Screen of inner vision. mental action
interesting - how does the third eye open for you - from the currents at the top to the line and turns down or is it different for other psychotypes?
Quantum computer in the brain. Connection with esotericism
At first glance, it would seem that what could be in common between the elemental base of a quantum computer and esotericism? It turns out that there is a direct connection, very interesting and unexpected.
Many have probably heard that there is a small organ in the brain - the pineal gland or the pineal gland, it is believed that this is the "third eye". Santi (H. Santee, "Anatomy of the Brain and Spinal Cord", quoted from Manly P. Hall "Melchizedek and the Mystery of Fire") describes the pineal gland as follows:
"The pineal body (corpus pineale) is a cone-shaped formation 6 mm long and 4 mm in diameter, attached to the roof of the third ventricle with a flattened leash (habenula). This gland is also called the epiphysis. The pineal body is located at the bottom of the transverse groove of the brain, directly under the corpus callosum of the body, between the superior colliculi of the roof of the midbrain It is tightly covered by the pia mater of the brain The habenula bifurcates to form the dorsal and ventral plates separated by the pineal gap The ventral plate fuses with the posterior commissure while the dorsal plate continues behind the commissure, adhering closely to the epithelium roof.In the place of attachment to the visual tubercle, the dorsal plate thickens, forming a stria medullaris thalami (pineal gland band).This thickening is a bundle of fibers of the column of the arch and the middle band of the olfactory tract.Between the brain bands at the posterior end there is a transverse commissure, commissura habenularum, in which fiber strips they intersect, reaching the caudal nucleus of the optic tubercle. The interior of the pineal gland consists of closed follicles surrounded by ingrowths of connective tissue. The follicles are filled with epithelial cells mixed with a calcareous substance - "brain sand" (acervulus cerebri). Calcareous deposits are also found in the leash of the epiphysis and along the choroid plexuses.
The function of the pineal gland is unknown. Descartes believed that the epiphysis is the "seat of the spirit." Reptiles have two pineal bodies, anterior and posterior; the posterior remains undeveloped, while the anterior forms a rudimentary cyclopean eye. In the New Zealand tuatara lizard, it protrudes from the parietal foramen and has an imperfect lens and retina, and its long leash contains nerve fibers. The human pineal gland is probably homologous to the posterior pineal gland of reptiles.
As you have already noticed, the pineal gland contains the smallest "sand", the role of which modern science practically nothing is known. Studies have shown that children under seven years of age do not have this substance, in people who are weak-minded and in general in one way or another suffer from a lack of proper mental organization. Occultists know that this sand is the key to the spiritual consciousness of man. It serves as a link between the mind and the body.
E.P. Blavatsky wrote in The Secret Doctrine: "... this sand is very mysterious and baffles the research of all materialists. Only this sign of the internal independent activity of the pineal gland does not allow physiologists to classify it as an absolutely useless atrophied organ." Here: "... Morgagni, Grading and Gam were wise people of their generation, and today they are also such, since they are still the only physiologists who ..., summing up the facts that they (grains of sand) are absent in small children, in the elderly and in the feeble-minded, made the inevitable conclusion that they (grains of sand) ) must be connected with the mind".
E.I. Roerich in a letter to Dr. A. Aseev writes: "... a luminous substance, like sand, observed on the surface of the pineal gland in developed person. This sand is the mysterious substance, which is a deposit of Psychic Energy. Deposits of Psychic Energy can be found in many organs and nerve channels."
Histochemists have now elucidated the structure of "brain sand" (quoted from here). Shmatov S.V., SSMU, Tomsk. Synthesis of scientific and esoteric knowledge about the epiphysis. Published: "Medicine of the Future in the Light of the Synthesis of the Scientific Worldview of East and West". Medical scientific-practical conference May 1-2, 1998 (Abstracts of abstracts and reports). Tomsk, 1998. - S. 42-45.
Sand grains vary in size from 5 microns to 2 mm, often shaped like a mulberry, that is, they have scalloped edges. Consist of organic basis- a colloid, which is considered the secret of pinealocytes, impregnated with calcium and magnesium salts, mainly phosphates. X-ray crystallographic analysis showed that calcium salts on the diffraction patterns of the pineal gland are similar to hydroxyapatite crystals (highlighted by me). Brain grains in polarized light detect birefringence with the formation of the "Maltese" cross. Optical anisotropy indicates that the crystals of salt deposits of the pineal gland are not crystals of the cubic system. Due to the presence of calcium phosphate, sand grains primarily fluoresce in ultraviolet rays, like colloid droplets, with a bluish-white glow. A similar blue fluorescence is produced by the myelin sheaths of the nerve trunks. Usually salt deposits have the character of rings - layers alternating with layers organic matter. More about the "brain sand" scientists have not yet been able to find out.
So, the most interesting thing is that this "sand" contains in its composition ... calcium hydroxyapatite! It was about him that it was discussed as one of the most suitable candidates for the role physical basis quantum computer! (see previous article). An amazing coincidence, and probably not accidental.
Combining data on element base quantum computer with biology data on the pineal gland and the structure of "brain sand", a very interesting assumption can be made: the pineal gland of the brain is integral part quantum computer in our head, and "brain sand" is a quantum processor.
The computer in our head is quantum, with all the ensuing consequences, and therefore there is a direct connection with esotericism, which is based on the use of the quantum properties of this computer ("psychic energy").
A person has the opportunity to use the "magic" non-local properties of the entangled states of the qubits of his quantum computer.
From the theoretical foundations quantum mechanics it follows that for the emergence and appearance of additional quantum correlations, the presence of classical interactions is necessary. Those. in order for our soul to have the opportunity to realize itself and develop further, it must have a material basis, a guide in the “objective” world. Thus, the opinion of esotericists that "brain sand" is the link between the body and consciousness, the "seat of the soul" seems to be quite reasonable.
This conclusion is supported by another quote from M. P. Hall's book:
A small child lives mainly in the invisible worlds. His physical organism is still difficult to manage, but in those worlds with which he is connected through open gates pineal gland, the child is self-aware and active (at least to some extent). Gradually, certain manifestations of his higher consciousness are absorbed physical organism and crystallize as the finest sand found in this gland. But until consciousness enters the body, there is no sand in this gland.
"Brain sand" is not only people, but also animals. Probably, their quantum computer is only more primitive, has more early version"operating system".
This idea can be developed in various directions, both classical, such as the creation artificial intelligence, and esoteric, for example, the process of learning esoteric techniques should be translated into more available language in terms of quantum computer programming. Clubs for quantum computer programming are already being created on the Internet.
An interesting practical option for implementing direct control of a quantum computer in our brain is the method of the school of V. M. Bronnikov to turn on the "biocomputer". This is a kind of "monitor" that can be connected to our quantum computer in the head, and this monitor allows you to use its quantum resources. Moreover, you can organize even the usual mode of operation, as with a conventional personal computer.
By the quantum resource of a computer, as is customary, I mean here a non-local quantum resource, i.e. the ability of a computer to manipulate the entangled states of its qubits (quantum bits) both among themselves and with the environment (to control decoherence).
In our normal state consciousness, we use only the classical resources of our "head computer". But you can also use quantum resources. There are many ways and options for the practical application of our quantum resources. "Biocomputer" is just one of them, the most "technological".
If we get acquainted with the method of its "connection" and practical application, we will see that the work of the biocomputer can be connected with the pineal gland of the brain. Let's start by turning it on. I omit the preliminary skills that are necessary for this. You can get some idea about them by reading the methods of the Bronnikov school. I turn my attention to exercise 8 ("Energy Surge") and the exercise "Turning on the Inner Vision Screen", which follows exercise 16.
Here is the text of these exercises:
ENERGY SURGE
Execution technique.
Stage 1 - the exercise is performed with open eyes. Student and Teacher (partners) work in pairs.
The student is in the starting position, the Teacher is standing to the side of him. One of his hands is located in front - "screen", the other rotational movements palm, he activates the sensations of energy in the area of the coccyx of the Student, until he has new sensations (humming, waves, rotation of a clot of energy, a ball, heat, cold, tingling).
As soon as any sensations appear, the Student says "yes", and the Teacher slowly moves the energy from the Student's coccyx along the spine to his head with the rotational movements of his palms, and the "screen" hand rises along with the working hand.
It is necessary to constantly ask the Student about what he feels and where (in what part of the back). As soon as a sensation of a surge of energy or heaviness arises in the head, the Student must independently "splash out the energy through the eyes", look into the distance for 30-60 seconds, allowing the energy to "flow out" freely. In this case, you need to pay attention to the sensations in the eyes.
Stage 2 - performed in the same way, but the Student's eyes are closed. When the sensation of energy reaches the head, the Student must open his eyes abruptly and feel how a stream of energy splashed through them.
