Simultaneity Is Always An Illusion

Simultaneity Is Always An Illusion:
It is physically impossible for anyone to render live or consciously speech (or motion) that has a simultaneous combo of substance and a multifaceted style that comprises stretched syllables, constant changes in speed and loudness.
So how can the playback of a single mental recording of speech do the trick?
The answer lies in the playback being conscious-less (the disc jockey is fooled by his hearing his jukebox speech as his conscious saying his jukebox speech) and an illusion or mirage of simultaneity being generated just like a two dimensional picture can appear to have depth or three dimension especially when viewed through stereoscopic spectacles with red and blue tint on either eye.
Just as a well-recorded soundtrack played on good quality equipment can give an uncanny impression of recognizable vocalists and instruments performing together when it is only an illusion, there is not even individual soundtracks of all the vocalists and instruments present but there is only a single soundtrack encompassing all the instruments and vocalists, similarly a single mental recording played back by the person’s vocal apparatus can give the impression of the simultaneous occurrence of substance and style as represented by the constantly stretched syllables, constantly changing speed and loudness.
Just as a single lifeless recording can render the illusion of a singer singing with simultaneous substance and style, an instrument playing with simultaneous substance and style, similarly a single lifeless mental jukebox recording can render the illusion of a person speaking with simultaneous substance and style.
Although there are no separate instruments playing spatially together in a recorded performance, there are not even separate individual soundtracks of the different instruments being rendered together, the uncanny illusion that one is hearing many separate instruments playing together can be created merely by a two channel stereo recording of what is essentially a single continuous complex variation across the audible spectrum. In the same way, a two dimensional single mental jukebox recording that is essentially a single continuous complex variation across the audible spectrum can give the illusion of a person simultaneously rendering the substance of his speech whilst also constantly stretching all his syllables and constantly changing speed and loudness.
IT MAY BE THE TRUTH THAT SPEECH THAT HAS A SIMULTANEOUS COMBINATION OF SUBSTANCE AND STYLE (STRETCHED SYLLABLES, CHANGING SPEED AND LOUDNESS) CANNOT OCCUR IN REAL LIFE BUT IT IS ALWAYS AN ILLUSION OR MIRAGE (NOT REALITY) CREATED BY THE PLAYBACK OF A SINGLE SOUNDTRACK THAT GIVES THE IMPRESSION THAT SPEECH WITH THE PHYSICALLY IMPOSSIBLE TO RENDER COMBINATION OF SUBSTANCE AND STYLE IS OCCURRING JUST AS A SINGLE SOUNDTRACK CAN GIVE THE VERY REAL IMPRESSION OF MANY INSTRUMENTS PLUS INDIVIDUALLY IDENTIFIABLE VOICES (EG JOHN LENNON AND PAUL MCCARTNEY SINGING TOGETHER) PLAYING TOGETHER WHEN THERE IS ONLY A SINGLE SOUNDTRACK (NOT SEPARATE SOUNDTRACKS OF EACH INSTRUMENT AND VOICE) VARYING CONTINUOUSLY ACROSS THE ENTIRE AUDIO SPECTRUM TO GIVE AN ILLUSION OF MANY INSTRUMENTS PLAYING TOGETHER.
A Moment Is A Moment:
Time is constantly moving on but at a constant not changing or changeable rate and waits for no man.
For any given moment there is only time for anyone to mindfully, attentively do or say what he wants to say or do without add-ons or gimmicks.
Because a person can only pay attention to do one thing at a time, for many separate things or many facets of a thing to be done at the same time, they must be prefabricated with the various separate elements or facets incorporated and committed to memory or memorized in that person’s mental hard disk to be played back as if it is live but without the presence of attention as a counterfeit carbon copy of a lifeless mental or biological recording that is no different from a vinyl, cassette or CD recording.
Actors may be fooled that they are speaking live because they hear themselves speaking but it is only live hearing themselves speaking by rote or lifelessly from their mental jukeboxes.
No one can possibly pay attention all the time to say what he wants to say and at the same time pay attention all the time not just to constantly change the speed of his speech but also change its loudness and stretch its syllables. Because he cannot possibly do all these separate simultaneous things at once mindfully, fully intending, any speech with stretched syllables, constant changes in speed and loudness must be done without attention or mindlessly by rote or memory from the mental hard disk.
Anyone who must add style (changing speed, loudness and stretching syllables) to what he wants to say must take himself out of the loop of the moment or the present to render this complex amalgam prerecorded or pre-formulated from his mental hard disk.
