The Human Voice Is A Reed Instrument:
Did you know that the human voice is a reed instrument like the flute, clarinet or saxophone? Instruments can be classified into various types eg horn instruments (trumpet, bugle, cornet), string (violin, harp, guitar), percussion (drums, xylophone, ?piano) and reed based on the different techniques used to generate musical notes.

UNDER THE PERSON’S OR HIS MENTAL JUKEBOX’S INSTRUCTION THE DIAPHRAGM CAN PUMP AIR FROM THE LUNGS AT VARYING FORCE AND SPEED INTO THE VOICE BOX HOUSING THE VOCAL CORDS WHICH IS A TRANSDUCER THAT CAN VIBRATE AT EXTREMELY HIGH FREQUENCIES TO CONVERT THE KINETIC ENERGY OF FLOWING AIR INTO RAW SOUND THAT IS THEN CHANNELED UPWARDS THROUGH THE PHARYNX AND DEPENDING ON WHETHER THE NASAL OR ORAL OR BOTH PASSAGES ARE OPEN TO FLOW, DEPENDING FURTHER ON WHETHER THE TONGUE AND CHEEK MUSCLES ARE RAISED OR DEPRESSED, WHETHER THE TEETH ARE CLENCHED OR OPENED, VARIOUS SYLLABLES ARE PRODUCED. (I THINK THE PHARYNX CAN BE RAISED OR LOWERED TO ALTER THE LENGTH OF THE PASSAGE & FURTHER INFLUENCE SOUND QUALITY.)

BY PUSHING HARDER, THE DIAPHRAGM APPLIES GREATER FORCE ON THE AIR FLOWING THROUGH IN THE ENCLOSED AREA CALLED THE VOICE BOX TO COMPRESS IT AND RAISE THE AIR PRESSURE (WITHOUT INCREASING FLOW RATE) SO THAT AIR PRESSES ON THE VOCAL CORDS MORE FORCEFULLY TO INCREASE ITS AMPLITUDE OF VIBRATION AND THUS INCREASE THE LOUDNESS OF THE SOUND GENERATED.
(Pushing air harder at the same speed in a tube causes the air to move with more force at the same speed but pushing air in a sub-totally enclosed space also compresses the air and augments the forcefulness. Thus the increased force acting on the cords may be a combination of increasing the force on an air column and compression)

BY PUSHING FASTER THE DIAPHRAGM CAUSES AIR TO FLOW THROUGH THE VOCAL CORDS FASTER (WITHOUT INCREASING FORCE) MAKING IT VIBRATE MORE FREQUENTLY OR AT A HIGHER PITCH.

THUS THE LOUDNESS OF A SYLLABLE IS ENTIRELY DEPENDENT ON THE STRENGTH OF THE FORCE APPLIED TO COMPRESS THE AIR FLOWING THROUGH THE CORDS WHILST THE PITCH OR FREQUENCY OF THE SYLLABLE IS ENTIRELY DEPENDENT ON THE SPEED OF AIR FLOWING THROUGH THE VOCAL CORDS.

IN ORDER TO PURELY STRETCH A SYLLABLE YOU HAVE TO MAINTAIN OR PROLONG (WITH EFFORT NEEDED) THE REQUIRED CONFIGURATION OF YOUR NASAL & ORAL AIRWAYS WHILST ALSO MAINTAINING OR PROLONGING THE SAME FLOW AND FORCE OF AIR PASSING THROUGH THE VOICE BOX.

IN ORDER TO PURELY INCREASE SPEED WITHIN A STRETCHED SYLLABLE YOU HAVE TO PUSH AIR THROUGH THE VOICE BOX FASTER (INCREASE SPEED) TO CAUSE THE CORDS TO VIBRATE AT A HIGHER RATE OR PITCH.

IN ORDER TO PURELY INCREASE LOUDNESS WITHIN A STRETCHED SYLLABLE YOU HAVE TO PUSH HARDER (INCREASE FORCE) TO COMPRESS AIR IN THE ENCLOSED VOICEBOX SO THAT THE INCREASED AIR PRESSURE WILL CAUSE THE CORDS TO VIBRATE MORE FORCEFULLY.

IN ORDER TO PURELY CHANGE SPEED BETWEEN SYLLABLES YOU HAVE TO CHANGE THE SPEED WITH WHICH YOU RECONFIGURE YOUR UPPER AIRWAYS TO PRODUCE THE NEXT SYLLABLE.