Stage 3 - The student independently creates a sensation of energy in the coccyx, on inspiration he mixes it up to the head, and as soon as there is a sensation of a surge of energy in the head, he sharply opens his eyes and, on inspiration, releases energy through them.
Exercise can be performed in different positions: standing, sitting, lying down. It is necessary to try to bring its implementation to automatism and within 2-3 seconds, while also developing the power of the "splash". The student can independently control the quality of the "splash" by placing his hands in front of his eyes. At the moment of the release of energy, you need to feel the push of its flow into the palm.
TURNING ON THE INSIDE VISION SCREEN
When the boundaries of the student's biofield expand to normal sizes, which is achieved by the 6-7th lesson, they begin to open the inner vision (the formation of a vision screen or a biocomputer). For this, the trainee is invited to imagine (form) with his eyes closed. white dot on a dark background, expand the point into a horizontal line, then expand this line into the screen vertically. All operations are first performed at the command of the teacher.
In subsequent lessons, on the command "turn on the biocomputer", the students perform the program for turning on the screen on their own. The activation process lasts 3-5 seconds. When finished working with the screen, it is turned off in reverse order. For children, turning on, off and working with the screen are very easy. Adults will be able to do this with difficulty, for some of them the screen does not appear at all, which may indicate a relatively low brain activity or the presence of insurmountable problems. psychological barriers or settings.
When the screen appears, it becomes possible with the help of imagination to get vivid pictures, animate them, record them. necessary information etc. The main work with the screen of inner vision occurs at the 2nd stage of development.
A little subtlety. When turning on the biocomputer, there is no mention of "energy bursts" that must be made to form a "white dot". Those. energy bursts are a "trigger", a kind of "button" that must be pressed in order to give a "signal to the monitor." Energy bursts are also necessary to turn off the "monitor". This can be learned from indirect information in the messages of the "users" of the biocomputer.
“The goal of a person is to know himself as part of the world and the world as part of himself”, to realize his highest shell, spiritual.
Ways to develop special abilities: hypnosis, holding the breath, looking at one point for a long time, endless repetition of words, music, meditation.
We need moral sensations, the ability to control oneself, not to submit to anger, fear.
"Every person has an inner screen. When you imagine, for example, your door, where do you see it? Perhaps somewhere in front of you. This is called the inner screen (EE). remembers where this or that definition is located in his notebook or book, but very often it happens that we remember where it is in the notebook, but we cannot concentrate or “sharpness.” To solve this problem, it is necessary to perform a system of exercises that in a short moment could develop concentration, memory.
The first step is to believe in yourself, that you are part of the cosmos, part of a grandiose program. That evolution has assigned its task to you, for which you need to develop, to know the unknown, to expand your boundaries. The possibility of evolution lies in the internal forces.
The second step is aspiration. The worst thing for a person is not to know how to want. An iron and steadfast will can do anything. The spirit wants, the body must.
Exercise to develop the stability of self-awareness:
1. Sit on a chair with a straight spine, hands on your knees, and try to look at yourself from the side, first from the left, right, front, back, top, bottom. The eyes are open.
2. Sit down, close your eyes. Observe the flow of your thoughts from the outside. Do not force yourself, trying to break this endless stream, do not use willpower. Don't force yourself to think, look at your thoughts. Be an outsider. Make the stream flow quickly and then slowly.
3. Exercise "cinema". Every day before going to bed, close your eyes and watch a “movie” to yourself by scrolling through reverse side from the moment you sit down. Mark the misses. Try to understand why you did what you did. Exercise trains the imagination, helps to understand oneself.
The ability to see whatever you want. The ability is acquired with the opening of the sixth center (chakra) of the astral body, the “third eye of Shiva”.
The main foundation of clairvoyance is the development of the imagination.
Imagination exercise.
1. Select an object at eye level at a distance of 1-3 meters. The subject should be simple. Close your eyes, imagine white space. Hold a clear image in your mind's eye for 3-5 minutes. Then open your eyes and contemplate it for 3-5 minutes. At the same time, do not think about anything, look through it. Close your eyes and imagine it against a white background. Do the exercise without any effort of will.
2. Before going to sleep, eyes are closed, imagine a black letter "A" on a white background. Hold the image of the letter, do not let it go, the next day "B", then "AB" and every other day "VG" ..., hold 3 letters, etc. Work on (concentrate).
3. Imagine a small square, fix it, increase the square in size, to infinity. Contemplate red space, orange, yellow, green, blue, indigo, violet.
4. Draw a square, write a circle, rhombus, triangle.
5. An apple flies around the room, spinning. Carefully try to enter into it, to get out of yourself.
6. Space music - catch images.
7. Look at any object, close your eyes, try to see the same object, compare them. If you look at a person in the future you will see organs.
8. Learn to create mental image Imagine that it is on the table.
9. Take mental walks.
In the future, Sergey Bukatsela synthesized many of the techniques that are presented below.
EXERCISES from Ramacharaka's book
Exercise 1. Walking down the street, focus your attention on someone walking just in front of you. You should be separated by a space of 6 to 10 feet, more distance is also not an obstacle. Fix a firm, direct, resolute gaze on the walker, without taking your eyes off the back of his head, just at the base of the brain. While you are staring at this point, "want" the walker to turn his head and look at you. A little practice is needed to achieve perfection in this exercise, but once you get the hang of it, you will be surprised at the number of people that can be influenced in this way. Apparently, women are much more susceptible to this mental influence than men.
Exercise 2. Fix your eyes on someone who is in front of you in a church, theater, concert, etc., focusing your gaze on the same point as in the previous exercise, and "wish" that person turned to you. You will notice that the seated person will become restless: he seems to feel more or less uncomfortable; in the end, he, half-turning in his place, will cast a quick glance in your direction. This experience should work much better with faces you know than with those you don't know at all. The better you know the face, the sooner the impact will appear.
These two exercises can be modified indefinitely, depending on the ingenuity of the student. The principle is the same for all cases: a focused, determined look and a strong, determined, expectant "wish" or "demand" for performance will be the main factor in achieving the result. You will surely realize that concentrated willpower can be developed by applying the exercises suggested in the lesson on concentration. If you find it difficult to achieve the above results, you should know that your powers of concentration are not yet sufficiently developed, and accordingly you will improve in this regard.
Exercise 3. Choose someone sitting opposite you on the other side of the street, slightly to the right or left of the point just opposite you. You must look straight ahead, so that it does not seem that you are looking at this person, but, without losing sight of him and looking at him out of the corner of your eye, make a decisive mental demand of him, desiring and expecting that the person will look into your side. If you manage things properly, you will see that after a while this face will suddenly look in your direction; sometimes the glance will be cast as if unconsciously, as if the person sitting opposite felt a fleeting whim to look at you, while at other times the look will be fixed on you suddenly and sharply, as if the seated person was aware of the presence of a mental call. A person who has obeyed the call and looked in your direction often has an embarrassed, and sometimes stupid and even calf-like appearance, meeting your gaze directed at him and full of magnetism.
Exercise 4. When you are talking to someone and this person has difficulty finding a word, take a sharp look at him and send him a strong mental suggestion. necessary word. In most cases, it will immediately repeat the word you suggested. Your word must be quite accurate, for otherwise his passive mind will hesitate to apply it, and his active mind will bypass it and put in another word. Some students have even made this experiment with public speakers, preachers, and the like. and told a lot of funny things about it. I have read a work translated from German in which there is mention of a young man whose powers of concentration and desire were very highly developed. He studied at one of the primary schools and, being more interested in sports than in learning, risked falling behind in his studies. After accidentally discovering his powers, he came up with a plan whereby he memorizes a little for each item. When the professor tried to make fun of him, he would send out a strong shake, wanting the professor to choose a specific question, the answer to which he remembered, as a result, he passed all the tests well. German writer, however, says that this course of action changed the young man in the exams, since the final questions were prepared by the faculty and offered in "written" form, and the student did not have the opportunity to use the "helpful way" on the day of the exam.
Exercise 5. Very interesting experience is to wish the face to move in a certain direction.
This can be tried by walking down the street behind someone, directing and focusing the gaze as directed. When a person meets another person coming towards you, you may WISH it to go around the latter either on the right or on the left. You can also do this experiment on a person walking down the street towards you. In this case, you should go straight ahead, turning neither to the right nor to the left, fixing your eyes on the approacher and giving him a mental command to turn right or left, as you wish.
Exercise 6. Stand at the window and fix your eyes on the approaching face, at the same time wishing that it turned its head and looked at you as it passed by. You will find that you will achieve obedience to your mental command seven times out of ten, if only your powers of concentration are sufficiently developed; even without practicing concentration, you will be able to influence passers-by often enough to satisfy the consciousness that "something" exists. You will be able to achieve the best results in this exercise if you stand at the window of the lower floor, and not above, since obeying the impulse and simply turning the head is much easier than raising the eyes to the window of the second or third floor.