Because even when they speak slowly or softly all ordinary people still manifest constant stretched syllables, constant changes in speed and loudness (and they cannot help it or are not aware they do even after it is pointed out to them) they must ALL be operating prerecorded from mental jukeboxes ALL the time. What is prerecorded is automated, inflexible and backed by great difficult to resist force of habit which is why actors continue to speak somnolently with stretched syllables and constant changes in speed and loudness even after it has been pointed out to them. It would take time and persistence for them to pay attention to their speech, mindfully stop their automatic prerecorded sequences and replace it with live speech that has no stretched syllables, no changes in speed and loudness.
People are taken in by the slickness or confidence, consistence, forcefulness and dynamism with which they and others speak as indications of genuineness when it is the opposite that nobody can possibly attentively render such complex slick, consistent or stereotyped rapidly changing speech live but they must be just carbon copies of a mental model. Just as a good modern Hi Fi system can render a very realistic (virtual) copy of music however complex and no consciousness is ever involved, even so a human being can render slick, stereotyped dynamic speech without any consciousness being involved. It is precisely because ordinary people’s speech is forceful in nature that it is forced, false and fabricated rather than genuine.
Even today people I see everywhere, including those who call themselves good and intelligent are constantly not frequently operating from mental jukeboxes rather than operating live and if you cannot see that this is so, you think they are real people when they are consummate fakes, you have been deceived and have faulty perception or wrong view.
WHENEVER A PERSON IS EXPERIENCING SIGNIFICANT STRESS, RESTLESSNESS OR DISTRACTION, HE CANNOT BE PAYING FULL ATTENTION TO WHAT HE IS SAYING OR DOING AND YET HE STILL CONTINUES TO SPEAK AND BEHAVE. IF YOU CANNOT CONCENTRATE ON WHAT YOU ARE SAYING OR DOING, YOU MUST BE DOING SO MINDLESSLY BY ROTE FROM A MENTAL JUKEBOX. THEREFORE WHENEVER PEOPLE ARE SEIZED BY STRESS, RESTLESSNESS AND DISTRACTION THEY ARE OPERATING BY ROTE FROM MENTAL JUKEBOXES. IT IS NOT JUST THEN THAT THEY OPERATE BY ROTE BUT EVEN WHEN THEY ARE MORE COMPOSED THEY ALSO OPERATE BY ROTE FROM MENTAL JUKEBOXES, THE DIFFERENCE BEING THEY ARE THEN OPERATING BY ROTE DESPERATELY IN A COVERING ACTION TO HIDE IT FROM OTHERS BUT WHEN THEY ARE RELATIVELY LESS STRESSED THEY PAY FULLER ATTENTION TO THEIR ACTING FROM THEIR JUKEBOX. PEOPLE CAN SEE THAT A PERSON’S SPEECH AND BEHAVIOR SEEM MORE BIZARRE, INAPPROPRIATE WHEN THEY ARE HARRASSED AND THIS DETERIORATION IS BECAUSE THEY ARE NOT PAYING ATTENTION TO THEIR OPERATING FROM THEIR JUKEBOXES BUT WHEN THEY ARE MORE COMPOSED, THEY PAY MORE ATTENTION TO THEIR STILL OPERATING FROM JUKEBOXES SO THAT THEIR SPEECH AND BEHAVIOR APPEARS MORE APPROPRIATE (BUT IS STILL A LIFELESS JUKEBOX RENDITION).
A moment is a moment and a yes is a yes but a ‘m-m-oo-mm-ee-nn-tt’ is never a moment and a ‘yy-ee-ss’ is never a yes except in the abiding delusion of the fool that they are.
It only takes a moment of little individual variability for anyone to attentively pronounce without force a syllable eg ‘p’, ‘s’ or ‘t’ and if you take longer time to do so you are fabricating and trying to stretch that moment, trying to stretch or prolong time. When you add force to your pronunciation it is natural that it will become prolonged, louder and even rising in speed and because actors are perverted, it becomes a matter of extension that they soon exaggerate their prolongation of syllables deliberately to outrageous extent and fake it is fun and wonderful to do so.
Therefore when you stretch your syllables you are attempting to stretch time, to stretch a moment that is not objectively possible (but subjectively or privately artificially or falsely possible).
