LITMIR.BIZ

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through a door. You know that this event will happen anyway. Nevertheless, illuminate this frame. Imagine in your thoughts, in words, and even better, visually, opening the door and walking through it.

      Don’t be lazy, don’t be lazy! Do you think that you can hide in your house and no one will see you? I’ll get you either way. Why do we need endless repetition? In order to rewire the snail mould. You won’t believe that reality will succumb to your will until you see it for yourself, moreover, repeatedly.

      Controlling frame movement in small-scale events is the most effective training method, as a result of which you will…

      – Learn to wake up and control your attention.

      – Develop your plait, visualisation skills, and intention.

      – Switch into active gear, and eventually acquire the ability to free yourself from the dominant script and compose your own reality.

      What happens after you activate yourself? You become the only character in your entire environment, who is not subject to the external script. And, failing that, as soon as you lose yourself and become immersed in the motion picture, you instantly identify with it, becoming its integral part, moreover, a dependent, imitative part – a mannequin.

      But once again, you drag your attention away from the current frame and illuminate the upcoming frame. In this moment, you come alive in the motion picture and start moving freely, at your own discretion. Now you still occupy the same mannequin but in a totally different capacity. Imagine a mannequin in a shop stepping down from the display window and going about its business. This is roughly what happens to you.

      You are still in the motion picture as before, but at the same time, you are taken out of the sequencing as if your individual frame could move freely along the film roll. Let’s just say, now your ‘frame frequency’ is different from the frequency of the reality frames, which enables you to free yourself up from the confines of the dominant script.

      Have you ever seen in a movie or on TV, what a spinning wheel or propeller looks like? It appears to spin instantly or turn in the opposite direction, because the spinning blade frequency and interval are quite different to the frame interval. Similarly, your attention and plait manipulations place you in a different frequency and interval to reality. In this sense, you can move freely about the film.

      The yet-to-be-realised future drags you from the sequence of the present when you take hold of that future and try to affect it. The impending reality, though written in the Eternity archive, is always multi-variant and has not been totally defi ned or composed by anyone – nobody owns it yet. When someone turns up, who will compose a variant of it, then that future surrenders to their instruction. And if that someone is you, it becomes yours.

      Do you want reality to be yours? So, take it, and compose it as you wish. This is a fundamentally new approach to your reactions, behaviour, and existence. The difference is that your attention will no longer get stuck in the current frame but strive ahead instead. Observance is replaced by advance, and passive waiting by agency. You no longer string along with reality as if on a leash, but direct it, driving it forward.

      But before your desired reality can become the physical reality of your daily life, you, my head-choppers, must get yourself a reprogramming. I can’t do this for you. You may not get it perfect, straight away. You will only be able to create what agrees with your everyday, routine experience. Until you finally believe that you are capable of composing reality, it will slip away from you unyielding.

      The only way of recasting the mould is the same way it was created in the first place – through daily, mundane practice. Track the impending frame, track yourself, compose reality. If you do as I tell you, reality will do as you tell it.

      It is best to carry out regular, multiple repetitions until it be-comes a habit, otherwise you won’t learn anything. And if you don’t learn, I will remove your houses and turn you into even more horrible creatures – slugs. I am Tufti, your Owner, and I do with you what I wish.

      Transformation

      Here-here, my wet-eared crook-shanks! That’s it, come out of your houses, gather round, and let’s recall the previous lesson.

      • The method of awakening and illumination detaches you from the script.

      • You are mannequins, stepped down from the window going about your business.

      • You are still in the film, but at the same time, you have dropped out of the sequence.

      • Having detached yourself from the film roll, you can create your own film.

      • Controlling the frame movement for simple events is your training and reprogramming.

      It is also your transformation. You will gradually transform from snails to fireflies. When you illuminate the frame, you radiate an inner light, and the desired events fly to you like moths to a light.

      Luminescent creatures, looking forward — that is how the Creator conceived of you. And so you once were before you got stuck in the motion illusion.

      Much has been lost, but some things can be restored. Do you want to be a firefly? Then, lively-lively track the impending frame, track yourself, compose your reality. Those around you, those who are still snails will extend their horns towards you and move closer out of curiosity.

      You won’t always make it work at first. You may understand that you are capable of composing reality, but in the depths of your consciousness, you will still have doubts. This means that the reprogramming is not yet complete. This is why training is essential, to shift you into active gear, to get you used to looking ahead rather than down at your feet, and finally – no, not to kill you (though my hands are already itching to) – but to convince you that you really can compose your own reality incredibly and breathtakingly.

      There is just one little thing. You must try without making an effort, my assiduous ones. Illuminating the frame successfully requires concentration, not effort. Can you concentrate for a couple of minutes? Well, just for a minute then? That’s all that is required of you. Follow the illumination method in a calm, relaxed manner. You are not permitted to tense up. Not an option!

      Why? Because in making an effort, you will trigger your inner intention centre. Whereas reality as we have already learned, is directed from the outer centre.

      What do you usually do when you try your upmost? You try and fight the physical reality that is already in place. So, what will you do in relation to the reality that is yet to become manifest? Exactly the same. It’s a habit you have. You are all eager to change things to your liking, the way you want them to be.

      But you won’t succeed in changing anything that is already physically manifest, of for that matter, anything that isn’t yet manifest. How can you change a film that has already been shot? You can only choose the future, like a reel of film from an archive. Do you see the difference? Calmly and relaxed.

      Note, that if your muscles become tense whilst you are illuminating the frame, this means that your petty intention is activated. You must work solely with the outer centre – the plait. It is not something that you should exert or wield.

      The plait is activated easily and effortlessly. Remembering and sensing it, calmly concentrating on it is enough. Next, without losing the sensation of the plait, focus on the frame composition. Visualise the picture you desire with ease, without trying too hard. Your muscles should be relaxed. You don’t need them for this; they have nothing to do with it. Quiet concentration on the plait and the frame. That’s what we need.

      Your task is not to force reality to obey you but to allow it to come to you of its own accord. Don’t force it. The principle is not to grab hold of reality but to illuminate it with the outer centre – the plait. You are simultaneously the film projector and the viewer. You project the frame from behind and watch the film playing out in front as if neither had anything to do with you.

      The outer centre (you must have noticed) is both yours and not yours at the same time. You mustn’t put pressure on the plait. Just activate it and then send out a current of thoughts from the plait,

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