The Ultimate Total Unwitting Make Believe:

The Ultimate Total Unwitting Make Believe:
Rote speech and behavior may appear apt or fit an existing situation so well that even the actor and fellow actors looking on cannot tell it is all faked; a well-forged painful counterfeit currency of transaction. Apart from the (needless) progressively mind warping relentless stress, restlessness and distraction engendered by such chicanery (instead of mindful unforced fully intended performing live) even though such jukebox forgery may get you by in most situations, you can con yourself and others through in most situations, there will be situations where you will be caught out or found wanting with potentially fatal consequences.
For instance your forceful, stressful mindless rote stylish walking may serve you well in most situations but you may pay a painful price one day when you grievously stub your toe or step on broken glass because you were not walking live but you walked approximately by forceful mindless rote without even paying attention to your walking, let alone paying attention to walk or consciously walk. Drive by mindless automated rote, only occasionally paying attention to your jukebox driving and one day you may pay with your life in an accident caused by your force driven inattentive rote stylish driving that may appear to be mindful case by case driving but it is an approximate stereotyped jukebox rendering you presumptuously think is appropriate for the situation at hand.
What jukebox actors don’t reckon is that because their behavior is driven by blind mental force (not unforced fully intentional fresh), is faked or false and rote, their minds are being progressively warped and degraded and they will ultimately succumb to mad logic, mad emotions, mad violence, mad restlessness, mad stress, mad distraction or division of their attention, mad rote or inappropriate behavior and mad perceptions (hallucinations) and if they think they are headed for heaven instead of eternal punishment, this may be another instance in a continuous litany of mad logic that they obviously subscribe to.
To carry out ALL your speech, motion, thought and perception completely by rote from a mental jukebox, only paying intermittent attention to monitor and initiate your rote functioning is the ultimate complete or total make believe, the ultimate complete form of constant total self and other deception. You may superficially appear like a dramatically real and meaningful person but you are a hollow echoing shell, isolated from the moment, all appearances and show but little or no substance. No matter how you may deny, deep inside you must be sick of yourself, hate yourself even to violent destructive levels. You are little more than a very sophisticated biological robot that is endowed with consciousness that you have squandered by only sparingly using it as a voyeur watching yourself and others acting and to guide your robotic functions.
(If what I say are true, apply to everyone and bring insight and nobody else has said them then assuming the counselor Jesus spoke of is a person who is to come, he too must address these topics. If I have already done so, I would have superseded him to render what Jesus said false)
Why It Is All Mindless Rote:
There are always three strata of speed and loudness changes in the vocalization of all humans and animals (suggesting animals are closer to us than humans may concede).
All animals and humans always accelerate or decelerate to greater or lesser extent through their falsely stretched syllables or units of vocalization. There are further constant speed and loudness changes between adjacent syllables or sound notes and they always accelerate or decelerate in speed and loudness from start to finish of a sentence or a series of notes.
That there are three layers of constant speed and loudness changes can be proven because I can demonstrate how any person (or animal’s) speech (or vocalization) will sound if there were completely no speed or loudness changes.
If these constant loudness and speed changes were attentively fabricated, the person must know he is changing speed and loudness in every instance and he can choose at will to change or not change speed or loudness.
Most people are not even aware there are complex constant changes in speed and loudness in their speech and even after it has been demonstrated to them, they continue to speak as they are used to with constant changes in speed and loudness reflecting that they have no control over their speed and loudness changes, the ways they usually speak is driven by forceful automatism that cannot be stopped immediately but must be gradually effaced.
How can they be consciously fabricating these speed and loudness changes when they are not even aware of them and have no control of them? Instead if these constant changes in speed and loudness are being rendered automatically without the need for consciousness by rote from memory then it is unsurprising that they are not aware and have no control over them.
A further indication that these constant changes in speed and loudness are by rote is that they are forceful and indiscriminate, across board or blind. If they are conscious, then they should be discriminate. All forces are blind or indiscriminate and they are the drives of these indiscriminate constant changes that do not need the presence of consciousness.
Even when people can see that there are speed and loudness changes in their speech, they are merely consciously listening like voyeurs to their rote speech rendered automatically from their mental jukeboxes, not consciously fabricating their rote speech.
