Seven Types Of Madness:
Whatever madness that exist may be classified under or are admixes of seven basic types, namely mad logic (delusions, paranoia, presumptiveness), mad or inappropriate helpless rote or jukebox speech or behavior (eg obsessions and compulsions), mad forceful perceptions (visual, auditory and tactile hallucinations or hearing voices and seeing things), mad restlessness, mad violence (running amok), mad distraction or daze (catatonia, stupor) and mad sadness or depression.
Madness is always a forceful or emotional false state of the mind and therefore can only afflict minds that harbor force, harbor the force of going against self and it (madness) reflects the terminal state in which the force of going against self finally goes totally out of control and therefore madness is always the terminal state of minds that act, can never afflict minds that is without force that is therefore without emotions and is always passive calm and clearly thinking.
Few if any actors can see that they are actors, let alone believe or are convinced they will actually go mad (madness is only for others), they might even imagine madness may not be that terrible after all but as Jesus said that they will be thrown into the furnace where men will weep and gnash their teeth and Buddha said that he can not think of anything more tormenting than hell or the animal womb. Even in their present daily lives there are surely clear tremors or portents of future madness like mad thinking that they cannot control, mad sadness, mad restlessness and involuntary lapsing into dazes that they can still shrug off, but they are unfazed, think they are temporary inconsequential glitches when they are building up to a unstoppable certain tsunami of madness.
Whatever the madness may be, the common mechanism or what it boils down to is that a mind that has permitted the force of going against self to take root and be nurtured to monstrous strength and only constantly struggling to control by an increasingly desperate force of self preservation is finally overwhelmed either acutely in a situational crisis or in senile enfeeblement to be forced totally beyond its control to helplessly finally totally go against himself in speech, action, thought and perception thereby giving rise to mad logic, mad rote behavior, mad violence, mad restlessness, mad perception (hallucinations), mad distraction and mad depression.
Mad Logic: The problem with all verbal (lies, sarcasms and excuses) and bodily (eg smiling falsely to be nice) acts of deception is that in order to appear convincing to others, in order to sell his deception, the perpetrator must also force himself to act as real as possible as if he truly believes what he acts falsely and harmfully is true and beneficial.
The problem with forcefully acting and forcefully believing as real as possible that one’s acts of deception are true is that with frequent practice one is no longer forcing oneself to but increasingly one is forced against one’s wish to believe one’s deceit is indeed true and beneficial when it is false and harmful. One’s force of self preservation is under increasing pressure to separate fact (that one is lying or faking it) from (increasingly realistic) fantasy (that one’s faking is not faking). One must not totally believe what one fakes so realistically is true because what is false is always forceful and harmful and to totally believe what is false, forceful and harmful is true and beneficial is mad or suicidal. Like the man on a tightrope, balancing the conflicting demands of faking as realistically as possible and not to be totally taken in by his deception himself, he is doomed to ultimately fall and mad logic is the end product of deceit that has become so real or compelling, the feckless actor cannot now separate fact from fantasy.
When actors first started to smile socially to be nice to others, they may be aware it is not genuine, they are contriving, stressfully forcing themselves. This is an uncomfortable realization that they are deceitful, so they increasingly force themselves to believe that their smiles are not deceitful, they are genuine, for the benefit of the other person and the reason they are stressed is because they are such good people that they will stress themselves to benefit others. This is rationalization and introducing the virus of false logic that in time becomes uncontrolled mad logic.
Because actors act all the time with a style, they constantly stressfully unnecessarily stretch their syllables and constantly stressfully unnecessarily change speed and loudness/forcefulness and they cannot see themselves doing so, they see nothing wrong and even think they are benefiting themselves and others, that is constant controlled false logic that they do not realize they will lose control over to descend into a final, totally mad logic.
Not only is an actor’s global or general acting tending towards mad logic but if the actor’s logic specifically in things he says and does, in the views he holds is examined by one with an eye for truth, it will be found to be seriously flawed, full of unjustified presumptions and faulty or false logic that the actor obviously subscribes to and will lead with loss of control to mad logic.