IN ORDER TO CHANGE LOUDNESS BETWEEN SYLLABLES YOU MUST PUSH THE AIR THROUGH THE VOICE BOX HARDER OR WEAKER AT THE SAME TIME AS YOU RECONFIGURE YOUR AIR PASSAGES TO PRODUCE THE NEXT SYLLABLE (DOING TWO THINGS AT ONCE THAT MUST BE RENDERED UNCONSCIOUSLY BY ROTE).

The human vocal apparatus is basically a reed instrument similar to the flute or clarinet and studying how the flute produces musical notes, changes loudness and pitch offers valuable insight into how the human voice does the same.

How are syllables, loudness and speed changes produced by the human voice and why is it that speed change within a syllable is heard as a pitch change whereas speed changes occurring between syllables and words are heard plainly as the same syllables or words arriving at the ear at perceivably faster or slower rates eg instead of 20 words arriving per minute, 40 words arrives per minute when the person becomes hysterical or angry?

The flute or clarinet has a mouthpiece into which air is blown with force and speed that can be varied by the musician towards a flattened tapering hollow reed just behind the mouthpiece that is chosen because it has the desirable property of being able to vibrate very rapidly and faithfully in the audio frequency range in response to the force and speed of air flow in the range that can be supplied by a human blower. (No point having a reed that needs the force of an elephant to blow into it to produce audible sound) This reed constricts and impedes air flow and is capable of converting kinetic air flow energy into audible sound energy by vibrating very rapidly and is capable of increasing its vibration rate in response to increasing airflow speed and vibrating with increasing amplitude or loudness with increasing forcefulness of the air flow. The raw sound thus produced by the reed is then channeled to the stem of the flute where depending on which of a series of strategically placed apertures along the stem is left open sound of the required musical note is produced.

In the same way, air is pushed up through the windpipe from the lungs acting like a bellow mainly through the effort of the diaphragm towards the human reed called the vocal cords that is housed in the voice box or larynx that narrows the passage to amplify the force and speed of air flowing so that the force and speed causes the vocal cords to vibrate sympathetically in the audible frequency range to produce sound that is then channeled up the pharynx to produce different syllables depending on whether either or both the nasal and oral passages are opened, whether the tongue is elevated or depressed, whether the teeth are clenched or apart, whether the cheeks are inflated or sucked in.

No matter how hard or fast anyone blows into a flute, if there was no reed in place, there will be barely any sound because it is the extremely rapid vibrations or excitations of the reed constricting and impeding the forceful airflow that is generating the audible sound. In the same way, it is the extremely rapid vibrations or excitations of the human vocal cords constricting and impeding the forceful airflow expelled from the lungs that generates audible raw sound for the vocal passages above to mould into syllables by a process of configuring the shape of the passages.

The reed or the vocal cords is a transducer that converts kinetic air flow energy into sound energy that is then directed to the configurable passages beyond to be modified or shaped into musical notes or syllable.

The holes along the length of the flute merely modify the sound so that different musical notes are produced. They have no effect on loudness and the speed of the notes. In the same way, the different possible configurations of the air passages above the vocal cords merely modify the sound produced by the vocal cords to form different syllables; they have no effect on speed and loudness during a stretched syllable.

Just as it is possible and the only way to blow weakly into a flute to produce a soft note and it is possible and the only way to blow strongly into a flute to produce a loud note, it is possible and the only way for you to exhale weakly through your voice box to produce a soft sound and it is possible and the only way for you to exhale strongly through your voice box to produce a very loud sound.

Just as it is possible for you to blow slowly into your flute to produce a lower pitched sound and it is possible for you to blow very fast into your flute to produce a shriller sound, it is possible for you to exhale slowly through your voice box to produce a lower pitched sound and it is possible for you to exhale rapidly to produce a shriller sound.

Because air is compressible, when you blow with more force at the same speed, the air becomes more compressed in the enclosure of the voice box and its pressure rises so that it causes the reed to vibrate more forcefully or with greater amplitude causing loudness to rise.
When you blow the same volume of air through the reed at a faster rate you cause the reed to vibrate at a faster rate increasing the frequency of the sound generated.