The percentage of luck in the first case is much higher than the percentage of luck in the second. This exercise can be modified so that you try to get the attention of the person sitting at the window you pass. Once you start these exercises, you will find them so fascinating that you yourself will come up with new ways of expressing your strength, adapting to the circumstances.
This exercise will serve to develop confidence in your own abilities and to acquire the "skill" of sending vibrational impulses. These experiences are, of course, more or less trifling and of little value for the development of spiritual powers, unless they are a way to practice. They are not to be used for the amusement of the student, and especially for the amusement of his friends. Nobody should have fun with this powerful force and exhibit it for the satisfaction of the crude and idle curiosity of others. The one who grabbed TRUE value of the law of the dominion of the spirit, will have either very little or no desire to exhibit his knowledge, but will keep it to himself. He will exercise often to take full advantage of the practice and the like, but he will do all this, realizing that he is only paving the way for a more exalted use of his growing powers.
A. The first requirement of concentration is the ability to eliminate extraneous thoughts, sound and visual impressions, to overcome inattention, to achieve perfect mastery over the body and mind. The body must be subject to the direct control of the mind; the mind, on the other hand, to the direct control of the will. The will is strong enough, but the mind needs to be strengthened by the direct action of the will. The mind, fortified by the wave impulses, becomes a more powerful searchlight of thought vibrations (fluctuations), and the vibrations gain more strength and produce a stronger effect.
I will begin by showing you how to bring the body into immediate obedience to the commands of the spirit.
The first exercise, which we must learn to do to perfection before proceeding to the next, is to control the muscular movements. This, at first glance, may seem very simple, but already a small amount of exercises will convince you that you have a lot to learn. The following exercises will greatly help you in gaining control of your muscular movements.
A. - 1. Sit quietly. This is not an easy task. It will first of all test your ability to concentrate, to restrain involuntary muscular movements, but with a little practice you will be able to sit still without moving your muscles for fifteen minutes or more. The best way is to sit down in a quiet chair, assume a comfortable position, then relax your muscles completely and try to remain perfectly still for five minutes; after you are able to maintain this position for ten minutes, increase the time to fifteen minutes, which will be quite sufficient. You should not tire yourself with this, as with any other exercise. It is best to practice little by little, but as often as possible. Remember that you should not sit in a rigid position, the muscles should not be tense, you should completely relax them. You will understand the meaning of this weakening if you wish to have a good rest after the exhausting physical excitement. This ideal "rest cure" can be done lying in bed or on a couch, or sitting in a chair.
A. - 2. Straighten up in a chair, raising your head and pushing your chin forward; pushing your shoulders back, stretch your right hand to the right in line with the shoulder. Turn your head and gaze intently at your hand, which you will leave in this position for one minute. Do the same with the left hand. When you are able to do this to perfection, increase the time to two minutes, then to three, and so on, until you are able to maintain this position for five minutes. The hand should be turned with the palm down, as this is the easiest position. By fixing your eyes on the tips of your fingers, you will be able to see how calmly you hold your hand.
A. - 3. Pour a glass of water to the brim and hold it between your fingers; extend your right arm just in front of you. Fix your gaze on the glass and try to hold your hand so calmly that no vibration of the water is noticeable. Start with a minute exercise and work your way up to five minutes. Operate alternately with your right and left hand. A. - 4. In your daily life, try to avoid tense, tense muscles when you want peace. Try to achieve balanced manners. Develop freedom of movement and self-control instead of nervousness and tight and overly preoccupied appearance. Mental exercises will help you acquire the proper look and manner. Stop beating time on the table with your fingers, this manner indicates a lack of self-control, do not stomp your feet, do not dangle them while talking or when you are sitting, do not rock in a rocking chair, do not bite your nails and do not chew your lips, do not click your tongue while you are read or study or write, do not blink or squint your eyes. Get rid of the habit of pinching or tugging on any part of your body, these habits become second nature. You can easily stop them by "transferring thoughts" and resorting to concentration. Learn to be cool and calm about sounds that have made you startle up to now, such as slamming a door suddenly closed, a book or other object falling, etc.
In other words, hold yourself back well. The above exercises will be of great help to you in achieving what you desire.
C. The above exercises will teach you how to skillfully control INvoluntary muscle movements and thus bring your body under control. arbitrary functions. The FOLLOWING exercises will make it easier for you to subordinate your voluntary muscular movements to the direct domination of the will, in other words, they will develop the spiritual abilities that produce volitional muscular movements.
B. - 1. Sit in front of the table, put your hands on it, clenching your fists and turning them with your palms up so that thumb lay on others.
Fix your eyes on your fist for a minute and then move your thumb back a little, bringing your FULL attention to this action as if it were of great importance. Then slowly move your index finger, middle finger, ring finger, and finally your little finger.
Then do the opposite: close the little finger first and continue in this way further until the fist again takes on its original form: the thumb should cover the rest. Do the same with your left hand. Repeat this exercise five times in a sitting position, and then increase it to ten times.
This exercise will tire you out, but you must persist in repeating it, as it is of great importance to you in order to develop your attention by concentrating it on simple and monotonous exercises; moreover, it will give you direct control over all muscular movements. You will soon see the benefits that these simple and seemingly unimportant exercises will bring you. Do not lose your attention to the flexion and extension of the fingers, this is the main thing - if you neglect this, you will completely lose all the benefits that the exercises bring.
Q. - 2. This exercise is nothing less than the old game that can be observed among our peasants, known under the name of "twisting the thumbs."
Bring your hands together so that the fingers of one hand enter the gap between the fingers of the other, leaving only the thumbs free.
Then slowly begin to rotate one thumb around the other, focusing all your attention on the ends of the thumbs.
C. - 3. Place your right hand on your knee, clenching it into a fist, excluding the index finger, which should be directed just away from you.
Then begin to swing your finger from side to side, focusing on its tip.
These exercises can be varied ad infinitum, and you must exercise your ingenuity by finding more and more additional exercises. The main idea is that the exercise should consist of a few simple, routine, monotonous muscular movements, and attention should be paid to the moving part of the body.
Your attention will rise up against such violence and will try in every possible way to get rid of it. Training is needed here, and you must insist that your attention do its work from beginning to end and not be distracted by more interesting impressions or activities. Look at yourself as a strict teacher would look at, and at your attention as at a playful, frisky boy who gets tired of sitting at a book, casts a furtive glance through a window or door at the most attractive extraneous phenomena. It is your business to keep the boy at his book, knowing that it will be better for him, although he does not realize it now. After a while, you will notice that you have much better control over your muscular movements, behavior and demeanor, and you will also notice an increasing power of attention and concentration in your daily activities, which will give you significant benefits.
C. This kind of exercise is meant to help you focus your attention on certain material objects that are not part of yourself. Choose an uninteresting object, such as a pencil, and focus your full attention on it for five minutes. Look at him closely; think about it; spin it; consider; think about its use, its properties, the material from which it is made, the process of its production, and so on. Don't think of anything other than just one pencil. Imagine that your main life task- studying this pencil. Imagine that in the whole world there is nothing but you and this pencil. There is only one world, there are only two things in it - a pencil and me. Don't let your attention drift away from the pencil, but keep it there. You will see how rebellious your attention is when you take up this exercise, but do not let it get the better of you. This is very tiring for him, but it leads to his own benefit, try to strengthen yourself. When you broke, won attention, you committed great victory, as you will soon see. How many times later in your life, when you need focused attention, you will be grateful to me that I led you to this exercise. This exercise can be varied indefinitely, each time choosing some uninteresting and ordinary object for focusing attention. Don't choose interesting subject, since it requires no effort to focus on it. You want what appears to be a kind of "work" for attention, the less entertaining the subject, the harder the work, the more successful the exercise. The difficulty with this exercise is that you will soon stray from the essentials, since continued concentration on uninteresting subjects will eventually arouse interest in them, in self-defence. However, when you reach this state, you only need to practice a little to be able to focus your attention on anyone and anything.
The above exercises will be sufficient for your purposes, assuming, of course, that you will vary them and practice on a subject that occurs in your daily work. You won't be short of practice material as soon as the main idea is imprinted in your brain.
The exercises indicated in the previous lessons can be done with greater understanding now that you know the benefits to be gained from concentration. You will learn to better "keep the thought", to send more energy with suggestions and with mental hesitation. Your gaze exercises will enter a new phase, so will telepathic willing exercises, and so on.