As an example how people may be severely underestimating the falsity or madness of their logic, quote NYT headline: ‘9 planets? 12? What is a planet, anyway?’ When you say ‘anyway’ you are being flippant, dismissive or derisive, as if it doesn’t matter or you don’t care, ‘anyway’. If you don’t care, why do you waste your time to ask what is a planet? If you do care what precisely a planet is, then you are lying by attaching ‘anyway’ as if you don’t care or it does not matter. Therefore either way you have uttered a falsity and guilty of faulty logic. Apart from conveying a flippant and derisive attitude (both are emotional or forceful states), the person is guilty of faulty logic, speaking nonsense (and therefore wanting others to share or appreciate nonsense). Do you think he is aware of his predicament? Therefore if what I say is true, he is headed for madness, mad logic and he is not even aware he is. It is IMPOSSIBLE for a Buddha to speak thus eg “What is enlightenment anyway?” If you ask it quizzically, ‘anyway???!!!’ you too are indulging in falsity, in doubt and uncertainty that leads to future states of woe according to the Buddha. It is because a person is emotionally in doubt or uncertainty or he acts so convincing he believes he is puzzled that he asks questions quizzically. (For one who sees correctly, an actor’s logic is never faulty in isolation or patchily or superficially but it is global, serious and embraces entirely the way he speaks, behaves and thinks and also the substance of what he speaks, behaves and thinks)
Delusions are false beliefs that are usually if not always backed by false logic. Nobody have delusions that stand alone without any logic behind them but they are forcefully convinced by their delusions because these delusions are backed up by even elaborate faulty or false logic that can in time turn to mad logic.
Mad Rote Behavior & Speech: It is only because acting in speech and action has a physically impossible combo of simultaneous substance and style that it must be (forcefully) rendered through a mental jukebox with the person merely acting as the disc jockey that mad, senseless inappropriate rote speech or sequence of actions exists. If a person does not constantly forcefully render prerecorded sequences of speech and behavior from a mental jukebox, how can such repeated stereotyped inappropriate sequences of speech and acts suddenly emanate from that mind that has now gone mad?
How can rogue stereotyped repeated sequences of speech and movements appear suddenly, forcefully in a person unless he has been parroting all the while, forcefully regurgitating out of a mental jukebox instead mindfully performing live, unique extemporarily real time each time he speaks or moves? If you always spoke or behaved live, there is no recording of that speech and movement from which it ensues, so how can stereotyped inappropriate behavior suddenly arise? If you watch people spewing mad rote speech or behavior these speech and behavior are facsimiles of the ways they use to speak or behave when they were not mad.
If people observe themselves and others, they will surely realize they find themselves and others not only saying and doing the same old things over and over again, but in the same old ways and often they cannot help it because it is so slick or compelling. It is only because it is from memory by rote that it is the same old thing in the same old way because if each rendition is live, tailored to the situation at hand it will always be different (different words can be used for a given similar situation but the parrot always use the same words in the same sequence). The trouble and danger of parroting is that the parrot can become maddening to cede control of yourself to a parrot and it can go mad, refuse to obey commands.
Mad forceful perceptions: Because actors never perceive (see, hear, smell, touch, taste and think) passively but they always perceive (as result of a combination of self force and brutal bizarre socialization from birth) with force or sensuality that with practice can reach intense proportions, they in addition indulge in frequent elaborate perceptive fantasies (imagining they are superman or a rich king or someone is concerned enough where others aren’t to talk to them mentally) to escape oppressive reality, their forceful perceptions and forcefully fabricated perceptions (fantasies) can become increasingly bizarre, dissociated and detached from reality until they begin to hallucinate or hear voices in their heads telling them what to do, they start to see things (white elephants in alcoholics) and feel things (ants crawling over their bodies) that aren’t there. Schizophrenia in which victims hear separate voices in their head telling them what to do may be the result of past karma antedating birth and brutal socialization where parents always tell them the opposite of what they mean (double meaning messages) eg ‘yes dear’ when they mean ‘I hate your guts’ that all beings can vaguely sense as insincere and the conflict that such messages generate may cause some vulnerable beings to start perceiving (in this case hearing) forcefully in increasingly bizarre ways until they become madly perceiving, they perceive voices in their heads that are actually not there but they believe there are. Alcoholic visual hallucinations may be nothing more than substance abuse forcefully damaging the alcoholic who always perceived forcefully until he madly perceives (sees) things that are not there.
If you never use force to see, hear, touch, taste or think, you never forcefully indulged in elaborate perceptive fantasies as forms of escapism, there is no resident force in your mind, you are always rooted passively in reality, in the here and now, how can you hallucinate or madly forcefully perceive things that are not there?
Mad Violence: Because acting is always backed by serious mental force that is kept in relative control by the force of self preservation, with increasing warping of the mind or senility, this violence is progressively uncontrollable and the actor is tormented by bouts of uncontrollable violence lashing out verbally and physically.