People NEVER consciously intentionally change the speed and loudness of their speech once they become mature actors but they are always automatically, unconsciously rendered customized for them in their mental jukeboxes.
When people approach their front doors, they merely decide ‘get keys’ and they then rummage by rote, absentmindedly for their keys such that they sometimes forget what they were trying to do. Next they say ‘open the lock’ and they then proceed by rote without attention to open the lock in the typical way with which they have always done so such that sometimes they find to their embarrassment they were using the wrong key because they did not pay attention to observe what they were doing let alone pay attention to do what they are doing.
ACTORS ARE OFTEN IF NOT ALWAYS UNAWARE THAT THERE CONSTANT CHANGES IN SPEED AND LOUDNESS OF THEIR SPEECH INDICATING THAT SUCH CHANGES ARE UNCONSCIOUS, NOT MINDFULLY INTENDED.
EVEN WHEN THEY BECOME AWARE OF THESE CHANGES, THEY CANNOT IMMEDIATELY PUT A STOP TO TRY FOR ONCE FOR A CHANGE NOT TO CHANGE SPEED OR LOUDNESS INDICATING THIS PROCESS OF CONSTANT CHANGE IS BLIND, DRIVEN BY FORCE THAT IS HARD TO STOP AND NOT WITHIN THEIR CONTROL THAT WOULD BE TOTALLY IN LINE WITH JUKEBOX BEHAVIOR.
CONSTANT CHANGES IN SPEED AND LOUDNESS ARE ALWAYS FORCEFUL AND INDISCRIMINATE, THEY OCCUR ACROSS THE BOARD AS BEFIT A ROTE, BLIND PROCESS DRIVEN BY FORCE NOT A CONSCIOUS LIVE PROCESS THAT WILL BE SELECTIVE AND FREEDOM OF WILL TO STOP AT ANYTIME.
MATURE ACTORS NEVER DO, SAY, THINK OR PERCEIVE LIVE ON A CASE BY CASE BASIS BUT THEY ALWAYS DO, SAY, THINK OR PERCEIVE THINGS UNCONSCIOUSLY BY ROTE OR PRERECORDED FROM MEMORY OR THEIR MENTAL JUKEBOXES. THEY ONLY PAY INTERMITTENT EASILY DISRUPTED ATTENTION TO OBSERVE WHAT THEY ARE SAYING, DOING, THINKING OR PERCEIVING BY ROTE TO ADJUST AND SWITCH RESPONSES AND WHEN THEY ARE STRESSED, RESTLESS OR TOO DISTRACTED, THEY OFTEN PAY NO ATTENTION TO WHAT THEY ARE SAYING, DOING, THINKING OR PRECEIVING BY ROTE. THEREFORE THEY MAY THINK THEY ARE SUCH GENUINE PEOPLE BUT THEY ARE LITTLE MORE THAN VOYEURS WATCHNG THEMSELVES ACTING FROM THEIR JUKEBOXES AND OVERRATED DISC JOCKEYS.
Two Different Things:
Walking attentively and paying attention to your walking are two different things.
When you attentively walk, you knowingly put your foot forward. If you knowingly or consciously put your foot forward, how can you knowingly or consciously put your foot on a nail? It is because ordinary people never knowingly put their foot forward, they seldom even pay attention to observe their act of rote walking that mishaps can befall them.
Sometimes they may fortuitously look at the ground to see a nail but they nevertheless fail to stop themselves stepping on it because they were walking too fast by rote for them to stop in time. It is one thing to pay attention to your walking to observe a nail and an entirely different thing to then order your jukebox to stop its automated mindless walk in time not to step on it. On the other hand if your walk was attentive or fresh, not forced or driven by blind force, it is possible for you to instantly withdraw or shift the foot sideways.
Another reason why actors may fail to stop themselves stepping on a nail even when they see a nail is that they were seeing but not seeing, they saw the nail but it did not register in their dazed or distracted minds. Actors often fake they do not see when they saw and this can become involuntary in a detrimental way so that on this occasion when it is vital they should see what they saw, they lapsed into their well practiced rote seeing but not seeing mode.