You will be able to overcome bad habits and buy good ones instead. In short, with the acquisition of the art of concentration, everything will work out better for you than before. You will acquire a firm dominion over your spirit and body, and you will find that you are now the master of your passions and not their slave. The power acquired over oneself will be revealed in the power to lead others. A person who has conquered himself will not find it difficult to subdue others to his will. Continue to concentrate and develop the responsibility of the mind to the will, and you will become a real giant in comparison with people who have not acquired this power. Test your will-power in various ways over yourself until you are sure that you have gained mastery over yourself. Don't be content with anything else. When you achieve this, dominance over others already belongs to you.
vision development
The threshold sensitivity of the eye changes (decreases or increases) for many reasons. It has been established that close objects, surrounded by which we live, contribute to a weakening of the power of sight, therefore, being in the bosom of nature, it is necessary to look at distant objects, and for the development of eye muscles it is recommended to look up, down, to the sides, “draw” different figures with a glance (on the wall, in the sky).
It is useful to develop vision by examining strips of colored paper, and then, remembering their color with closed eyes, visually reproduce in the imagination. With a certain skill, after fixing the gaze on the colored strip, look at the white wall, and then again look at the strip (it is painted in an additional color).
Particularly sharp shifts in the light sensitivity of the eye are observed with a more or less prolonged presentation of luminous objects and darkness. Pupil dilation occurs when imagining a small object. These exercises train the tone of the eye muscles. However, in glaucoma, alternating representations of light and dark should be avoided as far as possible.
Dineika KV D46 10 lessons of psychophysical training. - M .: Physical culture and sport, 1987. - 63 p., ill.
The following color exercises are preparatory for seeing images.
Exercise I
The practitioner, being in a state of autogenic immersion, tries to mentally “see” color spots, single out one of them and hold it for a while.
This exercise begins, like all other exercises, with the exact execution of formula 1.
Formula 2. "A color appears before my inner eye, this is my color." After about five slow repetitions, you should say: “The color is becoming more and more clear. The color stands clearly before me."
After 3-4 (minutes of action of formula 2, formula 3 follows: "The color gradually disappears (2-4 times). The color has disappeared."
Exercise 2
The practitioner learns to see the entire spectrum of colors and to isolate a certain color from this spectrum of colors.
The ability to evoke and hold a certain color in front of the inner eye helps the practitioner to create the desired emotional background. The order of the exercise:
Formula I. This is followed by formula 2 (repeat each phrase 2 times): “A color appears before my inner eye, it is pure blue, blue is becoming clearer, blue is clearly in front of my eyes, blue is gradually turning into purple, purple is becoming more and more distinct , purple is in front of my eyes, purple is gradually turning into red, red is becoming more distinct, red is clearly in front of my eyes, red is gradually turning into orange, orange is becoming more clear, orange is clearly in front of my eyes, orange is gradually turning into yellow , yellow is getting clearer, yellow is clearly in front of my eyes, yellow is gradually turning into green, green is getting clearer, green is clearly in front of my eyes, green is gradually turning into blue, blue is getting clearer, blue is clearly in front of my eyes. .
Formula 3: "Colors are gradually fading, colors are gone."
Exercise "space"
There are three main uses for this exercise: (1) on its own as a quick and effective relaxation exercise, especially when you don't have the time or desire to do any other exercise; (2) as a means of deepening the AT state, and therefore enhancing the beneficial effects of AT training; (3) to eliminate extraneous thoughts, if they particularly overwhelm you.
If you wish to use the "space" exercise on its own, then you do it after the scan and end with the phrase "I am calm," after which you end.
If you wish to use it to deepen the AT state, it is best to introduce the exercise after the formula "My neck and shoulders are heavy" and before the phrase "I am calm."
In order to eliminate extraneous thoughts, especially at the beginning of the AT exercise, it is best to introduce the exercise after the scan and before the formula "My right (left) arm is heavy."
How do I do the space exercise?
It's almost the same as doing a scan, only in reverse: you start at your face and then work your way down to your feet. Here we use the phrase "I represent the space between my (eyes, ears, etc.)". There are several ways in which you can represent this space, and you need to find the way that works best for you and doesn't make you feel uncomfortable. I'll bring a few of those that AT practitioners find useful, but remember that you can figure out the best way for yourself on how to do it.
Some people like to imagine that a curtain or curtain is falling in front of them, starting at the top of their head and gradually moving down, so that by the time they reach the feet, they are completely hidden behind the curtain. Others like to imagine that they are a glass container filled with a colored liquid; as their mind's eye moves down the body, the container gradually empties, and by the time they reach the feet, their body forms an empty transparent container. Still others prefer to imagine that the areas between the parts of the body on which they fix their attention blur and disappear: that is, when you say: "I imagine the space between the shoulders and elbows," the entire area of the body between the shoulders and elbows on both sides (including the torso in the middle) disappears. But if you use this technique, be sure to start on the outside of a limb and work your way to the outside of the other limb, otherwise you'll end up with space in the middle and drooping edges of the body on the outside. This won't hurt you, but it can cause quite an unusual feeling!
As an effective way to self-relax:
Assume an appropriate AT posture. Perform a scan.
Turn your mind's eye to your face and eyes and repeat each of the following formulas 2 or 3 times:
"I imagine the space between my eyes."
"I imagine the space between my ears."
"I imagine the space between my shoulders."
"I imagine the space between my forearms."
"I imagine the space between my elbows."
"I imagine the space between my hands."
"I imagine the space between my wrists."
"I imagine the space between my brushes."
"I imagine the space between my thighs."
"I imagine the space between my knees."
"I imagine the space between my shins."
"I imagine the space between my ankles."
"I imagine the space between my feet."
"I'm calm".
Complete the exercise.
Spontaneous Color Evocation (Color Meditation)
You will know that you are ready for this stage if you already see the colors that spontaneously appear during standard AT exercises, or if you are able to maintain a calm and almost undisturbed state of deep relaxation for half an hour.
After completing the standard AT exercise in full, stay in this state without completing the exercises. Ultimately, you may find that you see a color or light that seems to be projected onto the inner "screen" of your closed eyelids. When this happens, don't try to actively follow him, otherwise you will lose your color vision, as well as your state of passivity and relaxation. The appearance of color may take from several minutes to half an hour. Remember that it may take several AT sessions before the colors start to appear.
I mentioned earlier that color (or light) can manifest itself different ways. You can see squares of different colors, or sparks, like fireworks, or puffs of iridescent different colors smoke or fog. Or you may see colors in completely different ways that are unique to you. Whatever your color vision is, you will find that if you passively observe the patches of color and allow them to grow, they will eventually merge into a single spot that fills your entire field of vision. The onset of such a moment brings with it spiritual enrichment, liberation and healing, and the color that you see at the moment will be your main color. You will find that whenever you achieve deep relaxation, this color will spontaneously appear. It may take from several days to several weeks to evoke color. But when you succeed in evoking the color once, you will find that the color can appear very quickly—even while doing the "space" exercise.
2. Arbitrary color evocation
Once you have found your base color, you are ready to move on to the next stage. At this stage, start thinking actively about certain colors in the AT state and observe what will happen and what associations you will have with this or that color. It is best to try calling several different colors in each meditation and finish the exercise with your main color.
Think of specific colors, observe what form each color takes, and what feelings, memories, or sensations can be associated with each color. Think of your primary color and hold on to that color for as long as you wish. Complete the exercise.
Visualization of objects
Once you have learned to voluntarily call colors, you are ready to move on to the next stage. Start presenting specific subjects, such as a vase, a teacup, a flower or fruit, one at a time, and when they are fixed in your mind, try to feel them in their entirety, using all the senses: sight, hearing, touch, smell and taste. Try to feel several objects in each of the meditations. Keep in mind, however, that although your goal is to achieve object rendering, not color, you may find that at this stage you may inadvertently switch to color rendering. In this case, imagine the object against the background of the color that prevails in your visualization.
Part I. Sensation of color.
Repetition: 6 or more times.
Directions to the Sender: Use clear, contrasting colors: red and blue, green and orange, purple and yellow. Channel the energy by clearly imagining the color. When the Receiver feels energy fluctuations, name the color. Clean your hands after sending.
Directions to the Receiver: Relax your hands. Let yourself receive the energy. You can close your eyes. When you clearly feel the energy, tell your partner. He will name a color to help you identify the main directions. Clean your hands after each parcel.
Conclusion: Switch roles and repeat. Once everyone has identified how they experience the energetically transmitted color, record your observations in a journal and move on to Part 2.
Part 2. Definition of individual colors.
Repetitions: 6 or more times.
Directions: The Receiver determines the Colors that the Transmitter sends.
Conclusion: Switch roles and repeat. Record your observations in a journal.
The French scientist M. Derenier developed a classification of the effect of various colors on the emotional state of a person:
Orange - warms and invigorates, stimulates vigorous activity, causes spiritual uplift, creates a sense of well-being and fun, causes joy;
Blue - refreshes, encourages measured and calm movements, creates a feeling of coolness, usually associated with the sea or sky and acts on a person in a calming way, under its influence muscle tension decreases, however, too long its action can cause depression and fatigue;
Blue - refreshes, soothes, reduces the frequency of the pulse, reduces physical stress, can regulate the rhythm of breathing; if you combine blue with white and gray, an illusion of coolness and tranquility is created;
White is a cold color, the color of purity and sterility;
Red - excites, draws attention to the world around, it is a hot color, with low intensity it causes a feeling of warmth, with prolonged
Work surrounded by red objects causes fatigue, and during short-term work, on the contrary, it increases efficiency;
Yellow - warm and cheerful, sunny
Today, my family, we will talk about "vision", about our inner vision, our consciousness.