If actors pay attention, they will realize they are bristling with violence they can barely contain, eg at certain thoughts or sight of certain things they cannot help lashing out by eg coughing, sneezing, grunting, thumping his fist, slamming doors in a huff. These are portents of future total mad violence that they are still able to suppress after they arise but in future may become totally violent.
Mad Restlessness: Because acting is always conducted with constant changes in speed and force or loudness in speech and action, it is de facto controlled restlessness that with lifelong practice and senility will become uncontrollable to become mad restlessness.
Mad distraction: Because all acting has a simultaneous style and substance component that constantly divides his attention and all acting around similarly divides his consciousness, the actor’s consciousness gets increasingly divided or distracted and he is headed for mad permanently divided or scattered dazed consciousness.
Mad Sadness: If you are constantly going against yourself creating unnecessary stress, restlessness and distracting, you are a helpless automaton or overrated disc jockey, you must experience bouts of sadness mixed with dejection that with constant conditioning becomes more frequent, easier to arise and deeper to finally descend to a deep dark mad depression that you may never recover from.
YOU CAN BLAME YOUR GENES, VIRUSES, TOXINS OR YOUR FOOD BUT MADNESS IS ALWAYS A FALSE, FORCEFUL, UNCONTROLLABLE TORMENTING STATE OF THE MIND THAT CAN ONLY ARISE IN A MIND THAT HAS ALWAYS HARBORED FORCE BECAUSE MADNESS IS ALWAYS A FORCEFUL NEVER FORCELESS OR PASSIVE STATE. HOW CAN A FORCEFUL MAD STATE ARISE IN A MIND THAT NEVER HARBORED FORCE? BUT IF YOU OBSERVE MAD PEOPLE, THEY ALL WERE PREVIOUSLY VERY FORCEFUL, ABUSIVE PEOPLE AND THEREFORE BY IMPLICATION FORCEFUL MADNESS CAN ONLY ARISE IN MINDS THAT PREVIOUSLY HARBORED FORCE.
BECAUSE MADNESS IS SUFFERING, TORMENT, IT IS HARMFUL TO SELF AS IT IS TO OTHERS AROUND, IT IS THEREFORE UNCONTROLLED, TOTAL FORCEFUL GOING AGAINST SELF IN SPEECH, BEHAVIOR, THOUGHT AND PERCEPTION AND THEREFORE IT IS LOGICAL TO DEDUCE THAT MADNESS CAN ONLY OCCUR, AS A RESULT OF LOSS OF CONTROL, ONLY IN MINDS THAT HAD BEEN PREVIOUSLY CONSTANTLY FORCEFULLY GONE AGAINST SELF IN A CONTROLLED FASHION, NEVER IN MINDS THAT HAD NEVER HARBORED FORCE, NEVER CONSTANTLY GONE AGAINST SELF IN SPEECH, BEHAVIOR, THOUGHT AND PERCEPTION IN THE NAME OF DECEIVING (PLEASING, IMPRESSING, INTIMIDATING AND DOMINATING) OTHERS. IF YOU EXAMINE ALL MAD PEOPLE YOU WILL FIND THAT THIS IS TRUE, MADNESS ONLY OCCURS IN PEOPLE WHO WERE FORCEFUL ACTORS.
THE PROBLEM WITH FORCEFUL GOING AGAINST SELF IN SPEECH, BEHAVIOR, THOUGHT AND PERCEPTION IS THAT IT IS FORCEFUL AND WITH CONSTANT PRACTICE, THIS FORCE OF GOING AGAINST SELF AND ITS HABITUAL WAYS BECOMES INCREASINGLY MORE POWERFUL, MORE IMMEDIATE TO ARISE AND HARDER TO DEPART SUCH THAT IT WILL OVERWHELM SELF CONTROL IN ACUTE CRISIS OR THE WEAR AND TEAR OF CONSTANT ABUSE WILL MAKE THAT MIND UNABLE TO CONTROL THIS INCREASINGLY RAMPANT FORCE RESULTING IN INEVITABLE MADNESS.