Increasing loudness of a note: When you want to increase the loudness of a musical note, you must blow harder or with more force into the flute causing the reed to vibrate harder or with more amplitude thereby producing a louder note. Similarly if you want to increase the loudness of a syllable, you must exhale harder, with more force from your lungs to cause the vocal cords to vibrate with greater amplitude to produce a louder syllable.
(Try speaking softly and then much louder and you may detect that you are forcing air out of your lungs with more force when you speak louder.)
Increasing speed during a note: When you blow into the flute with increasing speed, you cause the reed to vibrate with increased speed causing the sound to become higher pitched. Similarly when you increase the speed of air flow in the course of stretching a syllable, you increase the rate of vibration of the vocal cords causing its sound to rise in frequency or pitch.
(Try blowing air into a flute faster without altering anything else and you may detect the sound becomes shriller)
Increasing loudness between syllables: When you increase loudness between syllables you must do two things; you must change the configuration of the upper airways to produce the new syllable whilst at the same time increase the force with which air is pushed through the new configuration to cause the cords to vibrate with more amplitude.
Increasing speed between syllables: To increase speed between syllables you merely increase the speed with which you reconfigure your nasal and oral passages to produce the next syllable without altering air flow in force or speed.
(Try increasing speed between words and you may notice your mouth muscles moving faster to produce the next syllable faster)
THE SYLLABLE PRODUCED IS DEPENDENT ENTIRELY ON THE CONFIGURATION OF THE VOCAL PASSAGES ABOVE THE VOCAL CORDS. DEPENDING ON WHETHER THE ORAL OR NASAL OR BOTH PASSAGES ARE OPENED, WHETHER THE TEETH ARE CLENCHED OR APART, WHETHER THE TONGUE IS ROLLED UP OR DEPRESSED, WHETHER THE CHEEKS ARE PUFFED UP OR SUCKED IN, A CERTAIN SYLLABLE IS PRODUCED.

To generate ‘s’ the teeth must be brought together and it is impossible to generate ‘s’ without bringing the teeth together. To generate ‘O’ the mouth must be held open, the tongue pushed out of the way and air expelled exclusively through the mouth. ‘M’ is pronounced by pursing the lips without clenching the teeth and ejecting air exclusively through the nose.

EXTRA FORCE AND ENERGY MUST BE UNNECESSARILY CONSUMED TO PROLONG A SYLLABLE. IN ORDER TO INCREASE LOUDNESS OR SPEED WITHIN A STRETCHED SYLLABLE, ENERGY MUST AGAIN BE CONSUMED TO EXPIRE AIR WITH GREATER FORCE OR SPEED INTO THE VOICE BOX AND ANYONE WHO IS CONSTANTLY STRETCHING SYLLABLES, CONSTANTLY CHANGING SPEED AND LOUDNESS WITHIN SYLLABLES, BETWEEN SYLLABLES AND WORDS IS CONSUMING PRODIGIOUS EXTRA ENERGY COMPARED WITH THE PERSON WHO DOES NOT, IN THE PROCESS CREATING MOUNTING STRESS, RESTLESSNESS AND DISTRACTION THAT CAN REACH TORMENTING LEVELS.