Jesus said let your yes be yes, anything more comes from evil not good. There is very little objective variability in how long a syllable will last if it was not stretched and if you stretch your syllable even mildly beyond this limit, you are not letting your yes be yes, not letting your syllable be your syllable only but more, stretching it and that comes from evil not good. A syllable does not come with speed or loudness changes but whenever people stretch their syllables they also to greater or lesser extent change speed or loudness and this again is not letting your yes be yes but more, changes in speed and loudness that comes from evil not good.
Whenever you stretch your syllables you are trying to prolong a moment or make a syllable last longer than it actually should, which is not physically or attentively possible (time waits for no man) and you must therefore remove yourself from the reality of the moment to broadcast that asynchronous misfit stretched syllable from your private mental jukebox reality. Therefore when people stretch their syllables, which is always, they must ALWAYS isolate themselves from reality to operate from their own private mental reality or parroting from their private mental jukeboxes in which moments can be and are stretched or prolonged that may fool themselves and fellow actors that they are real people living in real time but they are immaculate fakes whose lively or dramatic acting fools themselves and others it is live when it is a live-less or dead trance like regurgitated rehashed performance.
Whenever you prolong anything, whenever you prolong your syllables you are (unwittingly) trying to prolong the moment, not accepting the moment as it is, not letting your yes be yes only but foolishly trying to forcefully prolong the moment that when habitual leads to emotional irrational indiscriminate lingering and attachment that is the root to foolish sentimentality, suffering and melancholy. Therefore stretching syllables is not harmless, not fun but deadly and like hooking yourself to heroin that is hard to shake off.
For the duration when a person operates with stretched syllables which basically tantamount to artificially prolonging moments they must isolate themselves from common reality, remove themselves from common reality to operate from their own private reality where syllables or moments can be prolonged and because people always stretch their syllables, they always isolate themselves from common objective reality to operate from their own private MENTAL reality where moments are always stretched.
Because isolating yourself from common reality is forceful and painful, it is conditioning and the more frequent and intensely you do so, you are conditioning yourself increasingly and intensely to reside permanently in your private world of make believe, to hide in your shell of faking and because people have done so, persecuted and maintained by society everywhere and even their dearest loved ones to do so, they are now permanently operating from, forced by great force to operate from their private mental jukeboxes of rote behavior, speech, thought and perception and are clueless that they are faking it.
Therefore anyone who always stretches his syllables cannot be in constant touch with common or shared reality but he is only intermittently in touch with common reality and operating from his own private false mental reality where time can be falsely and madly stretched to accommodate for his perverted desire to always prolong his syllables. This tantamount to and is proof that people who stretch their syllables cannot be in touch with reality but must isolate themselves, they may appear dramatically real but it is an illusion that fools people mesmerized by drama and they are instead false actors operating from surreal mental jukeboxes where moments are always stretched and they are masters of their own perverted stretchable time. Their private realities with stretchable moments are so well juxtaposed on the common reality that people are fooled they are real people when they are very realistic fakes faking all the time.
Similarly a moment is a moment and a moment is steady and never speeds up and slows down to accommodate any man and if you are constantly changing speed whenever you speak, constantly accelerating and decelerating, you are constantly changing the duration of your moments and you cannot be operating from reality but you are operating from your own private mental reality where moments are never constant in duration but are always speeded up and slowed down and you are (deftly) juxtaposing your private perverted world of constantly, unnecessarily changing time into the common shared reality so well it fools yourself and fellow actors you are performing live when you are performing very dramatically by rote from a well recorded mental jukebox.
These constant stretched syllables, constant changes in loudness and speed is the style of the speech, the style of existence and it is totally false, has to be forcefully fabricated and it is (incomparably) mind warping torment, never calm clearly thinking bliss.
How can you be one with your Father when you are inaccessible, forcefully trapped in your own private reality, your private world or acting, your private world of constant changes in speed and loudness? Therefore unless you extricate yourself from your private world of make believe where moments can be stretched, time can be speeded up or slowed down, how can you be in union with your Father who is in heaven?
Whatever you like to argue, if it takes one second to reasonably say ‘s’ and you take even two seconds to say it, you are prolonging the moment and fabricating. And a lot of perverted people do not realize that all their syllables are appreciably stretched but not in a gross manner that they fool themselves they are not stretching when they are. Often they stretch their ‘s’ for many seconds without awareness, reflecting that their stretching is without attention by rote from their mental jukeboxes. You can stretch your ‘s’ softly to be seductive as in ‘plleeaasssseee’ or loudly and aggressively but it makes no difference, you are acting and heading for tormenting.