THEREFORE MADNESS CAN ONLY OCCUR IN PEOPLE WHO WERE PREVIOUSLY ACTORS, WHO HARBORED MENTAL FORCE, WHO HAD PREVIOUSLY FORCEFULLY GONE AGAINST THEMSELVES IN A CONTROLLED MANNER IN SPEECH, BEHAVIOR, THOUGHT AND PERCEPTION IN THE NAME OF PLEASING, IMPRESSING, INTIMIDATING, DOMINATING AND INTIMIDATING OTHERS THAT WITH THE FINAL TOTAL LOSS OF CONTROL, BECOMES UNCONTROLLABLE OR MAD. GENES, VIRUSES, FOOD AND TOXINS MAY BE RED HERRINGS OR SECONDARY FACTORS. ALL THESE PEOPLE WHOSE MADNESS IS BLAMED ON GENES, VIRUSES, TOXINS AND FOOD WERE ALSO PREVIOUSLY ACTORS. ONLY WHEN IT CAN BE SHOWN THAT MADNESS CAN OCCUR IN A MIND WITHOUT FORCE, IN A PERSON WHO DOES NOT ACT (POSSIBLE BUT DOES NOT EXIST IN THIS WORLD) WILL IT BE CONCLUSIVE PROOF THAT GENES, VIRUSES, TOXINS ARE CAUSES.
An Example Of Mad Logic & Jukebox Speech:
Quote: Those who assume that Khaizatul Akmar Zabidin is just another housewife had better think again. She is all set to rev up her RS250 Aprilia (motorbike) this weekend and to leave her male rivals in her wake.
Comment: Because what is written above is in a national newspaper and Khaizatul is not a celebrity, the vast majority of those who read are not likely to know her, let alone know that she is a housewife and therefore they (readers) are in need to think again that she is a just another housewife. Therefore the statement is illogical, ridiculous or mad logic.
It is because the writer sees nothing wrong or silly or he did not pause to examine the logic of what he wrote, that he said such a ridiculous thing. This silly statement is likely to be a standardized jukebox favorite phrase “Those who assume such and such had better think again” because he likes to tell others off, like to cast doubt in others and in his haste to incorporate this phrase in his writing, he did not pause to examine to see if this phrase is appropriate in this context.
Confronted with any situation, the actor searches his jukebox for answers that may be applied but sometimes in his haste or distraction, he selects a tune that turns out to be inappropriate or silly and makes a fool of himself.
YOU CAN EITHER PAY FULL UNWAVERING FULLY COMPREHENDING ATTENTION TO WHAT IS GOING ON AROUND YOU AND THEN COMPOSE AND RENDER WITH FULL UNWAVERING FULLY COMPREHENDING ATTENTION A RESPONSE TO THE SITUATION BUT THIS IS ONLY POSSIBLE IF THERE IS NO ATTENTION DIVIDING STYLE IN YOUR RESPONSE OR YOU CAN BRIEFLY SIZE UP WHAT IS GOING ON AND SEARCH FOR AN APPROPRIATE RESPONSE IN YOUR MEMORY BANK AND PRESS THE PLAY BUTTON FOLLOWING WHICH YOU RETIRE INTO YOUR PRIVATE PREOCCUPATIONS. IT MAY FOOL YOURSELF AND OTHERS THAT YOU ARE A LIVE PERSON BUT YOU ARE A ROBOT SPEWING STANDARDIZED RESPONSES.
Robots Are Proof Humans Robots Can Exist:
Ordinary people marvel at how human like robots are getting when what these robots are doing is telling on them (humans) unflatteringly, demonstrating that you do not need to be a human to fake as if you are interacting ‘live’ when you are interacting ‘prerecorded’ by rote or parroting. Because these robots have no consciousness, they demonstrate irrefutably that you do not need consciousness, you do not need to be aware or be constantly in touch with the external world in order to interact in a way that seems to be authentic or attentive but it is faked because the robot only appears to be actively attentively interacting with what is happening around but what it is actually doing is detecting environmental cues to then initiate behavior that appears to be live performance but it is an inflexible standard response. Given the same cues the robot will respond in precisely the same way as programmed that will then alert observers it is faking it.
I saw a picture in the newspaper recently of a group of Japanese built human like robots standing together possibly doing a simple on the spot dance routine or jig whilst (pretending to be) blowing into trumpets as if (but NEVER really) playing together in concert.
Because these robots are still relatively unsophisticated, their dancing are likely to be unchanged if the tune or beat is changed or stopped. They are not really dancing attentively to the tune but programmed to appear as if dancing to the tune. They are faking playing the trumpet because they lack the mechanical lungs or bellows necessary to blow into the trumpets.
