February 23, 2002
Ark, Laura, Barry T, Rick O, VG, Jeannine & M N****
A:
First awareness of the choice comes. Then making the choice. Then enhancing the energy to graduate. The problem of 3rd density is identifying what to choose, since so much is veiled from you.
Q: (R) This goes right to the discussion we had on the egroup a couple of weeks ago, I think, when we said that there is so much that is possible, but if you don't know about it you won't choose it. How can you choose if you don't know about it? (B) The choice has to be made here before you can glean the benefits of that choice. (L) Right. If you don't know you have a choice you can't make a choice, if everything is ... (R) It's like the gold fish in the bad water. (L) Yeah. Yeah, I mean you learn to exist in that environment and you accommodate it and you don't know how to be in any other. Okay, next. [...]
A: Shakespeare said it: Sound and fury signifying nothing.
Q: (L) I think we ought to check the whole quote at some point and see what all he was saying. I'm not a Shakespeare person. (V) From what work is this quote? (L) I just want you all to know I am not a Shakespeare fan so ... knock it off (laughter as she speaks this to the board)! (V) Can you tell us what Shakespearean work this is from so it can be further ...
A: Tempest.
{It's actually from Macbeth though I suspect the Cs had a purpose in saying "Tempest":
Out, out, brief candle!
Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.
The Tempest tells us:
We are such stuff
As dreams are made on; and our little life
Is rounded with a sleep.
Which conveys a similar meaning, but in different words.}
Q: (R) Alright, I think I'm done with this, I'm okay with the answers. (V) I'll ask something unless someone else was ready to go. Twice maybe in the last 3 or 4 years - once at USF and once in my apartment - I was walking along and all of the sudden the environment had totally changed and it was like I was a light person. Can you tell me what that was?
A: 4D bleed through. We mentioned before that you ought to get used to it.
Q: (V) Well, it is not a "getting used to thing." It only happened twice and it was magnificent. I mean it was an experience. I can say now that I am experienced. [Laughter.] (L) And not Jimmy Hendrix! (V) Is there any way to generate this myself? It was just so spontaneous?
A: STS do that.
Q: (V) Do what? (L) Seek to generate such experiences for the sake of the experience. (R) Bring it on through the matrix, through technology, rituals, drugs, whatever. (JN) What were you smoking at the time (laughter)? (V) Yeah, right. So is there a positive or negative aspect to this?
A: Not unless you are not experienced! [L is laughing hard through the letter calling.]
Q: (L) I felt that coming and it was so funny! (V) While I was in this altered state, did I look the same to other people around me?
A: Yes.
Q: (R) You see it is only a perspective from an individual perspective.
A:
Perception is bonded by awareness. Others are bonded to their awareness of you and all else.
Q: (V) Well, while this was happening to me, was this also happening to others in my general area?
A: No. Not likely. You do not yet realize how rare higher awareness is.
Q: (JN) What triggered it?
A: Frequency envelope thinning due to patterning imprint repetition of V in her environment.
Q: (V) Alright what's a frequency envelope you brainy types. (R) Actually, frequency envelope, [asking Ark] isn't that what we were doing with the wave generating computer program? (A) Frequency envelope is something like that.
A:
Your awareness maintains a frequency emanation in concert with those in your environment. When there are fluctuations in bonding frequencies both between you and your environment, and the frequency bonding of another, the fluctuations create discontinuities.
Q: (R) Okay, that makes sense. (L) It does? (V) Okay then tell me. (R) Okay. It's like resonance. If the environment has a particular frequency ... hmm ... (V) We were asking about the frequency envelope and what it is. (R) And it's V. And violet is high energy, right? The color spectrum right? [The group reviews the previous C's answer ... ] (R) Exactly,
so it's a quantum jump. GROUP: Yeah. (R)
Because you're at one level and unless something strange happens that's where you're at. (L) In other words -
you emanate energy, the other person emanates energy, and the energy exchange is between you and the environment, and between you and the person and the environment, and your environment is maintained, and the envelope of energy is maintained around you. But if there is ... what? Fluctuations? (R) Ah!
"Your awareness maintains a frequency emanation in concert with those in your environment." Hence, if your environment has a frequency that allows for a higher frequency, I mean, it always has the lower, but in some cases it can allow for higher. (L) They're talking about it being fluctuations in the environment. If somebody or something in you're environment is ... (A) But the question is - which properties of environment that we can describe in terms of ... (L) Well they're saying that the fluctuations are in V. (R) In concert with the environment. (L) And in concert with people who are in the environment. In other words,
something is breaking up and you are no longer frequency bonded to the people in the environment in the same way; there is a fluctuation there. What is it called when you add too much energy to something? It becomes unstable. Your reality construct is unstable. That's what I would say. (R)
You have a bigger marble that you can fit in a bigger hole if the hole happens to be there. (L) Right.
A: Rejoice! You are growing out of your shoes.
Q: (L) Your feet don't fit anymore! You need new shoes!
A: Basis: shoes.
[...]
A:
Frequency envelopes are realms, however they are "in concert," which implies a degree of scripting at some level. Some members if the orchestra do not play well. Some do not play in tune. Some are out of synch. Others expect the one next to them to play their part.
Q: (R) Which makes even more sense that in 4D STS and STO don't like to mix because if they do they would play completely out of synch. (L) Very bad music. (V) Is it like my frequency envelope is my consciousness, the representation of my consciousness? (R) No, frequency envelopes are realms. (V) Okay, so I'm a realm unto myself? (JN) You are Queen of your realm. (L) But
your realm is part of an orchestra which means that it emanates a sound - you are giving off a sound - you are playing your part; and either you play it well or you do not. (R) But even if you are playing it well ... (L) Those around you may not be. (R) Exactly. So that's also kind of a reason why 3D is such a low density because there is so much canceling out. I mean
if you put a lot of 3D guys that are STS oriented in one place and if you put STO people in another place, physically, then there would not be as much canceling out. So you wouldn't need as much awareness individually to make use of higher frequencies because you could have an orchestra. (V) Because you would be gathered together harmoniously. (L) You can have an orchestra.
[...]
Q: ...(R) ... So in relation to frequency envelopes and bonding of awareness to perception, I was wondering if that related to creating the conduit. The C's have said that you were creating conduit here? (L) Um-hmm. (R) Okay, could it be the case that frequency resonance of all who are here together with you is because of the resonance makes it easier, it lowers the amount of energy needed from the environment to make ...
A:
The orchestra is able to produce greater volume when in concert.
Q: (R) Right. So, is this concept - in this sentence that says "the orchestra is able to produce greater volume when in concert" - is that what is meant by creating a conduit?
A: Close. Frequency envelope has many applications.
[...]
Q: (R) ... 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.
[...]
Q: ... (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.