IN SHARED COMMON REALITY A MOMENT IS A MOMENT AND CANNOT BE PROLONGED, SPEEDED UP OR SLOWED DOWN AND IN ORDER TO PROLONG A MOMENT BY STRETCHING YOUR SYLLABLE, IN ORDER TO SPEED UP AND SLOW DOWN A MOMENT BY CHANGING SPEED AND LOUDNESS YOU MUST EXIT OR SAY GOODBYE TO COMMON SHARED UNVARYING OBJECTIVE REALITY TO RESIDE IN YOUR OWN PRIVATE BRAND OF MAKE BELIEVE REALITY WHERE MOMENTS AND SYLLABLES CAN BE STRETCHED, MOMENTS OR SYLLABLES CAN BE SPEEDED UP OR SLOWED DOWN ACCORDING TO YOUR WHIMS AND FANCY THAT MAY FOOL YOU AND FELLOW ACTORS YOU ARE A REAL LIVE PERFORMER BUT YOU ARE PERFORMING IN A PRIVATE AGONIZING LONELY WORLD OF MOMENTS THAT ARE NEVER CONSTANT OR RELIABLE THAT YOU THEN ANXIOUSLY STRUGGLE TO PROJECT TO THE WORLD, TO MERGE AS REALISTICALLY AS YOU POSSIBLY CAN WITH ALL THE ACTS YOU SEE AROUND. YOU ARE NO MORE EXALTED THAN A REAL LIFE DISK JOCKEY OPERATING A COMPLEX BIOLOGICAL JUKEBOX OF YOUR MIND. THEREFORE ALL STRETCHED SYLLABLES, CONSTANT CHANGES OF SPEED AND LOUDNESS ISSUES PRERECORDED FROM A MENTAL JUKEBOX AND BEAUSE PEOPLE EVERYWHERE MANIFEST THESE TRAITS THEY ARE ALL JUKEBOX JOCKEYS AND THEY HAVE FALSE PERCEPTION THAT THEY ARE LIVE PERFORMERS. WHEN THEY PAY ATTENTION TO THEIR SPEECH THEY ARE MERELY PAYING ATTENTION TO THEIR RENDERING BY ROTE FROM A JUKEBOX THAT FOOLS THEM TO THINK THEY ARE SPEAKING LIVE.
Forgetting To Blink:
People blame their video displays (too bright, too dim, too small) for their eyestrain but it may be the case that they are more at fault because being too absorbed, too visually greedy, they forget to blink earlier than they should for their eyes’ sake.
Just as people do not realize that restlessness is not natural but what they are unwittingly creating for themselves by practicing constant changes in speed and loudness all the time, stress is not something blameless but because they are constantly applying force on their minds, distraction is not blameless but they are constantly dividing their attention between many things at once, they do not realize they suffer eyestrain watching their computer screens because they are too greedy watching to close their eyes more frequently as they should.
That people keep their eyes open greedily for too long, they forget to blink in their absorption with a program that may be a more important cause of eyestrain than screen glare or flicker or smallness.
Next time you watch TV or use your computer, remind yourself to blink earlier than you are used to and experience the difference it makes. Unless you pay attention to remind yourself to blink more regularly on an extended basis you will not experience it makes. But because people are rote inattentive performers they are likely to be indifferent or only give it a half hearted brief trial and thus experiencing no difference, they give it up when it is not what I say is wrong but they are heedless.
There is an optimal level; if you blink too frequently as some people do, it is stressful but if you keep your eyes opened too long as people tend to if they are engrossed in a subject that too is straining.
The Hazards Of Sweeping Statements:
Quote: We all like to believe in an all knowing, all powerful God who is protecting us.
Comment: This is likely or is a rote mindless jukebox statement that may sound nice or impressive but is false. Not everyone likes to believe in an all knowing and all powerful God. It is a sweeping statement that all (‘all’ may be true in this case because even supposedly modest actors like to speak grandly) actors like to mindlessly make and think they are speaking the truth when they may be judged (by themselves) for every careless word they say because to believe everyone believes in an all powerful all knowing God is false and flirting with madness.
Many like to believe they are my coequal in their capacity to discern and speak the truth. That may be true or that may be their wrong view and as the Buddha said, there are two destinations for wrong view: hell or the animal womb.