What these robots are demonstrating is that it does not take humans or consciousness or constant attention to behave and speak as if you are present or attentive but behavior and speech can be rendered mindlessly once triggered appropriately from a prerecorded sequence and any (mindless or conscious-less) robot with sufficient processing power linked to a system of sensors to detect triggers for executing apparently appropriate responses and actuators to carry out the responses can do the same and in some areas, robots can do it even better (car welding robots can do a better, more consistent and faster job because they have no emotions or thoughts to distract it; all you have to do is program reference points that the robot can detect and it will automatically weld in the joints in the correct sequence).
As real and unique humans like to think they are, most if not all the time their behavior and speech are robot like in that they detect environmental cues to then decide to trigger what they think are appropriate responses from their mental jukeboxes of previously recorded responses and therefore can be mimicked by preprogrammed robots.
An important reason why jukebox behavior in humans appears so convincingly realistic is because it is a coordinated multiple acts rapidly rendered with constant changes in speed and loudness/forcefulness that trick the unwary to think it is a real life performance when it is robotically rendered constant rapid changes in speed and loudness. Watch the attractive women with a sparkling infectious as if real life smile and you might notice that the eyes are staring vacantly or unfocussed as if in a daze, detached from the here and now or lost in falsity.
A robot has no consciousness but it has increasingly sophisticated miniaturized sensors (cameras where eyes are in humans, microphones where ears are) to detect various visual or auditory cues or patterns that then tells it that it is time to execute a certain predetermined program of action or speech. Unless something unexpected happens eg the music stops or is changed to something inappropriate to the mechanical dancing, the casual observer might think the robot is alive, responding to the music and playing the trumpet when it is just going through the motions, it neither hears or plays the tune on the trumpet nor appreciates the music.
Just as no consciousness is ever needed to play back a series of prerecorded tunes on a CD apart from the need for a person to first press the ‘play’ button and with today’s Hi Fi equipment, a blindfolded person will be hard pressed to tell whether it was a live or a prerecorded performance, human robots are so sophisticated, they can change their tunes so rapidly in response to unexpected changes that the uncritical observer is conned to believe he is interacting real live person when he is interacting with a sophisticated robot rendering unfalteringly and slickly from a well recorded mental jukebox. It is much harder to catch out the human robot but for one who discerns, he can tell jukebox performance from real live performance and the truth is that all social interactions are never performed live but by jukebox; one mask interacting with another mask, one jukebox act interacting with another jukebox act.
If I was to give you a set of questions that you can ask at random someone behind a screen and I were to arrange a battery of tape recorders with appropriate answers to each question that I will press the appropriate start button to initiate the reply, with today’s lifelike sound systems, you will be hard pressed to tell if it was a person behind the screen answering live or it was a lifeless tape recorder regurgitating out replies with the only live being a disc jockey doing the selection. Similarly human robots are very sophisticated, very life like such that you will be hard pressed to tell whether the person is responding live, uniquely to the situation at hand or he is merely a disc jockey initiating prerecorded rehashed responses.
Thus when you see a pretty woman walking briskly aggressively tick tock tick tock with identical strides and gyrating her hips rhythmically, you are seeing a robot, not (never) a live walking performance. What she does is trigger the start button to walk and she then mindlessly renders her usual sexy walk as she has done so many times before that she thinks is making all men swoon and then her mind is elsewhere (thinking of people admiring her walk) mostly unaware that she is walking. Only something distracting like the approach of an intimidating man might push her off her confident stride and make her previously slick walk jerky.
(Just as it is possible by using the remote control for a listener to turn the volume up and down, alter the left and right balance and tonal characteristics, switch tunes or shuffle the prerecorded not live tunes played, similarly it is possible for an actor functioning by rote from a mental jukebox to alter midstream any of the many simultaneous acts he is currently performing.)
Humans like to think they are such genuine people but in their daily lives they are distracted, their minds somewhere else, they severely under utilize or forfeit the consciousness that they have been endowed with to opt to behave by rote from a mental jukebox. They only pay enough attention to others and the environment to trigger appropriate responses before they sink into their private worlds of fantasy or concerns or what is bugging them. Because everyone else is acting, dishing out false acts, they are forced to switch off, to retire into their private world and interact with the outside world minimally by rote from a jukebox programmed to cope with the unpleasant realities of this world.