Working with people, I very often observe such a tendency that a person says that he “sees” nothing in meditation and does not feel anything, but for someone, this is very easy. So what is the problem and what does it depend on?
When we live with our ego and specifically with the mind, it controls everything - this is its function. Control, tension and deepening into an illusory reality. Living with our ego, our mind, we “flirt” so much that we no longer perceive other realities, as if cut off from them in order to be able to know all the hardships of physical reality and only in a dream, we relax and expand into our subtle bodies and structures, we are filled with energy of the Spirit and Soul, and if a person did not sleep, he would simply die, because without receiving our main spiritual energy, he would be exhausted. For a long time, we lived like this, and many still live. Only sleep made it possible to relax the mind and be nourished by the Divine Energy of the Creator.
We ourselves took such an experience and our Souls wanted to go through all those sufferings and hardships in order to reach Love and return to Ourselves, when they know all the duality of this world, all its darkness and our own. Therefore, suffering once again, remember that these sufferings are the choice of the Soul in order to be able to go out into the opposite - Love. And yet, I noticed that the more suffering and darkness a person gets to know, he seems to fly very quickly into the Light. The one who has chosen a more measured path also rises up.
I know for sure that every person is a part of everything that exists, he is this existence, or rather, his CONSCIOUSNESS and we everything is ONE CONSCIOUSNESS. But, as I said, we decided to block the memory in order to be a cell of the Universe - the Soul and play different roles on the ground. In fact, our Divine Consciousness and everything we are is always open to us. All Streams, Gods, Absolutes, Universes, Ascended Teachers, Earth, elements, everything that just exists - ALWAYS OPEN FOR US and moreover, we are all of them. Closed - only we, we have limited ourselves to play. And if you, for now, cannot open up to all these amazing energies, then you are still playing out. The Soul has its own tasks and plan. Yes, you already want to “see” and “hear” everything, and at once. Not everyone will succeed, because not everyone went through the same experience. If in previous incarnations you have already revealed your Consciousness and your energy potential more, then of course, in this one it will be much easier for you to open and expand. But if you were still closed and strongly clamped down by your ego and earthly experience, you will not be able to open up like that right away, you will need a little more time, but the fact that you will open up is unequivocal. Just work on yourself, relax, expand and open to Yourself, that's all you need. And believe me, one fine day, you will begin to feel and see everything that was closed from you and from which you were closed.
From childhood, I was in claircognizance and clairaudience, and clairvoyance, but when I began to see various not entirely pleasant entities, I was very frightened, afraid to sleep and closed myself from vision. Children, as a rule, see everything astral. And for a long time, I kind of blocked myself. When I started to practice, I had to open up again and it was not so easy, my mind tensed up and wanted to keep everything under control. I didn’t set goals for myself, just to see, I just wanted to change and it was so strong that I meditated every day. I imagined and saw it at my level then. But now, after about a year of daily meditations, I got out of this “robot in meditation” state, when you just do it because you need to.)) And I began to see so clearly and feel all the energies and subtle bodies. It was very cool. Of course, at that stage, you will worry, or you will see and even ask some advanced Masters. And I'll tell you, you don't have to do it. Only you are responsible for yourself and what you see and how you develop. Who can know you better than yourself? More Faith in yourself and Trust is all that is needed. Don't double-check yourself, we're all unique here in our own way. Listen only to yourself and follow yourself. Of course, the vision and Consciousness that was then and now are very different, because I am constantly developing and expanding, but that's the beauty of it - it is to have the opportunity of such an amazing experience of expanding Consciousness and returning to Itself - the ONE DIVINE CONSCIOUSNESS. We can't be somebody else, how to be ourselves, none of us. And absolutely everyone has clairvoyance, clairaudience and clairvoyance.
Seeing with the inner vision is not like seeing with the eyes. This is an internal, figurative vision, when you relax and see certain images. And there is not a single person who cannot see like that. Yes, we all see mental images. The purity of your vision, of course, depends on your level of Consciousness and how pure your mind is, on extraneous influence. You will see images, and your mind will be like a conductor of these images, it describes and arranges them in such a way that you understand. For example, we all know that Angels, Gods do not look like people, but it is more convenient for our mind to convey to us, for our perception in our dense reality. Since the energy that they are Higher Essences, impossible to describe in human words, in principle. Therefore, we, as it were, translate visions into our own way, for our perception. And everyone has their own personal prism. You see what your mind shows and processes. The clearer and calmer your mind is, the clearer you will see, the clearer. Basically, everyone has an astral vision - when we, as it were, fantasize and come up with something, and this is the most accessible option, it is not so difficult to reach it, to expand. But remember that with astral vision, you will only see your level and through your level. If you are at the bottom of the astral, it is clear that you will see everyone in dark negative colors, if already on average, which is not so often the case, then you will see in joyful and positive colors.
Why do we meditate? To do this, to relax your mind and go beyond its boundaries of influence. The higher your level of development, the more you expand your Consciousness, the more you connect with YOURSELF and all who you are. Your inner vision is getting clearer and clearer. You begin to see not through the mind and astral, but through your Divine Consciousness. The only problem is to reach out and not forget what you saw and where you were, at such a frequency of vibrations.)) And for many, this is already a reality, although earlier, this was only available in a dream and to units of people on Earth who have already come, like conductors.
The sky is open to everyone, my family. All you need to do is open up to him. Relax, meditate, listen to yourself, go beyond your illusory reality and then whole worlds will open for you. All you need is to be with YOU and return to YOU.
I love you, your Aya is the Guide of Divine Love
Publication Site" OMARTASATT"
Polar Bear - Metaphors - Listen to the word! – Visible conversations – Gloka kuzdra – Mental speech – Mental walks – Film reel of a lived day – Movie film – Circular film reel – Double film reel – Group story – Chain of associations – Association on a leash – Videoscope – Complicated videoscope – Mathematical problem – Logical problem – Einstein problem – Journeys - Repeat! - Today - yesterday - Event in the picture - Assemble the picture - Stop, a moment! – And then what? - Three pictures - Familiar city - Blind path - Labyrinth - Routes - Compass - Pinwheel - Another pinwheel - Centimeter - Three words - Living images - Changelings - Antiworld - Remember the face! – Imaginary circle – Mental actions – How did I do it? – Move – without moving – Explanation to next section
POLAR BEAR
Leo Tolstoy in his unfinished "Memoirs" spoke about the game invented by his brother Nikolenka. The conditions of the game were - "to stand in a corner and not think about the polar bear." He writes: "I remember how I stood in a corner and tried, but I could not stop thinking about the polar bear."
Good material for training mental action, inner vision and imagination!
I say "polar bear". What do you see on your inner screen? Yes, his- polar bear! In our memory, many words and word combinations are firmly connected with their visual images. Think of a polar bear, I ask, and it is easy for you to fulfill my request, because the words about the "polar bear" (here and now again!) immediately echoed in your imagination as a visual picture.
And if I ask - "do not think about the polar bear! do not dare to see the polar bear!" Will you be able to fulfill my request? Unlikely. The polar bear appears in your vision as soon as I say these words. How to get rid of a polar bear? The only way- to think about something else. About the black dog, for example. “Don’t think about the polar bear!” I say, and at this very moment you force yourself to think about the black dog, “and it immediately appears on your inner screen. And it will displace the bear if it has managed to break through there.
Remember this rule: in order not to think about a polar bear, you need to think about a black dog.
This means that inner vision can appear not only from the word we hear, but also from the thought that we consciously evoke in ourselves. After all, thoughts are also words, only unspoken. We are now talking about such a variety of thoughts, which is called mental speech.
The word is the decoy of vision. Is there any word? .. "River"! What did you see? Everyone saw different things, and even saw nothing. I will say more definitely - "Neva"! Everyone saw the Neva, but there may not be clarity in the pictures. I'll be more specific - the Neva embankment near Zimny, opposite Petropavlovka ... This picture turned out to be easier to see than the previous two. The more specific the speech and the word, the brighter the vision.
METAPHORS
“In every word there is an abyss of space,” wrote N.V. Gogol, “every word is boundless, like a poet.”
- "Go out" ... What did you see on your inner screen?
I saw the night sky. The horizon is brightening, soon the morning, the stars go out.
I saw the evening street. The illuminated windows, all multicolored, go out one by one.
I saw a wounded pilot. He crawls through the snow, breathing heavily. More and more often stops, can not move. Forces are leaving.