The versatile human reed: The reed in a flute is fixed in position and has fixed properties and if you do not like the sound it makes, you must change the reed to one of the desired sound properties you prefer. By contrast the human vocal cords can be folded away when not in use so as not to impede airflow during respiration and by varying how taut they are and how far across they occlude the airway, they influence the pitch and loudness generated for a given airflow.
THE REASON WHY SPEED CHANGE WITHIN A STRETCHED SYLLABLE SOUNDS DIFFERENT FROM SPEED CHANGE BETWEEN SYLLABLES IS BECAUSE THEIR MECHANISMS ARE DIFFERENT. WHEN YOU INCREASE SPEED WITHIN A SYLLABLE YOU PUSH AIR WITH INCREASED SPEED THROUGH THE VOCAL CORDS INCREASING ITS RATE OF VIBRATION CAUSING A RISE IN PITCH. WHEN YOU INCREASE SPEED BETWEEN SYLLABLES YOU INCREASE THE SPEED WITH WHICH YOU CHANGE THE CONFIGURATION OF THE NASAL AND ORAL PASSAGES TO FORM THE NEXT SYLLABLE WHICH IS AUDIBLE AS A FASTER RATE AT WHICH SYLLABLES ARE HEARD.
STRETCHING SYLLABLES IS NEVER FREE BUT IT CONSUMES ENERGY CREATING STRESS.
CHANGING SPEED OR LOUDNESS WITHIN SYLLABLES OR BETWEEN SYLLABLES AND WORDS ARE NEVER FREE BUT FORCE MUST ALWAYS BE APPLIED, ENERGY USED STRESSING THE VOCAL APPARATUS, THE MIND AND ANYONE WHO LISTENS. YOU MUST ALWAYS PUSH AIR THROUGH THE VOCAL CORDS HARDER TO INCREASE LOUDNESS WHETHER IT IS WITHIN OR BETWEEN SYLLABLES AND YOU MUST ALWAYS PUSH AIR THROUGH THE VOCAL CORDS FASTER TO INCREASE SPEED WITHIN A SYLLABLE AND CHANGE THE AIRWAY CONFIGURATION FASTER TO RENDER THE NEXT SYLLABLE FASTER.
IT IS TOTALLY UNNECESSARY (EXCEPT FOR SHOW OR TO DECEIVE & INTIMIDATE OTHERS) TO STRETCH SYLLABLES, CHANGE SPEED OR LOUDNESS BECAUSE IT CONSUMES PRODIGIOUS ENERGY AND CREATES CUMULATIVE STRESS, RESTLESSNESS AND DISTRACTION YET EVERYWHERE I SEE, PEOPLE WHO THINK THEY ARE GOOD AND INTELLIGENT NEVERTHELESS CONTINUE TO DO SO.
How can you be perfect as your Father in heaven is perfect if you are a jukebox actor (anyone who speaks with constant changes in speed and loudness is a jukebox actor) or you cannot even see yourself constantly changing speed and loudness and how that is creating untold stress, restlessness and distraction for yourself and others, when you see nothing wrong with the way you speak when there is everything wrong?
(Jesus said the counselor will teach you all things. If what I elucidated above is novel, no one else has articulated it before as I have just done and it is relevant to the understanding of how speech is generated, how energy must be wasted to stretch syllables, change speed and loudness creating mounting stress, restlessness and distraction then the counselor Jesus spoke of must also dwell on what I said. If I have already pointed it out, I would have rendered him redundant.)
Jesus: "These things I have spoken to you, while I am still with you. But the Counselor, the Holy Spirit (the counselor is the Holy Spirit), whom the Father will send in my name, he will teach you all things and bring to your remembrance all that I have said to you.
THERE IS NO MYSTERY OR MAGIC INVOLVED IN SPEECH PRODUCTION BUT IT IS FULLY COMPREHENDABLE AND ALL FACETS (SYLLABLE PRODUCTION, STRETCHING, SPEED AND LOUDNESS CHANGES) HAVE PHYSICAL OR LOGICAL BASIS AND EFFORT MUST BE NEEDED AND ENERGY CONSUMED TO CREATE STRESS. IF STRETCHING, SPEED AND LOUDNESS CHANGES ARE CONSTANT IN ALL BEINGS IN THIS WORLD AND UNNECESSARY EXCEPT FOR SHOW, YOU ARE A SHAMELESS SHOWMAN, YOU ARE NOT ONLY FOOLISHLY WASTING MUCH ENERGY CREATING MUCH UNNECESSARY STRESS, RESTLESSNESS AND DISTRACTION FOR YOURSELF BUT YOU PERSECUTE OTHERS BECAUSE THEY CAN EXPERIENCE THE STRESS, RESTLESSNESS AND DISTRACTION YOU IMPART WITH YOUR SPEECH AND THEY HAVE TO FAKE AND DENY SO WELL THEY ARE FAKING THEY APPRECIATE YOUR POISONOUS NICENESS THAT THEY NOW REALLY BELIEVE THEY APPRECIATE YOUR POISONOUS NICENESS.