A PDA Performer:
Suppose you were to meet someone with a very powerful PDA (personal digital assistant) or Sony play station console or module and every time you asked him a question he would press a button and the PDA will give you his prerecorded reply eg “Yes”, “No”, “Maybe”, “No comment”. Wouldn’t you feel affronted rather than pleased? Just because the PDA is in your mind and is much more sophisticated and life like does not make it any less affronting to deal with. If you are constantly pressing buttons on your PDA when dealing with others instead of personally case by case replying, wouldn’t you feel sick of yourself, sick of playing mindless games? If you thought you were dealing with a real life person (as many starry eyed lovers do) and after you married you found you married a dumb inflexible mindless robot, wouldn’t you feel disgusted?
For one who sees correctly people everywhere speak and behave with a combination of substance and style that cannot be rendered live but must be rendered with increasing forceful slickness that they are struggling to control. If you cannot see that they are rendering from a jukebox but you think they are real people, you have wrong or false perception.
If there is added force in your speech and you cannot see it, there are stretched syllables and changes in speed and loudness and you are rendering by rote from a jukebox and you cannot see it, you have false perception.
Whenever people are stressed, restless or distracted (unable to concentrate or scattered), they are performing by jukebox. Anyone who is stressed and distracted resorts to jukebox performance because it is important for him to keep up with appearances, to not make a fool of himself and since he is too stressed, restless or distracted to pay attention he switches off to perform mindlessly by rote.
Anyone who is an actor is frequently besieged by stress, restlessness and distraction (that can now rise madly suddenly) and during these states they must be performing by rote from a mental jukebox. Yet how many are aware at these times that they are performing by rote?
It is in the nature of things that whatever is forcefully said, done or thought imprints on that mind, the more you repeat it the stronger it is imprinted and easier to recall. Therefore whatever people say or do that is forceful, that has a constant substance and changing speed and loudness style is constantly being imprinted in their minds that being harassed by stress, restlessness and distraction they frequently resort to, to meet situational demands and in time they become complete jukebox performers. People like to think they are very real genuine people but they are very real genuine disc jockeys.
A person beset by stress cannot pay attention to what he is saying or doing and to keep up with appearances so as to maintain his respectability, he resorts to mindless jukebox speech and actions that in turn create more stress because they are forceful with constant changes in speed and forcefulness that applies force on the mind creating stress in a vicious circle the fool does not realize is escalating and will end in madness unless he mindfully pay attention to eliminate all force in his dealings, eliminating stretching syllables, eliminate smiling and eliminating constant changes in speed and loudness.
Great Rote Not Live Performance:
People witnessing a juggling act may think they are witnessing great concentration and a great life performance but what they are witnessing is a great rote act with attention only paid to timing and retrieving the file from the mental hard disk.
If juggling was a great live performance, jugglers would not have to practice obsessively to learn and then keep in tune their juggling. The practicing is to record thoroughly the act and refresh it regularly.
It is impossible for the juggler to pay attention to every facet of his juggling so when he is still a novice, he pays attention to when to position of the falling balls to initiate hand motions so that his hands will be in place to collect the ball as anticipated whilst his mind is concentrating on retrieving his well practiced juggling sequence.
I think there are jugglers who are so good they can talk (joke) at the same time and even do it with closed eyes reflecting that what they are doing is mindless, needs no attention and if you are so good, you can toss the balls with precise unvarying speed and timing, the balls will always land at a predictable time and place for your anticipatory or presuming hand to grasp.
When he is juggling with closed eyes and joking, he cannot be paying attention to his juggling but he is rendering by rote. That it is by rote can be further attested to by providing the juggler with substantially heavier or lighter balls, larger or smaller balls that will disrupt his preprogrammed ritual.
As impressive as his juggling might be, what he is doing will lead to mental torment because he is willfully repeatedly forcing himself to painfully divide his attention, not just doing many things at once but doing them by rote from a jukebox that can potentially go mad in the name of impressing others. Anyone who marvels or convey admiration to him is creating karma not merit because he is applauding an act that leads to torment.
Why Not Paying Attention Is Crucial To Acting:
Rather than paying attention being essential to perform substance and style speech and motion, it is a hindrance and it is preferable that paying attention be eliminated during a rote performance.
If you are paying full or constant attention to stretching syllables, changing speed and loudness you cannot be paying any (let alone full) attention to what you want to say that are separate activities that demand attention to fabricate and therefore likely to forget what you were saying.