The truth IS that all ordinary people initially learn how to behave in speech and motion in the physically impossible substance and style simultaneous combo by the laborious way of frequently alternating their attention between the substance and style of what they want to say or do and forcefully remembering or recording painstakingly how to do so in their memory and once it has been well learnt, well memorized, all they need is pay attention in a social situation for cues of what to say or do, press the appropriate start button for the sequences of speech or behavior that they want and it will then be rendered in faithful facsimile to that mental recording that they may sometimes consciously intervene in the midst to give some variation that may deceive the unwary to think it is a spontaneous real time performance when it is a disc jockey faked performance with the disc jockey occasionally intervening to pause or switch tracks before the end of each tune.
THE EXISTENCE OF INCREASINGLY SOPHISTICATED AND LIFE LIKE ROBOTS IS NOT PROOF THAT CONSCIOUSNESS IS A MIRAGE, NOT PROOF THAT LIFE IS WITHOUT MEANING BEYOND THIS LIFETIME AND THAT CONSCIOUSNESS CAN BE RELEGATED TO NOTHING MORE THAN THE SUM PRODUCT OF NEURAL CIRCUITS AND BIOCHEMICAL REACTIONS IN THE BRAIN (THIS IS MAD LOGIC OR WRONG VIEW) BUT IT IS PROOF THAT CONSCIOUSNESS AND ATTENTION IS NOT NECESSARY TO BEHAVE OR SPEAK AS IF LIVE OR PRESENT LIKE ORDINARY PEOPLE DO, NOT BECAUSE IT HAS TO BE SO BUT BECAUSE ALL ORDINARY PEOPLE HAVE OPTED TO BEHAVE LIKE ROBOTS, THEY HAVE FOOLISHLY FORFEITED THE USE OF THE PRECIOUS CONSCIOUSNESS THEY HAVE BEEN ENDOWED WITH BY BEHAVING IN A WAY WITH IMPOSSIBLE SIMULTANEOUS ATTENTION DEMANDING SUBSTANCE AND STYLE THAT COMPELS THEM TO FIRST LEARN SUCH BEHAVIOR BY ALTERNATIVELY PAYING ATTENTION TO THE STYLE AND SUBSTANCE AS IT IS RENDERED WHILST PAINSTAKINGLY MEMORIZING IT UNTIL THEY KNOW BY HEART WHATEVER SPEECH AND BEHAVIOR THEY WANT TO RENDER SO THAT THEY FORCEFULLY RENDER IT ALMOST WITHOUT FAIL BY SCANNING THEIR JUKEBOXES AND PRESSING THE PLAY BUTTON FOR THAT RESPONSE THAT THEY DEEM IS APPROPRIATE (THIS IS SANE LOGIC OR RIGHT VIEW).
IF THEY WERE TO ESCHEW THE TOTALLY UNNECESSARY, FALSE AND GROSS ENERGY WASTING DISTRACTING STYLE, THEY CAN THEN RECLAIM THEIR CONSCIOUSNESS TO PERFORM WHATEVER SPEECH OR BEHAVIOR LIVE BY PAYING UNDIVIDED CALM CLEARLY THINKING ATTENTION TO WHAT THEY WANT TO SAY AND DO.
SHOULD THEY REFUSE TO ABANDON THEIR SUBSTANCE AND STYLE MODE OF BEHAVIOR THEN THEY WILL KEEP DIVIDING THEIR ATTENTION UNTIL ONE DAY THEIR ATTENTION WILL BE PERMANENTLY DIVIDED, THEY WILL SUFFER FROM JUKEBOX FAILURE TO RENDER MADLY ALL THE BEHAVIOR AND SPEECH THAT THEY HAVE SO STRONGLY AND FREQUENTLY RECORDED FOR THEMSELVES.
Acting from a mental jukebox is never pleasure but universally suffering, stressful even to tormenting levels whilst progressively warping the mind leading unfailingly to final madness in many ways (mad logic, mad rendition of speech and motions, mad restlessness, mad violence and mad distraction) and quite often when actors have painted themselves into a corner they beseeched God or whatever, “Who has wrought this world of torment?” but now that consciousness changes make it possible to for them to finally exit jukebox acting, people who consider themselves good or intelligent or both, who have been demonstrated by me in no uncertain terms many times exactly what constitutes acting, nevertheless have merely turned down the volume of their acting, they are reluctant to exit acting or seem clueless that their behavior constituent jukebox acting. They have nobody to blame, not this world or God (for creating such a ‘terrible’ world) except themselves should they continue to suffer. It is not this world that is intrinsically terrible but they themselves that make it so impossibly terrible.
More Divided Than You Think:
In the case of the person talking on the hand phone whilst driving, his attention is divided into eight parts rather than between his talking and driving.