It Is All About Stretching & Everything Is Stretched:
Do not underestimate the importance of stretching syllables. Just as people underestimate the extent to which they stretch their syllables, even those who are supposed to be intelligent and good, who have heard what I said many times still continue to stretch their syllables, not occasionally but all the time, they also severely underestimate the extent of stretching in all areas of their lives. Stretching syllables, which involve to greater or lesser extent all syllables is only part of the global TOTAL stretching in every sphere of activity namely thought, motion and even perception. Further the constant changes in speed and forcefulness of activities in these spheres are actually part and parcel of the stretching process. Sin and suffering is all about stretching, which is the fundamental form of total constant not letting your yes be yes only, of which constant changes in speed and force are part of and it embraces all areas of actors’ lives.
You can stretch the duration or physical dimensions (length, breadth, height) of something and whenever you stretch something or prolong its duration you are tampering or fabricating or warping or distorting it. Prolonging the duration and stretching physical dimensions are perversions, not letting your yes be yes but more, tampering that comes from evil not good. Even if you do not believe it is sin, all stretching and prolongations must be backed by force, is not free but consumes prodigious cumulative energy when it is constant that leads to stress, restlessness and distraction.
The syllable is the fundamental unit of speech and its (constant) stretching is merely one facet of stretching that in truth embraces everything else the actor does, namely thinking, moving and perceiving.
Because actors think all the time when they are awake; they cannot not think (when this is passively possible according to the Buddha) and thinking is transacted in mental words that are again built from mental syllables that can and are also constantly stretched, all their thinking too are done with words whose syllables are always stretched to greater or lesser extent.
A car that is accelerating is more difficult to stop, more force must be used and it tends to overshoot compared with a car traveling at constant speed. In the same way, a hand that has been extended at constant speed and force say to reach a cup, is easier to stop and there is no overshooting compared to a hand that is extended with accelerating force and speed, even though the distance traveled in both cases are identical. If people pay attention, their motions tend to overshoot eg they may overstep when they desire to stop when walking too briskly with accelerating speed, they overshoot when reaching too briskly for a cup or it oscillates before coming to a forcible stop. When they point their fingers at a button especially if they are in a hurry, they point past because they cannot stop in time their hurried accelerating finger.
If you watch carefully how people move their bodies, limbs and tools, you will find that they often do so in a round about or meandering way and that is stretching that motion. For example to show off, someone twirls his steering wheel with so much flamboyance the hand even departs from the wheel to be raised in midair in a majestic sweep or a person types his last key with a flourish that ends with his hand high in the air to show his delight. Even if a fundamental unit of motion has not been physically stretched (because constraints do not permit), if there is acceleration in speed and force it will be stretched if allowed to be completed and the reason it is not physically stretched is because the actor used force to arrest the motion when the destination has been reached. When dancers raise their upper limbs or arch their bodies they tend to stretch their motions because the acceleration in speed and force in that occasion has been allowed to continue because it is deemed stylish but if they desire to execute another different motion, they must use greater force to bring the original motion to halt that may overshoot or oscillate a bit before halting.
Therefore because all the motion of all jukebox actors have detectable accelerating speed and force, even if the motion is not physically stretched, it is in truth stretched but only have been abruptly brought to a premature halt because the target of the motion has been reached.
People also stretch the units of their perception eg they prolong the duration of their seeing by staring. When actors smell or taste something desirable, they prolong the sensation by drawing a deep extended breath or slurp with a stretched motion.
THEREFORE IT MAY BE OR IS THE TRUTH THAT JUST WHATEVER ACTIVITY THEY DO IN SPEECH, MOTION, THINKING AND PERCEPTION IS NEVER AT CONSTANT SPEED AND LOUDNESS, WHATEVER THEY THINK, SPEAK, DO OR PERCEIVED IS ALSO STRETCHED EITHER PHYSICALLY OR IN A PHYSICALLY ARRESTED FORM OUT OF NECESSITY.
Speed and loudness or force changes in speech and motion are actually stretching in process that must then be forcibly arrested using greater force than would otherwise be needed if it was at constant speed and force, for the next desired unit of speech (syllable) or motion to begin.