If you are paying full or constant attention to what you are saying, you cannot be paying any (let alone full) attention to stretching syllables, changing speed and loudness that are separate activities that demand attention to fabricate.
Since you cannot afford to pay full attention to either the style or substance, you must either laboriously frequently switch attention between the two like a juggler or it is best paying attention or consciousness is eliminated and you render you substance and style speech completely without attention by rote from a mental jukebox.
Just as the speakers of a Hi Fi system can render with all faithfulness the substance and style singing of any artist captured on a CD and there is no consciousness involved at any stage except for the person to push the start button, similarly the vocal apparatus of an actor can render his substance and style speech as recorded on his mental hard disk without any consciousness or attention present and the only attention required is to initiate the rote sequence and keep an eye on how things are going. Because he hears himself speaking so eloquently and confidently from his mental jukebox, the actor is fooled to think it is a real life performance when he is only paying attention to his rote performance. Onlookers who are themselves preoccupied by their own jukebox acting and similarly cannot see that they are only disc jockeys are similarly taken in by the rapid, dramatic and apparently flexible speech to think they are dealing with a live performance.
In real life actors almost never pay attention to the way they constantly stretch their syllables, change speed and loudness (except to admire himself) and what they say too is largely false and rehashes of things they have said many times before (their standard views and opinions, standard lines, favorite phrases) Just as a tape recorder can splice and rejoin fragments of a soundtrack, they can splice and rejoin phrases to create new standard lines.
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Today people enjoy relative greater ease when things are going right but they are all owners of powerful mad stress, restlessness, distraction, mad logic, mad violence and emotions that can be swiftly stirred to rise to distressing levels that they struggle to control.
Nobody ever truly shake off their mad stress, restlessness, violence or emotions but they merely suppress or contain them. At the moment, though they have to struggle and sometimes they are in danger of losing control to for example quarrel violently with others, they are able to reassert their control to become relatively free of stress, restlessness and mad emotions again but they do not realize that this state of affairs will not be forever but their mad tendencies are becoming stronger and they are headed for madness in one form or another.
The reason why all ordinary people are owners of intense mad stress, restlessness, logic, distraction, violence and emotions is because they refuse to give up acting, refuse to exert themselves to calm themselves by meditation, refused to efface their forcefulness, their stretching of syllables and constant changes in speed and loudness and because today’s consciousness parameters permit them to practice their forcefulness to greater intensity, they have conditioned themselves to possess powerful, easily rising and slowly exiting mental force.
Anger and being upset are always forceful and it is not just when you are upset or angry that you are forceful but the force is always there in your mind at a more pedestrian pace that you kid yourself you are not forceful. This force is already very powerful and entrenched and if you do not take concerted steps to get rid of it, you are heading for certain agony.
Why People Cannot See The Link Between Their Stress & Their Behavior:
It is because actors are desirous of going against himself and the force of self preservation must accommodate by constantly suppressing the stress and restlessness generated that actors are able to act or go against themselves for significant periods before the stress and restlessness builds up to levels that arouse their concern. Because of this delayed onset, actors fail to recognize that the stress, restlessness and distraction they regularly experience are entirely due to the way they speak forcefully with stretched syllables and constant changes in speed and loudness. Further because they are totally unaware they are constantly stretching their syllables, changing speed and loudness, even after they have been demonstrated how they do so, they continue to do so indicating they either cannot help themselves or they continue to turn a blind eye to their stretching syllables, changing speed and loudness, they cannot see the connection between the stress, restlessness and distraction they frequently experience and the way they behave.
Jesus A Vegetarian?
Recently, I was told that it seems Jesus was a vegetarian. If vegetarianism is crucial to going to heaven then Jesus would have told you in no uncertain terms that you must not eat meat. Jesus did not say you should not care what you shall eat except that you must not eat meat but he said: Therefore I tell you, do not be anxious about your life, what you shall eat or what you shall drink, nor about your body, what you shall put on. Therefore whatever role vegetarianism plays it is secondary.
Jesus said it is not what goes in a man’s mouth that makes men unclean but what comes out of their mouths (evil thoughts, murder, adultery, fornication, theft, false witness, slander). He did not say except meat it is not what goes in that makes men unclean, but what comes out of men’s mouth (profanities and ill will).
Is vegetarianism one of the 8 factors in the Buddha’s Eightfold Noble Path? Instead the Buddha said his message is about stress and the total ending of stress. Being vegetarian is a practice, a faith in rites and precepts that detain a person in this world of suffering.