He has to (forcefully) divide or constantly juggle his concentration between the style and substance of what he is hearing, the style and substance of what he is saying, the style and substance of his keeping an eye on the road and the style and substance of his driving.
It is impossible for a person to simultaneously pay attention to all these different facets, so he struggles to keep forcefully changing his concentration amongst these demands and as a result his performance deteriorates; he does not speak as stylishly as he normally does, he focuses on the substance of what he is hearing to catch what he is hearing, he drives with less style than usual and minimizes the style of his watching the road (eyes do not dart restlessly eg looking for pretty girls) but focus essentially part of the road.
It is impossible for anyone to pay full attention to all these facets and so he listens fitfully to detect key points of what is said to him, he answers by triggering appropriate rote responses instead of mindfully intending every word. He does not drive and see the road attentively all the time but by intermittently checking to see all is right and issue change commands.
There are many situations in real life that is identical to this situation of talking whilst driving and so the actor’s mind is constantly or habitually forcefully divided by many facets demanding attention and therefore his mind is already accustomed to tend towards distraction or scattering and to unify his mind is increasingly an impossible task. What actors call concentration is episodically forcefully summoning together as much as possible his attention that is divided into many parts to face an important task at hand eg concentrate on an exam paper but this concentration is fabricated and easily disrupted.
Great Concentration Only Issues From Great Virtue:
Great concentration can only come about, as the Buddha said from great virtue and no sinner can ever have great concentration. What you see of sportsmen mesmerized (greedily) on their puts or chess grandmasters concentrating on the board is great divided forceful concentration, never great effortless unified concentration. Their concentration or focus on the object of their attention is intensely divided between the great force they assert in their concentration (the style) and substance of their concentration. Until the force they inexorably exert on their concentration is completely removed, their attention is permanently divided, never passively effortlessly, blissfully united.
Ohm’s Law:
Just as electricity cannot be seen but it can be felt and is deadly (can kill you swiftly and ultimately destroys the appliances) and it needs resistance in a circuit to function, all appliances must have resistance expressed in ohms that provides a working load for the electricity to run in a controlled or restricted fashion; without resistance there will be a short circuit in which the current rises in a flash to astronomical levels that overheat and melt the insulated wires causing a fire, in the same way the force of going against self in the mind cannot be seen but it can be felt in the mind to those who pay attention and is deadly (it is never a pussycat but a tiger whose full ferocity must always be capped and ideally only unleashed rationally under the person’s command) and it needs resistance (the force of self preservation) to provide a working load to limit the current generated at all times when the force of going against self is active, otherwise there will be a disastrous short circuit.
Whenever the force of going against self is activated, the force of self preservation must be activated to provide a working load and the force of going against self must exceed the force of self preservation in order for any act to commence but just as resistance in the appliance never ceases and only stops when electricity ceases to run, the force of self preservation dogs and impedes the force of going against self throughout the act and only ceases if the force of going against self is no longer active, a situation that does not arise in actors because they never quit acting, even in the resting state their motors of acting are merely idling, never stops just like their hearts never stop beating.
Just as the electricity is essential to run the circuit with its appliances but it is dangerous and ultimately fatal, electricity can at anytime kill and will ultimately degrade or destroy the appliance either acutely in a sudden short circuit or by a process of degradation, in the same way, the force of going against self is essential to run all acting to deceive others (please, impress, intimidate and dominate), can at any time kill (fits of rage, acute emotional panic, deep dark suicidal depression) or will kill him ultimately by increasingly warping and degrading his mind.
People in this world are never passively good to each other (when this is theoretically possible, it is never seen in this world) but they are all forcefully nice to each other, no matter how they may swear deep undying love for each other, the are administering sugar laced poison to each other that kills each other one way or another and they will back here for debts incurred in harming not benefiting each other they delusively believe.
Why Acted Behavior Has To Be Ritualized Or Inflexible:
If a person’s behavior or speech is rendered from memory or recording in his mind rather than attentively in response (not reaction) to a present situation, then it must always be a faithful or identical copy of that recording because if the person has time to modify that copy, he would not have to prerecord it anyway. In order to modify one’s regurgitation of a mental recording, one must pay attention to one’s speech and this is a luxury the actor cannot afford. Many actors speak in a machine gun like rapid-fire way that cannot be mindfully rendered but must be prerecorded.