I saw a girl. She is waiting for someone in the park near the cinema. Around - people, meetings, joyful exclamations, and she is alone. The call invites to the beginning of the session, the alley is empty. Only a girl. Her eyes. Hopes fade.
The metaphor in this exercise is a reason for improving associative thinking, and thus for the development of fantasy.
Many different pictures can appear in the imagination from the metaphorical word-decoy. Such, for example, as “boiling”, a seething waterfall (water boils), harvesting (work boils), a heated speech at a rally (anger boils), etc.
HEAR THE WORD!
Another word is revealed when you reach its original meaning, to guess how it was "invented". So, the word "captivating" will come to life again in the mind, it will turn from a stamp into a fresh vision, as soon as you guess its origin from the word "captivity", when you understand that "captured by you" means "taken prisoner by you." And there is no need to engage in further etymological research, because the word "captivating" was revealed in a living image. The Word has become filled.
- "Filled" ... Having revealed the figurative meaning of this word, revive in your imagination the whole phrase - "the word has become filled."
Such tasks by no means duplicate the subject of "stage speech", they seem to throw a bridge between "speech" and "actor's skill". It is useful from time to time to stop the student's attention on some word or phrase. Any figurative turnover is fraught with lessons of the imagination.
- "Off your shoulders!" Are you talking about the exam? And how would you say if you yourself, for the first time, just now came up with this turnover? After all, once these words were invented for the first time! Maybe they sounded even before Griboyedov, who, through Famusov, said: "Signed, so off your shoulders"? Imagine a heavy, tiring burden, a load on your shoulders, which you can not wait to throw off. And when he threw it off - how tired shoulders straightened! ..
VISIBLE TALKS
We see everything we are told. But we are not always aware of these visions. Or we are aware of them fragmentarily, as rare scraps of pictures. One must practice the continuity of visions. Cultivate the following habit: when you listen to a story, try to see continuously everything that you are listening to.
The tenacity of inner vision should be the same as that of football fans when they hear Ozerov’s excited voice on the radio: “... Voronin is in the central circle ... He gives the ball to Parkuyan ... Malafeev is right there, but the defender Zekenbauer follows him relentlessly ... Sabo can hardly walk, at his leg was severely injured…” We hear the radio: “…this is how the mystery of the burial of Pharaoh Tutankhamen arose…”
How? Tutankhamun?..
Yes, historians will not be offended by us, since we are waving this name, but we justify ourselves by the fact that he was a pharaoh, which means that he was hardly a good person.
Tutankhamun? Listen to the word: "Here ... AN ... Ham ... He!" How unpleasant!.. And what vision?
GLOKAYA KUZDRA
This is a fantasy exercise. It uses an artificial phrase invented by Academician L. V. Shcherba.
Write down this phrase: "Glokay kuzdra shteko boked bokra and curls bokrenka." What language is it? In the language of fantasy. Take a closer look at the words you wrote down, figure out the meaning. What happened, what event?
Correctly. Some kind of "kuzdra" (however, it is said that she is "gloky") took and "booted" some kind of "bokra". How did she "bull him"? Yes, "shteko"! Perhaps even very "steko", "shtekoe" nowhere! And then what did you do? She attacked a "bokra" (apparently, this is a "bokra" cub) and "curds" him!
Are there any visions? Yes, an amazing thing: words mean nothing, there are no such words, but visions appear! Tell who has what "kuzdra"! And what about "bokr" with "bokrenk"? ..
How did she "bull" him? .. In your opinion, "boo"? Does she have a big bud, sharp? And in your opinion, did she "booze" him first with a "cable", and then began to "stretch the vykta"? Maybe…
If the students are familiar with the exercises for artistic courage (animals, toys, etc.), you can even release one "kuzdra" after another onto the site - let them "bokra and curly-tail". Probably, all "kuzdra", "bokry" and "bokryata" will be different. That's how it should be!
Tell us what happened on the site. How did it all start? Where is all this happening? Ah, on the "ampanke"? ..
MENTAL SPEECH
Remember this morning, the whole chain of little episodes from the minute you left the house. You need to see in your imagination the whole path, step by step. What did you look at along the way, what did you think about, what did you do? Try to see all the details in their current sequence, and at the same time, to strengthen the visions, mutter softly aloud: “I left the front door. there are always a lot of them on the corner of Stolyarny, they are walking around, waiting for the old women, who feed them with cereals. (I mutter, but I myself see it all.) Now the whole intersection has been dug up, huge pipes lie, the pigeons have moved somewhere. (I mutter, I see, but I myself go , now I’m mentally crossing the street, I looked mechanically to the left, if the tram was coming.)
Mental speech will later help in acting lessons to move on to internal monologue, to mental and verbal action, will help to think at the moment of action as the hero portrayed by the actor would think. Mental speech training is the beginning of the development of mental and verbal actions.
Recall the most interesting event of your life over the past summer.
Remember the most an important event, which interested you in yesterday's newspaper. What were you thinking while reading? What did you see?
Recall the most important event for you yesterday. In each day, among the many small episodes, you can find the most important one that determines your later life even a little. From what episodes did this event develop?
Think of an episode from the last movie you watched. One episode - but in all the smallest details. And most importantly - in the same logic and sequence of action as in the film.
Logic training and the sequence of mental speech - work on approaching the logic and sequence of feelings.
Mental speech can be used in many exercises - everywhere where internal visions and actions with imaginary objects are practiced. It should be noted that mental speech is only a technical device that does not replace a living thought, but helps its emergence.
THOUGHT WALKS
The students are in a semicircle.
Let's take a walk! Remember Nevsky Prospekt. We walk from the Admiralty along the left side of the Nevsky - "the most dangerous during shelling." Remember what you see, house by house, without missing anything.
Did everyone get to Sadovaya? First from the right, describe your journey. The rest - check the picture on your internal screens, correct your friend, supplement his description with the details that he missed.
Such mental walks, which train visual memory and the continuity of internal visions, develop observational skills and can be included in individual, home training.
Let's take a walk from Isaac to the Winter Palace! You heard my words, and two or three frames instantly flashed on the screen of your inner vision - Isaac's golden hat, some trees in the Alexander Garden, the latticed gates of the Winter Garden. No, you don't have to fly, but walk. Learn to control the wings of the imagination. Where do we start our walk? From the square in front of the Astoria? Walk slowly, in detail, all the way: along the square, past the rows of tourist cars, past the tragic Yesenin windows of the former Angleterre, across the square, looking at Isaac, at his columns, at the platform from which sightseers admire the city, at the upper flashlight , where now they are not allowed to go, to the sparkling dome, to "where a new house has risen in the corner", to "where two sentry lions stand as if alive above the elevated porch with a raised paw", along the yellow facade of this house, looking at the trees Alexander Garden, crossing Voznesensky Prospekt, past old houses, then I will cross Gorokhovaya Street, next to the house where the Cheka worked, along the parapet of the garden, past the fountain, looking at the Admiralty, turning yellow through the trees, straight ahead - the Alexander Column, to the right - the Nevsky arrow, to the left - the entire Palace Square and the Winter Palace.
Where shall we go now? Along the Nevsky, or along the Neva to the Bronze Horseman, or across the bridge to Vasilyevsky Island, or on the beach near Petropavlovka? The best mental journeys are on familiar routes.
Route selected. Pupils "walk", sitting on the ground. At first, in complete silence, so as not to frighten off the visions.
Complicating the task, the teacher is included in the exercise:
Question to one of the students:
Where are we now, where have we reached? Let's stop and look at this house. Looking at the house, describe it to me.
To another:
Look to the right, to the other side of the Nevsky. What's there?
Where are you now? Passed by the Book House? Ahead, on the corner of Brodsky Street, there will be a newsstand, remember that? Look, please, is there a fresh issue of the magazine "Teatr"?
Approached the cinema "Aurora"? What's coming? Have you seen this movie? Not? See when the next session is. Great, go to the box office, buy a ticket!
From the very beginning, it is necessary to offer such mental speech that it will help the visions.
What is the hardest part of the exercise? Hold the vision. It appears relatively easily, but keeping it on the internal screen is more difficult. Mental speech will help you with this.
At first it seemed like a completely simple, easy exercise. It's so easy that you don't have to do it. Don't all people have such dreams? Wanted - and imagined anything! Why train? And here's why: to cultivate the habit of arbitrary continuity of internal visions on a fictional topic. The continuity of successive visions - this must be learned!
Why is such a skill needed? Stanislavsky said that at every moment the artist is on stage during the action, he must see:
or external suggested circumstances created by the director and artist; what is happening at that moment outside the actor, on the stage,
or what is happening in his imagination - internal visions that illustrate the proposed circumstances of the life of the role.