Double whammy: Not only is it more stressful or harder consuming more energy to fabricate motion and speech with accelerating speed and force compared to constant speed and force, it is also stressful and harder to stop motion and speech with accelerated speed and force.
Apart from the prodigious energy waste in stretching syllables or motion and the extra energy needed to stop the accelerating motion, stretching is distorting reality, artificially prolonging the moment or the dimension that is never isolated or selective by the actor but it is across board involving all speech, thought, motion and perception leading to a mindless attitude of lingering, attachment, hesitancy, sentimentality and melancholy. If actors did not unconsciously stretch whatever activity they perform, they would be released permanently from the torment of lingering, sentimentality and melancholy.
Do not underestimate the significance and impact of the stretching of syllables and the benefit from mindfully painstaking remainder-less weeding out all stretching of syllables because it is only the speech and thinking equivalent of a global attitude of the stretching of movements and even perceptions.
Any tendency to stretch, of which constant acceleration of force and speed in speech, motion, thought and perception is a symptom, however mild is reinforcing this tendency to linger and melancholy and until you can see in its entirety all stretching, all changes of speed and forcefulness and therefore put to a remainder-less stop all unnecessary stretching, unnecessary changes of speed and forcefulness, you will be detained in suffering.
Stretching of syllables is like smoking, a disease and cancer and you shall have no peace but is headed for deepening torment until you remove without remainder any stretching.
Every syllable in ordinary people and animals is always stretched to greater or lesser extent but the stretching may escape perception when the speech is conducted at a rapid pace.
DO NOT UNDERESTIMATE THE SIGNIFICANCE OF THE PRESENCE OF STRETCHED SYLLABLES IN YOUR SPEECH BECAUSE NOT ONLY ARE ALL SYLLABLES THE ACTOR UTTER STRETCHED TO GREATER OR LESSER EXTENT, EVERY MENTAL SYLLABLE OF THEIR THOUGHTS IS ALSO SIMILARLY STRETCHED, ALL UNITS OF MOTIONS AND EVEN PERCEPTIONS ARE STRETCHED TO GREATER OR LESSER EXTENT EITHER PHYSICALLY OR IN PROCESS. THIS GLOBAL UNWITTING MESMERIZING STRETCHING EVERYTHING CONSUMES PRODIGIOUS ENERGY CREATING UNTOLD UNNECESSARY STRESS, RESTLESSNESS AND DISTRACTION AND IS THE ROOT TO TORMENTING LINGERING, SENTIMENTALITY AND MELANCHOLY.
Great Energy Must Be Consumed To Constantly Change Speed & Loudness:
Anyone can experience for himself that changes in speed and loudness is not effortless & pleasure but it needs effort, consumes great energy creating mounting stress, restlessness and distraction.
Try saying ‘mmmm’ with constant speed and loudness. Next say it much louder and faster and keep switching back and forth to experience the effort and strain necessary as compared to maintaining the speed and loudness constant.
The speed and loudness changes of speech never occur spontaneously, the reason why people are unaware is not because they are spontaneous but because they are produced INDIRECTLY via the person’s mental jukebox and even though they are usually unaware they are constantly changing speed and loudness, effort must always be made and energy consumed to change speed and loudness and cumulatively this lead to unnecessary exhaustion, stress, restlessness and distraction because the speed and loudness changes distract from the substance of the speech.
Try saying ‘mmm’ slowly and then rapidly. Keep switching back and forth as rapidly as you can to familiarize yourself how rapid changes in speed or pitch sound like. Does the sound of these rapid changes in speed of ‘m’ sound like the typical way ordinary people speak?
Try changing speed back and forth slowly and you may hear the musical quality of gentler speed changes. It is a perversion to think such gentle changes are melodious because they are actually tiresome to the speaker and the listener. No matter how gentle your speed changes, force must be used, energy wasted and you are practicing constant unnecessary changes that will lead to restlessness or uncontrollable involuntary constant changes.
WHOEVER YOU ARE, HOWEVER SMART AND GOOD/BLAMELESS YOU THINK YOU ARE, BECAUSE FORCE MUST ALWAYS BE USED AND ENERGY CONSUMED TO CHANGE SPEED AND LOUDNESS, IF THERE ARE CONSTANT CHANGES HOWEVER MILD IN SPEED AND LOUDNESS, IF THERE IS FORCEFULNESS IN YOUR SPEECH, MOTION, THOUGHT AND PERCEPTION, YOU ARE WASTING ENERGY TO CREATE UNNECESSARY STRESS, RESTLESSNESS AND DISTRACTION FOR YOURSELF THAT WILL BE INCREASINGLY INGRAINED IN YOUR MIND TO DOOM IT TO ULTIMATE MADNESS AND YOU HAVE DEBTS ON YOUR HANDS BECAUSE YOUR CONSTANT CHANGES ALSO STRESSES OTHERS, INDUCE THEM TO SIMILARLY CHANGE AND SUFFER.
WHOEVER YOU ARE, WHETHER YOU ARE AWARE OR NOT, IF YOU MUST APPLY FORCE ON YOUR MIND EITHER BY DOING OR SAYING THINGS FORCEFULLY OR BEING EMOTIONAL, YOU ARE PROGRESSIVELY WARPING AND DEGRADING IT THAT WILL END WITH A SHATTERED MAD MIND.
You Must Be A Rote Actor:
Because all their speech and motion have this constant changes in speed and force and they are not aware they do so, all their behavior must emanate automatically without need for awareness from a jukebox and people are merely disc jockeys intermittently observing themselves and operating their jukeboxes.
Only when all your changes in speed and loudness in your speech, all the changes in speed and forcefulness in your motion is fully intended are they live, for the occasion. If they are unconscious, unaware, they are mindless rote rehash from memory.
You Must Be Fickle:
If you are constantly changing speed and loudness whilst you are speaking and it is not necessary (only necessary for show or to impress), it is not bliss but stressful, induces mindless restlessness and consumes great energy, you must be a very fickle person and so it is that all actors are fickle people.
You must be a presumptuous approximate man:
Anyone who operates from a mental jukebox can never render a precise response to a situation but he can only renders an approximate stereotyped response to every situation based on presumptions about what the situation demands.
A rehashed pre-orchestrated behavior or speech can never fit a situation perfectly, it can only fit approximately sometimes more sometimes less that the discerning can tell but the foolish is nonplussed and the actor is filled with performance anxiety. There will be times when the behavior or speech fits well into the situation and the actor may be ‘thrilled to bits’ for pulling it off and there will be time the same speech or behavior is not quite appropriate and the actor is conscious that he made a fool of himself and is then down in the dumps.
IT IS NOT THAT IT IS DIFFICULT OR IMPOSSIBLE TO TELL THAT PEOPLE EVERYWHERE ARE ACTING APPROXIMATELY THROUGH THEIR MENTAL JUKEBOXES BUT PEOPLE FORCED THEMSELVES SO WELL TO ACCEPT THE JUKEBOX BEHAVIOR IN THEMSELVES AND OTHERS AS GENUINE, THEY HAVE TURNED A BLIND EYE, HAVE FORCEFULLY REFUSED TO SEE THAT THEY AND EVERYONE ELSE ARE PUTTING ON A SHOW FROM THEIR JUKEBOXES FOR SO LONG THAT THEY NOW CANNOT SEE IT IS SO.
When you say “Hello, how are you??!!” in the stereotyped forceful way with constant changes in speed and loudness just like innumerable times you have said it in the past it is an approximate reaction to an acquaintance. When you say fully intending without constant changes in speed and loudness “Hello, how are you?” it is precise.
When you toss a magazine at a table it is never at constant speed and force but it is objectively (for one who sees) with accelerating speed and force just like you have done for innumerable times in the past and it is an approximate rote act. When you place the magazine on the table with just the required force and constant speed, it is a precise live response to the situation.
When ordinary people walk they tend to accidentally bump into things, knock things over because they do not walk precisely but they walk approximately by rote and sometimes they misjudge and bump into things.
Carelessness:
People speak of being careless in behavior and speech. Carelessness can only issue from behavior that is approximate or without attention both of which can only come about because it is rote or mindless from a jukebox.
Because people never perform live but render a response that can only be approximate that they deem is appropriate according to their assessment of the situation, occasionally they are caught out and this is described as carelessness.
It is impossible for anyone who speaks and perform his functions live for that specified occasion to be careless because his speech and motion is precise for that motion.
Both Silly & Foolish:
When you stretch your syllables, change speed and loudness when you speak, you are doing something that is both silly and foolish.
It is silly because changing speed, loudness and stretching syllables are meaningless, serve no rational purpose except to falsely impress, intimidate or dominate others.
It is foolish because it wastes considerable energy, creates insoluble stress, restlessness and distraction, warps and degrades the mind progressively and leads to future states of woe.
All Attitudes Are False Forceful Conditioned States Of The Mind:
Ordinary people all have attitudes eg attitudes to sex, attire, religion, health, hygiene, food, etc.
It is presumptuous to think that the Buddha or God has attitudes just like you because attitudes defile, restrict the mind. Attitudes are false, pretentious forceful rigid conditioning of the mind causing suffering imposed by self and others so that it will behave rote in certain manners to conform to those attitudes and therefore rather than to be lauded, attitudes are not to be encouraged.
I am not aware I have any attitude that I hold dear and project to the world. I merely see things as they are, passively refuse to accept what is false and cause suffering. Attitudes are also forms of mental attachment that will detain that foolish person to this world.
What I say will mostly fall on deaf ears that hear but do not hear because they do not realize that they are expressing attitudes when they say or do certain things. They can accuse others of having a bad attitude (as if there are good attitudes), a chauvinistic or narrow minded attitude and yet fail to see themselves espousing attitudes of which what they may be aware is only the tip of an iceberg.