Do not discriminate against plants, the Buddha said he himself had been a tree spirit and if you think that plants enjoy being cooked and eaten, you may be deluded. There is scientific evidence that plants are sentient and intelligent beings that respond to suffering too.
There are people who believe that vegetarians are more docile than meat eaters or something in meat causes people to misbehave. In that case why practice virtuous conduct. Just convert yourself to vegetarianism and eat yourself to heaven. Whatever effect being a vegetarian can exert on your behavior or mental state is secondary or marginal and even make believe. Vegetarians I see everywhere are all still actors like a rest and there are no virtuous actors but they are all pretentious.
Can eating purely vegetables stop you from acting? It is forceful constant acting that leads inexorably to stress, restlessness and distraction that is tormenting and causes actors to lash out. Anyone who remains an actor whether he is vegetarian or not must hate himself and others and must vent his ill will one way or another, either publicly or privately and he has an appointment with mad stress, restlessness, distraction, violence, emotions and mad rote behavior.
The noble eightfold path is your encompassing guide from darkness to light and is it stated that you must be a vegetarian below? Therefore at best vegetarianism is secondary in importance and there are far more pressing matters at hand:
Magga-vibhanga Sutta:An Analysis of the Path
The Blessed One said, "I will teach & analyse for you the Noble Eightfold Path."
The Blessed One said, "Now what, monks, is the Noble Eightfold Path? Right view, right resolve, right speech, right action, right livelihood, right effort, right mindfulness & right concentration.
"And what, monks, is right view? (Right view is right seeing things as they truly are or discernment) Knowledge with regard to stress, the origination of stress, the stopping of stress, the way of practice leading to the stopping of stress. (If you are an actor somnolently stretching syllables, changing speed and loudness all the time creating insoluble stress, restlessness and distraction, you cannot have right view. What is the use of practicing vegetarianism when you have wrong view?)
"And what is right resolve? (Before you can take any action, you must be aware of your suffering and what causes your suffering and then make a resolve or determination to eradicate it, just because you resolve to give up smoking does not mean you will) Being resolved on renunciation, freedom from ill will.
"And what is right speech? Abstaining from lying, divisive speech (tale bearing), abusive speech (forceful speech is harsh), idle chatter (idle chatter is trivialized nonsense. Try telling people chattering that what they say is nonsense. They truly believe the nonsense they chatter is meaningful and that is courting future full-blown madness).
"And what, monks, is right action? Abstaining from taking life, stealing, sexual intercourse.
"And what, monks, is right livelihood? A noble disciple, having abandoned dishonest livelihood, keeps his life going with right livelihood.(stockbroking is a form of encouraging gambling, what people call investment is gambling)
"And what, monks, is right effort? (i) There is the case where a monk generates desire, activates persistence, & exerts his intent for the non-arising of evil, unskillful qualities that have not yet arisen. (ii) He generates desire, persistence, for the sake of the abandonment of evil, unskillful qualities that have arisen. (iii) He generates desire, activates persistence, for the arising of skillful qualities that have not yet arisen. (iv) He generates desire, activates persistence for the maintenance, development, & culmination of skillful qualities that have arisen. (If you are a sinner, you must efface yourself, your sins will not vanish by itself but you must make effort to cancel your anger every time it arises and generate goodwill until the urge to be angry dies)
"And what, monks, is right mindfulness? (i) There is the case where a monk remains focused on the body in & of itself putting away greed & distress. (ii) He remains focused on feelings in & of themselves. (iii) He remains focused on the mind in & of itself -- putting away greed & distress. (iv) He remains focused on mental qualities in & of themselves. (People do pay attention but on the wrong things like distractions and greed of this world)
"And what, monks, is right concentration? (i) There is the case where a monk -- quite withdrawn from sensual pleasures, unskillful (mental) qualities -- enters & remains in the first jhana. (ii) With the stilling of directed thought & evaluation, he enters & remains in the second jhana. (iii) With the fading of rapture, he remains in equanimity, mindful & fully aware, and physically sensitive of pleasure. He enters & remains in the third jhana.' (iv) With the abandoning of pleasure & pain he enters & remains in the fourth jhana: purity of equanimity & mindfulness, neither pleasure nor pain. (People dislike meditating, they rather prefer to slouch and daydream or go for a walk to distract themselves to avoid communicating with themselves)