“Out of all these moments,” writes Stanislavsky, “a continuous endless string of internal and external moments of visions is formed, a kind of film tape. While creativity lasts, it stretches unceasingly, reflecting on the screen of our inner vision the illustrated proposed circumstances of the role ... "
Take a mental walk along the paths of Peterhof Park.
Practice switching visions. Go along Nevsky to the first corner, to Malaya Morskaya Street. Walk slowly without missing anything. Now shift your visions to another route, to the familiar forest road near your dacha, walk along it a little and again - Nevsky ... To Bolshaya Morskaya Street! .. And again - a forest road ...
Mentally walk around this room, live in it.
Make these mental visits to familiar homes. Go to theaters, cinemas, walk through the familiar museum halls. Just don't skip a single link in the chain of successive memories. Do not fly on high-speed elevators, but walk like stairs - step by step!
FILM OF THE LIVED DAY
Home individual training:
"Going to bed and putting out the light, accustom yourself to daily mentally review the whole life of each past day, while trying to detail your memories to the last limit ..."
And Stanislavsky clarifies to what extent it is necessary to detail the memories - if, for example, you restore in your memory how you dined today, then you need to remember:
everything you ate and in what order,
the taste of everything eaten,
all the dishes and their general arrangement on the table,
thoughts and inner feelings caused by dinner conversation.
Such detail is necessary for any memory. We must try to see inwardly and, as it were, to live again the whole sequence of individual actions that make up a segment of life. It is clear that the whole day can not be remembered in this way - there will not be enough time. Let me remember a little, but in detail!
It is useful in such training to slowly look through the rooms where you have been, and, remembering individual things in them, mentally use them as it was in reality.
This habit, as Stanislavsky said, must be filled with long systematic work.
We do not yet need to create a film of the illustrated subtext of the role, but in preparation for this, we will create a film of a lived day. The steps are:
Starting from a certain point, we "backward", that is, we remember what we did a minute earlier, then where we were and what we did five minutes ago, half an hour ago, etc. - up to the moment of waking up this morning. It turns out a chain of successive visions from this minute in the audience to the morning at home.
We fix this chain in the same order several times in a row.
We do the same in reverse direction from the moment you wake up until now.
After several repetitions, “do you feel that all these memories and the work you have done have left some kind of trace in you, in the form of a mental, sensual or other idea of \u200b\u200bthe rather long life of your today. It is woven not only from memories of individual actions and actions done by you in the near past, but also from a number of feelings, thoughts, sensations and other things you experienced.
We are talking about daily memories of everyday events of the day. They do not need to be filmed. But several times a week, in order to constantly form a habit, create a fixed film of the day, one that is remembered for a long time. Choose for this day something remarkable for you. Watch old films from time to time. Creating them is a great way to prepare material for creativity.
Listen to what Eisenstein wrote: “I see in front of me with unusual keenness what I read about, or what comes to my mind. This probably combines a very large supply of visual impressions, a sharp visual memory with a lot of training on “day dreaming "* when you make before your eyes, like a film, to run in visual images what you think about, or what you remember. Even now, when I write, I, in fact, almost "circle" with my hand, as it were, the contours of the drawings what a continuous tape of visual images and events passes in front of me. These sharply visual, first of all, impressions painfully intensively ask to be reproduced. "
* waking dreams (English).
FILM
The students are in a semicircle. The teacher announces the name of the movie, which will now be created by the whole group. For example, "Partisans".
The student sitting first on the right repeats the word "partisans" and says the next word that defines the picture that presented itself to his imagination:
Partisans... Forest...
The second student repeats what was said and adds his word, developing the plot:
Partisans… Forest… Dugout…
This is how words-frames accumulate. Each student repeats all the words spoken before him and adds a new one. After the student sitting on the extreme left, the chain of words-frames again takes the first one on the right, and the movie continues. A group of ten or twelve people can, with a trained visual memory, bring the film to a hundred frames.
A word is like the name of a picture that is seen by your imagination. Therefore, first you need to see the picture, then call it a word. Each time, with each repetition - whether you are talking or your friend - scroll the film over and over again, switch from one vision to another and say the word only when you see the picture.
Beginners often memorize words mechanically. Sometimes they unwittingly associate a word with the person who named it. Then the student remembers word by word, looking at his comrades - in what order they sit. We must immediately warn students against such a mistake. The main thing in the exercise is a continuous logical sequence of frames-events, the continuity of internal vision, arbitrary switching from one vision to another.
Each student has their own story. "Partisans, forest, dugout" - at this beginning of the story, one student had a picture of the night rest of the partisans at their base, another - the return of the group from a combat mission, the third, maybe - a battle and capture the enemy's position. Each new word, as it were, turns the plot, sometimes quite unexpectedly for all listeners. Therefore, at first, students often protest: the word named by the next student "does not fit", does not fit with the overall picture that is created in everyone's imagination. Protests must not be accepted. Here the principle applies: "The author's word is the law!" Each, even the most inconvenient, word must be justified. Just like in the future, artists will need to find justification and explanation for each author's word in the text of the play and each event in its plot.
A film reel goes in a circle, frames of the film are added. Let's stop for a minute:
Describe how you see the dugout frame.
CIRCULAR FILM
Exercise for individual training of the continuity of inner visions and switching.
Determine the plot of the future short film and assemble the film from several frames-events. Now we need to glue the last frame with the first to get a vicious circle of events. For example:
The first frame - a bear cub - you see a furry, big-headed baby standing in a clearing, looking around with curiosity.
The second frame is a hollow - you see a hollow in the thick trunk of a linden and bees that fly in and out of this hollow.
The third frame - a delicious smell - you see how the bear sniffs, runs to the linden tree, climbs up its trunk ...
The fourth frame - bees - you see how there are more and more of them, how they circle over the head of the bear cub, while he sticks his paw into the hollow ...
The fifth frame - a bear - you see how his shaggy mother hurries to help the baby ...
Ready? Now - spin this tape continuously on your internal screen, frame by frame. Take your time, look at the picture in more detail, help yourself with mental speech. We got to the last frame, to the bear, and immediately - again, from the first frame to the second, etc.
Gradually, it is necessary to reduce the memory time of each frame, to switch to the next one faster. It is useful to resume such an exercise in memory after a few days.
When the film becomes familiar and memories will easily arise at your request, make two complications:
Include one or two new frames in the middle of the event or towards the end. Please note that they will not take root immediately.
Try to spin the tape in reverse order: first the fifth frame, then the fourth, third, second, first, fifth again, etc.
Have you seen what happens when a film is released into the cinema in reverse? The diver then jumps out of the water, flies up and lands on the tower. What will happen to your film?
DOUBLE FILM
An exercise for training switching visions.
The students are in a semicircle. The teacher hands over two images, different in character and style. Let's say one of them is a color reproduction of the painting "Haystack" by C. Monet. Another is a caricature by Y. Ganf "Bureaucrats" cut out of a newspaper.
Memorize both images. Stamp them firmly on the inner screen, memorize all the details. Remember the first ... Second ... Take the images, check if you remember everything. Set aside the images. Remember the first... Second... First... Second...
Let's create two movie strips based on these pictures. One is a lyrical sketch called "Summer". The other is the animated feuilleton "In the office".
Pupils, training instantaneous switching of visual memory from "Haystack" to "Bureaucrats" and from "Bureaucrats" to "Haystack", create two films of visions in turn.
If there are ten students in the semicircle, the films are created, for example, in this order:
1st student (sitting on the extreme right): - Field.
10th student (sitting on the far left): - Tables.
2nd - Field. Sunny day.
9th - Tables. Phones.
3rd - Field. Sunny day. A stack of hay.
8th - Tables. Phones. Execution schedules.
4th - Field. Sunny day. A stack of hay. Coolness in the shade.
7th - Tables. Phones. Execution schedules. Bustle.
5th - Field. Sunny day. A stack of hay. Coolness in the shade. Birds.
6th - Tables. Phones. Execution schedules. Bustle. Senior assistant.
Now the two films are "crossed" and diverge in different directions:
7th - Field. Sunny day. A stack of hay. Coolness in the shade. Birds. Noise of leaves.
5th - Tables ... etc.
Each student, therefore, memorizes both films at the same time and participates in the creation of one or the other, depending on which side the next film approaches him - from the right or from the left.
GROUP STORY
In the previous exercises, the students composed a story using only one or two words for each frame. Now you can expand the scope of the task - to compose using large phrases. At first glance, this seems to be a simpler matter.
Suppose the story began with a phrase that was uttered by the first of the students sitting in a semicircle:
It was raining…
The second repeated this phrase and continued:
It was raining. The hunters were soaked to the skin in their hut...
It was raining. The hunters were soaked to the skin in their hut. Night was approaching, and it was necessary to have time to reach the station ...
If we limit the purpose of the exercise only to the development of the students' imagination, it is not at all difficult to continue this, or any other, story, if only the imagination worked. But let's set a goal - to train the continuity of internal visions in this exercise, and everything will become much more difficult! All the time we will have to keep elusive visions with the efforts of will and, with the help of internal control, monitor their continuity - this will be physical target of this exercise.