The reason why mimics can mimic celebrities is because each person’s style is quite unique and stable. If the style is not stable and sufficiently unique, it would not be possible for anyone to mimic. The reason why style is stable, how someone says something is stable and can be mimicked is because it is prerecorded and rendered as a faithful facsimile from a mental jukebox.
If you observe correctly ordinary people’s ways of speaking or performing tasks (eg walking), it is likely to conform to rigid or inflexible protocols or patterns that is characteristic of each person.
The reason is because it is memorized or recorded in a mental jukebox and rendered largely if not entirely as memorized without need for attention once the start button is pressed (by the actor) rather than performed real time mindfully fully comprehending the prevailing circumstance.
Whatever is recorded eg a photo or a saved computer data file is not subject to modification on playback; you cannot modify the picture or file stored in the computer on playback or retrieval without first opening the file and editing it. Because actors are harassed, in social situations where there are many impossible distracting demands placed on them to do or say many things at the same time, in addition, they cannot cope with the impossible paying attention to the simultaneous style and substance components of their speech and movements, whatever they say or do all at once (eg speak with stretched syllables, constant changes in speed and loudness whilst smiling, gesticulating and even restlessly swaying their bodies) must be regurgitated largely intact without awareness except perhaps for occasional interventions as the occasion demands.
The grave danger in this situation is that the actor may fool himself and others that he is in command of his speech and behavior but it is largely autonomous and he is merely the discover calling the shots or tunes to play for the occasion and this delegation of functions that he should mindfully perform himself is risking future madness when the entity delegated the task may turn malignant, may render madly by itself against the actor’s wishes.
Because all actors largely behave by delegating the way they speak and move to an autonomous jukebox or prerecorded files in the mind, they are all heading for madness when this jukebox will increasingly fail, increasingly render by its own volition.
In social situations where the actor is under a lot of pressure to perform eg at a party, public event or in animated conversation, the actor is usually operating completely by rote from his mental jukebox but in situations where he is not harassed, eg in intimate moments with his loved ones, he may perform more real time alternately paying attention to his style and substance but this invariably leads to stress, restlessness and distraction so that he soon reverts to insulating or isolating total jukebox performance even with his loved ones.
Even though all actors cannot see that their speech and behavior issues from a mental jukebox, it is nevertheless unsatisfactory, ultimately meaningless, frustrating even violently exasperating to function as a sophisticated jukebox or robot, apart from the stress, distraction and restlessness that must issue from forceful style and substance behavior.
Compared to calm, clearly thinking passive attentive rendering the substance only of what one wants to say, it is torment that is hard to bear, stressful, restless and distraction to forcefully, mindlessly (absent mindedly) render the substance and style of what one wants to say.
More Examples Of Mad Logic:
Quote headline: The shocking truth about realistic self defence; what the masters won’t tell you.
Comment: Truth is never shocking or forcefully startling but is peaceful, calm and clearly thinking. Only something forceful, with sudden unnecessary acceleration of speed and force (falsity) is shocking. Anyone who says the shocking truth is misrepresenting truth, misleading others and creating karma and deluded.
If you believe truth can be shocking, you are deluded and will ultimately succumb to mad logic.
Quote Headline: Beckham Moves To The Right.
Comment: Is it an accident that the writer chose to say Beckham moves to right as if to imply Beckham has physically moved to the right or become more rightwing instead of saying accurately Beckham will switch to the right side of the midfield?
It is never an accident but it is intended by someone who wants to be witty to fabricate, chose words that are intentionally vague and can mean other things so as to confuse or mislead readers.
Anyone who wants to mislead or confuse others will himself become confused. It is his self-preservation that preserves his relative sanity. One day, when his faculties degenerate, he will totally believe his trickery and go mad.
Quote: Rice warns against quitting Iraq
The secretary of state says the US must not abandon Iraq to "barbaric killers", amid waning support for the war.
Comment: If she was in the front line constantly dodging bombs and bullets, would she be so eager not to quit Iraq? What she does not realize is that there will be future opportunities for her role to be reversed, when she will be under constant threat of danger when others will call for her to stay the course.
Quote: It may have the look of a giant sponge, but this is Saturn's moon Hyperion, as pictured by the Cassini spacecraft.
Comment: Why can’t a body that looks like a giant sponge be Saturn’s moon? Hence it is bizarre logic to speak thus. What he is doing is generating unnecessary or unjustified poignancy or conflict. One speaking rightly says, “Hyperion as pictured by Cassini, has the look of a giant sponge.” Poignancy is always emotion, a disturbed state of the mind, is sin and suffering not bliss and meritorious.