Many do not realize they are owners of attitudes such as ‘wow’, ‘ho ho ho’, ‘hmm’, ‘huh!’, ‘I see’, ‘really’. When confronted by anything they react ‘wow’ or ‘ho ho ho’.
The Genesis Of Mad Perceptions:
One must force oneself to imagine when one is practicing yoga that it allows energy to flow through the body, letting the organs function fully and at optimal capacity in order to perceive or see that it is so.
What the fool does not realize is that if you keep forcing yourself to perceive it is so, the more real or convincing it becomes so that one cannot separate what is real and what is make believe.
IF YOU KEEP FORCING YOURSELF TO PERCEIVE (SEE, HEAR, SMELL, FEEL) SOMETHING, YOU IN TIME START TO BELIEVE YOU CAN PERCEIVE IT IS SO AND THIS IS THE SEEDLING FOR MAD PERCEPTIONS OR HALLUCINATIONS. THE WISE PERSON NEVER FORCES HIMSELF TO PERCEIVE ANYTHING, NEVER USES FORCE TO PERCEIVE (SEE, HEAR, SMELL, TOUCH AND TASTE) SO HE CAN NEVER MADLY PERCEIVE.
It is a height of absurdity that people who cannot see what is plainly obvious that they are constantly changing speed and loudness/forcefulness in their speech and motion and how these are constantly renewing insoluble stress and restlessness that harms their minds and bodies and will ultimately kill them can nevertheless see what needs stretching of the imagination that yoga allows energy to flow through the body, letting the organs function fully and at optimal capacity. It is precisely because they falsely cannot see what is true that there are constant changes in speed and loudness in their speech that they falsely can see what is false that yoga allows energy to flow through the body, letting the organs function fully and at optimal capacity.
A Glut Of World Saving:
You regularly hear authoritative figures talk glowingly about a global glut of savings. They may be great fools who should know better or should be ashamed to call themselves experts. The glut of savings may be a mirage created by wealth that is not there.
If shares and property prices are artificially propped by people with vested interests (eg fund managers and banks have no compunction using other people’s money to keep share and property prices artificially high because it is not their money and they are rewarded fabulously for it), then if you use those prices to extrapolate how wealthy you are, it is going to give a flattering but inflated value.
Because world trade is largely conducted in USD which is intrinsically a worthless piece of paper that its recipients often do not cash in but recycle back to the US, the world may be owning wealth in USD that is not really there, if they were to cash in their USD America may or will default, America is living way beyond its means and the world is lulled by the USD it holds to think it has more savings than it truly has.
There are apparently 600 billion USD in circulation outside the US and this is not just a fabulous interest free loan to the US but if you lose it (eg fire or flood) it is the end of the US’ obligation to you. Uncle Sam may have a lot of karma to be discharged should there be famine and earthquakes in many places. America is not a force of good but a self serving bullying glutton who thinks too highly of himself living well beyond its true means.
Therefore those who talk about a glut of world savings may be placing their heads on the chopping block for misleading others and promoting complacency.
The world may be mired in deep debt from which it cannot resolve. If you think it can be resolved, you may have wrong view and according to the Buddha there are two destinations of wrong view: hell or the animal womb.
Mankind may have checkmated itself hopelessly in many ways financially, economically, resources and environmentally (as Jesus said, the ruler of this world namely mankind will be judged) and if you think we can work now to reverse the tide, it is not too late, you may have an unrealistic view of reality and wrong view.
Jesus: And when he comes, he will convince the world concerning sin and righteousness (goodness) and judgment: concerning sin, because they do not believe in me; concerning righteousness, because I go to the Father, and you will see me no more; concerning judgment, because the ruler of this world (mankind) is judged.
Warped Speech:
“American cars do not cross the pond well” is a very misleading or contorted way to say American cars are not well received in European countries and therefore it is not letting your yes be yes only but much more which comes from evil, not good.
Not to say what you want to say directly but to say it indirectly by a round about way is something that must be forcefully learnt and once well learnt, it is involuntary. The intention here may be to be clever or stylish to impress others. It is always suffering and maddening like a person who must always make a circuitous route to his destination instead of making a beeline. It is controlled madness, never isolated or selective but an across board attitude and the person is headed for loss of control and total madness when he can’t do or say anything straight.