It may seem that strong-willed efforts are unnecessary. After all, verbal signals are already so tightly connected with images: we say "it was raining" and at the same time we cannot help but see pictures of rain on the internal screen. Of course we see. But these visions are often not realized by us. The picture acquires visible features only if we stop our attention on the vision ... The rain is pouring ... Low, dark clouds, darkness, slanting lashes of water ... And what else?
Water beats on the bare branches of trees (probably autumn?), Tears off the remaining leaves ... And what else? Water crushes withered grass, runs in a muddy stream along a forest path ...
Do not rush to continue the story, do not invent, do not grind out a "literary" phrase. First, live in the atmosphere of the previous words, and when the picture becomes completely concrete, new details will automatically appear that you want to name, they are so bright! So the vision of rain led us to the forest, the forest to the hunters, they to their thoughts about the road to the station.
The story grows, but do not forget to remind:
Live in the atmosphere of fiction, in the atmosphere of the story - throughout the exercise. So you said your phrase, and already your comrades continue to develop the plot of the story, and you again and again, with each new repetition, force yourself to see all the pictures as soon as you hear the words of your comrades. Force yourself to instantly switch from one picture to another.
Usually the story rolls in a semicircle. A complication is also possible: the teacher calls the name of any student, and he continues the story.
CHAIN OF ASSOCIATIONS
- "Icebreaker"... What do you see on your internal screens? Three minutes of silence - let the thought go freely, "untie" it from the icebreaker whenever you want. Let's see where it takes you.
Three minutes later, poll:
Who stopped what?
I pick mushrooms in the forest.
It turns out that the student, thinking about the icebreaker, then switched to the thought of the car, it led him to the factory, then he remembered newsreels about the factory, immediately - other shots from a recent Indian film, the thought of India was replaced by memories of a circus (Indian artists) , then a circus building arose, next to it is the Fontanka embankment, where trees turn green ... Forest ...
Restoring in memory the entire chain of associations that led from the "icebreaker" to the "mushrooms" is sometimes not so easy. But this is the main part of the exercise that trains the logic and sequence of internal visions.
Go through the entire chain of associations from "icebreaker" to your last picture. Try not to miss any. View all the pictures again in the same order on your internal screen.
Once again, from start to finish! #page#
ASSOCIATION ON A LEASH
This exercise trains differently associative thinking- "icebreaker" ... Did you see the first picture? Now do not "untie" your thought from it, keep your thought tied to the word "icebreaker". Write a coherent story with that title. Discard extraneous thoughts. Think only of the icebreaker!
Three minutes of silence followed by a poll.
Of course, not everyone equally managed to think only about the icebreaker in three minutes. But it is important for us to what extent students are able to discard the unnecessary (not to think about the "polar bear"), to what extent they manage to extend the time of continuous thought about one subject, to what extent they learn to consciously control the flow of their thoughts.
Now each of you has your own visual story, which is called "Icebreaker". Repeat it in your imagination from beginning to end. Build a continuous chain of inner visions. Let there be a movie on your inner screen, in which one frame-event is replaced by another. Something will have to be clarified, or maybe changed, invented missing links events. Turn off the camera, come up with the missing. They came up with - turn on the movie camera, continue to view the chain of visions. There should be a continuous tape of frames-events.
When you get home, turn your internal movie camera back on and replay the entire sequence of event frames.
In the next lesson, we will check if the film is not torn.
VIDEOSCOPE
The students are in a circle.
Hands go, one after another, five different postcards or reproductions of paintings. Approximately every ten seconds, the teacher knocks on the table. This is the signal for the student to hand over to the right neighbor the card he has been looking at during those Ten Seconds and to receive another card from the left neighbor.
When the cards have gone through three or four circles in this way, they are put aside.
Now fix in memory all five pictures. Remember the first one. Who can tell what he remembers?
Remember the second one.
The stories of the students helped to fix all the pictures in the memory.
Let's practice switching visions. On my command, you must remember the picture and try to keep it on your inner screen until the next command. What needs to be done in order not to miss it from the screen? You have to think about it all the time and restore in your memory all the details, all the details, now one, then the other ... The first! Second!
There is an alternation of pictures - first with long pauses to enable the student to hold the floating image, return it to the screen. Then the pauses get shorter and shorter, and the alternation of pictures goes further and further away from sequential enumeration:
Third! Fifth! First! Fourth! Third! Second!.. The pupils' eyes must be opened.
Just do not strain your eyes - this will not make you see brighter, but, on the contrary, will scare away the vision. And remember that we are not seeking hallucinations! We do not need color, sound and stereoscopic vision that will stick out in front of your eyes, like those of the mentally ill, obscuring real world. No - everything that we really see remains: our room, these windows, and the piano. But - in addition to the really visible - a new visual image arises in the imagination. It is paler than the real one, unsteady and unstable, but if we think about it, our body lives in its atmosphere, lives in conditions of fiction. Our body, we ourselves, are thus ready to act and act in fictitious proposed circumstances.
COMPLICATED VIDEOSCOPE
A more difficult version of the previous exercise begins in the same way. But when the postcards have passed two circles, the teacher unexpectedly adds three new postcards to the five, which the students did not suspect. When the cards have gone around one circle, all eight are postponed.
Second! Fifth! First! Third extra! Fourth! First extra!
MATHEMATICAL PROBLEM
When you were solving problems at school with pools and pipes from which water flows, filling these damned insatiable pools, or problems with pedestrians who tirelessly walk towards each other and at some point will certainly meet, you involuntarily arose in your imagination and pools and pipes and walkers with sticks, but you threw away unnecessary visions and plunged into the world of boring numbers. Today we will try to solve some mathematical problem without the help of mathematics. If you have learned to manage visions, to keep them on your inner screen, they will help you solve the problem. This one, for example:
"Three fishermen found such objects thrown on Coast after the shipwreck: seven empty barrels, seven more half full of wine, and seven barrels full of wine. How can they divide what they find among three without touching the barrels and without pouring wine, so that everyone gets an equal number of barrels and an equal amount of wine?
I will help your visions. Look, I put seven matches with broken heads on the center of the table - these are empty barrels. On the left I put seven whole matches - these are full barrels. The seven halves of matches on the right are barrels filled to half. The rest is up to your imagination. Imagine how the fishermen walk near the matches-barrels and try to share them.
Whoever decided, whisper the answer to me ... You did not fulfill the condition of the task, since your fishermen were engaged in transfusion. It is clear that if half of the wine is poured from each full barrel into each empty barrel, then the fishermen will get seven barrels filled to half. But you can't overflow. May your fishermen still suffer.
Right! The first and second fishermen each received two empty barrels, two full and three half full. And the third fisherman - probably the oldest, bearded - received three empty ones, three full ones and one half full. This means that each received seven barrels, and among them - three and a half barrels of wine.
If you have math problems at home, practice solving with the help of vision. Of course, not every task is suitable for this. Find ones where you can imagine complete picture life, determine the logic and sequence of actions in the event, help yourself with mental speech.
LOGICAL PROBLEM
And here is an example of the so-called logical task, which is easily solved by a person with developed figurative thinking:
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How to control the quantum computer in our brain? One of the methods offered by the school of V. M. Bronnikov for the inclusion of a "biocomputer".
A "biocomputer" is a monitor that can be connected to our quantum computer in the head and use its quantum resources. It's about about the ability to regulate one's condition and the condition of others with the help of (epiphysis).
quantum resources
In a normal state of consciousness, we use the classical resources of our "head computer". To use quantum resources, we can use a “biocomputer”.
The work of the "biocomputer" is connected with the (pineal gland) of the brain. The question is how to turn it on.
The methodology of the Bronnikov school will help you with this. The most important and effective exercises in this practice are the “Energy Surge” exercise and the exercise “Turning on the Inner Vision Screen”. We will simplify them a little.
energy burst
The exercise is performed with closed eyes. Visually activate the sensations of energy in the coccyx area. At this moment, you can feel waves, rotations of a clot of energy, heat, tingling at the location of the coccyx.
On inhalation, we move this energy from the coccyx along the spine to the head. When sensations of a surge of energy or heaviness appear in the head, you need to open your eyes and “splash out energy” through them, then look ahead of you for one minute.
Energy "flows freely" through the eyes. I note that we release energy on inspiration.
To perform the exercise, you can take a sitting position, lying down. The whole exercise can be completed in 2-3 seconds, but after training. The release of energy through the eyes can be felt by placing the hands in front of the eyes. When you release energy, you will feel a push of energy into your palm.
Inner Vision Screen
Close your eyes and imagine a white dot on a dark background. Expand the point into a horizontal line. Then this line needs to be expanded into the screen vertically.
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