A: Double loop.
Q: (R) Double loop, yeah, exactly. (MN) Double helix? (R) Yeah, because it's looping ... because if you look at the 3D part of it it's not a spiral, it's a cone. (A) Right. (R) Because it is spiraling like that, and if you increase the resolution, then it will be a perfect cone which is moving like that at the same time it is moving like that. [Demonstrates with hand gestures.] And it is moving like that because of balance - because it has to be from an equal amount [of energy] on either side. (V) It builds it from itself? (R) Yeah the thing is like this, if you have a packet of energy going like this and it meets a boundary, either it can fold up like that - just under its own pressure - and then spring back. Or, it can utilize the extra dimensions and coil. Like if you have a string and you just do like that, it won't be at one point. So I think it's the same thing here. But how to find out? We need to have some algorithm for the third dimension for this folding. (A) Um-hmm. (V) What if there is indeed something happening there that you're not seeing? Like we were talking about at the beginning of the session here: that you can't know what you can't know because you can't see it because it's veiled? What are the possibilities that there is something else happening there to be discovered or uncovered? (R) And I think that it seems like the only reason it is manifesting is because the wave is hitting an obstacle. So, the third dimension - it was always there as a possibility - but it didn't manifest until the wave hit an obstacle. So the obstacle, in effect, is creating the additional dimension. It was always there but it didn't manifest until an obstacle was put into the wave's path.
A: Consciousness energy directors.
Q: (R) Exactly. Because if the wave is hitting an obstacle, if it just follows mechanics, it's going to fold up because that's the law. But, if you have consciousness interacting with the energy, then it can say, "hey look it is more efficient if you don't fold up, it is more efficient if you utilize this extra dimension, because there is then less pressure in the wave if you are using this extra dimension." But you need that consciousness to kind of say, "hey look there is this extra dimension that you can utilize." And it has to say how to utilize it because it has to choose a direction to start folding into. (B) If our consciousness defines the parameters of third density, could the barriers on either side of the wave represent the barriers of the outside parameters of third density which causes this continual looping back and forth? And it may be doing something else in a different density that doesn't have those barriers?
A: Frequency resonance envelope.
Q: (R) Exactly, it makes total sense. So frequency resonance envelopes are realms. And our program shows that the only time interesting things happen to a wave is when it hits an obstacle. And it only manifests the extra dimension if someone helps the wave to choose which way to start folding out into the extra dimension. So if densities in effect are frequency resonance envelopes, which exist as obstacles, that waves of energy can resonate within ... yeah, exactly ... that makes kind of sense. (JN) What if the level of consciousness is the barrier? (R) Yeah, exactly. Consciousness energy directors, and the more awareness you have the more possibilities you can see to direct the energy. (JN) The less obstruction. (R) Yeah, or you can choose this ... (V) You say you believe something because it's the law, but ... (R) Yeah, because those are the parameters that you see, but the more awareness you have, the more you see, the more you can find, then you can know dimensions that you can escape into. You have the box, you say it's closed, we can't get out of it. But if you have more awareness, you can say, "well there's some other dimension out of the box that we can use." Do I make sense?
A: You are going in the right direction ...
Q: (R) Which is of course, kind of humorous since they just talked about consciousness as energy directors and we are going in the right direction. So we are directing the energy in a conscious way towards the right frequency resonance envelope. (L) I'm glad you know what you're talking about. (JN) Now don't anyone lick that envelope and seal it up! (R) Okay, well this makes sense. So the basic concept to recap is that densities are frequency resonance envelopes in the same way that the barriers in our program are barriers. We have modeled densities on a computer program. Densities are envelopes. Frequency Resonance Envelopes. You have energy bouncing back and forth and without conscious directing of that energy it's not going to utilize anything more than the paths that are kind of obvious - the default. But as soon as you start to direct that energy, you can direct it in such a way that it exceeds the envelope. (J) So think outside the envelope. (R) Exactly because you are redefining the envelope. You are finding bigger and bigger slots.
A: Prime numbers show the door.
Q: (R) It's perfect. So in the simulation, the spirals seem to always be prime numbers. We have 3, 5, 7, 11, 19 - I think we have seen at some point. (A) Two is also prime number (laughter). (V) But not a 13? (R) I think we have seen 13. It depends on what parameters you set. I think we can find pretty much any prime number depending on the values. (A) I don't believe it. (R) He doesn't believe it. (A) No. It is a hypothesis. (R) Is the number of apparent spirals always a prime number?
A: Ark is not right on the money.
Q: (A) I am. I will show you! (B) Does that mean he's close? (R) You can't be close. Either it's prime numbers or it's not. (A) What did they say that I am not right? Right? (R) Right, exactly. (A) Okay, I will show you guys. (L) How are you going to show them? (A) We will do an experiment and we will show that it's not prime numbers. And the C's will have to recant! [Laughter.] But there are many other ways in which prime number can come into this game and probably they are coming into this game and it will be very nice to find this out.
A: Find out, in deed.
Q: (L) Well that's kind of a pun, find out "in deed" - by doing. (R) We are on a very, very interesting path here because we just defined what a density is. It's a frequency resonance envelope. (A) The question is frequency of what?
A: Yes, of those in the orchestra.
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.
Q: (R) So when you're starting out, you have a small orchestra, you play simple notes. (L) Kinda like first density. (R) Exactly. As you get better at playing you get the bigger orchestra, you get more instruments, you have to be more careful about having them in tune because otherwise ... (L) And you get more notes. (R) And you get more notes. But the playing constitutes events. It's one thing to have an orchestra, it's another to have it tuned. (L) Alright, let's think about this FRE idea and this application of it and then take it back to V's original questions about it. FRE is emanated and maintained in concert with the environment and others ... (R) Well, it is also bonded to the perception through awareness, right? (L) Okay. (V reads back from the notes) "Your awareness maintains a frequency emanation in concert with your environment. When there are fluctuations in bonding of another, the fluctuations create discontinuities." (R) So a discontinuity would be a quantum jump, for example, yes or no?
A: Yes.
Q: (R) But this requires that you have an orchestra that is well tuned. Because if you don't have it well tuned, it's not resonating so it doesn't matter if the ... (V) So the orchestra's not going to make the music in fourth density. (R) Exactly. So you have the concert hall, the audience is there, you have the notes, but the orchestra is not in tune, so you get bad music. If the orchestra is not in tune, which is why it is important to ...
A: Sing "Goodnight Ladies," Yes?
