resonant envelope: FRE.