The Lesson Of Paul McCartney’s Recent Album:
Paul McCartney recently made an album in which quote The Independence: McCartney played nearly every instrument on the album (not just a song) - not only guitar, bass, drums and piano but flugelhorn, guiro, harpsichord, triangle, maracas, gong, toy glockenspiel, Moog organ and tubular bells. (He is probably trying to show off what a versatile or multi talented musician he is)
It is physically impossible for Paul McCartney or anyone to play all the instruments at once in a live performance but it is very possible in a prerecorded performance for him or anyone to play or give the impression as if he is playing all those instruments at once by separately recording himself playing each instrument and then laboriously merge all the soundtracks together into a song as if he was doing everything at once.
In the same way it is physically impossible for anyone to attend consciously constantly to the substance of what he wants to say whilst at the same time attend consciously constantly to stretching all his syllables, attend consciously constantly to change speed and loudness but it is very and only possible for him to mentally learn to say what he wants to say with the precarious simultaneous substance and style by first laboriously frequently switching back and forth his attention between all the various facets, combine them together and commit this combination to memory to be dished out as he deems the occasion demands.
(You cannot possibly attend consciously constantly to say what you are saying whilst you are at the same time attending consciously constantly to constantly stretch all the syllables of what you are saying let alone at the same time also consciously attend constantly to constantly change the speed and loudness of all the words you are saying. On those moments when your attention strayed for example, from the constant stretching of its syllables to focus on the substance of what you want to say, on those occasions the stretching of the syllables were unconscious and therefore by rote or approximately by memory)
Why is it possible for a tape or mental hard disk copy to render substance and style speech whilst it is impossible to do the same live or fresh or extemporarily?
The reason it is possible for a mental copy of a speech to render the simultaneous combo of substance and style is because the style of a speech (stretched syllables, constant changes in speed and loudness) are merely concurrent modifications of the sounds that are the substance of that speech. Whilst it is not possible for a person to live or freshly concurrently modify the substance of his speech in a multifaceted way (stretched syllables, constant changes in speed and loudness), it is possible for him to separately modify the substance of his speech beforehand in the multifaceted style that he desires, commit it to memory and recall it already assembled that although it may sound like a live response to the situation is a hackneyed, standard, stereotyped response, in other words it is a cunning forgery that fools the speaker and his listeners that they are listening to a live speech when they are listening to a rote or pre-taped speech.
It is impossible for any juggler to juggle his many balls live without ever previously having done so but it is very and only possible for him to juggle all his balls with confidence from rote memory that is so uncanny his hands will automatically reach out for the balls, catch and toss them up with precise speed, direction, strength and timing such that it will always fall at a precise place and time for his awaiting hand to next catch and re-toss. When the juggler is so good he can close his eyes and still do it. No attention is needed and instead attention or self-consciousness may detract.
The substance of any speech is nothing more than the sounds of that speech.
Stretched syllables, constant changing of speed and loudness are all basically modifications of these sounds that are the substance of that speech.
Whilst you cannot possibly attentively at once say a word, stretch it and change its speed and loudness it is very and only possible to beforehand subject that word to its multifaceted modifications, commit this combination to memory and then render it without attention by rote all at the same time.
JUST AS IT IS PHYSICALLY IMPOSSIBLE FOR PAUL MCCARTNEY TO PLAY LIVE AT ONCE ALL THE MANY INSTRUMENTS IN A SONG HE MADE RECENTLY BUT WHAT HE DID IS POSSIBLE IN A RECORDED PERFORMANCE BECAUSE HE SEPARATELY BEFOREHAND RECORDED HIMSELF PLAYING EACH INSTRUMENT AND THEY WERE THEN ALL MERGED TOGETHER IN A SINGLE SONG AS IF HE PLAYED ALL THE INSTRUMENTS AT THE SAME TIME, IN THE SAME WAY IT IS IMPOSSIBLE FOR ANYONE TO RENDER SPEECH AND MOVEMENTS WITH SUBSTANCE AND A MULTIFACETED STYLE LIVE OR FRESH (EVEN IF THEY HAVE DONE THE SAME BEFORE) BUT IT IS ONLY POSSIBLE FOR THIS SUBSTANCE AND MULTIFACETED STYLE COMBO TO BE RENDERED IF IT WAS FIRST RECORDED WITH THE MULTIFACETED STYLE INTEGRATED INTO THE SUBSTANCE AND RENDERED WITHOUT CONSCIOUSNESS OR ATTENTION NEEDED BY ROTE.
BECAUSE STYLE IS MERELY DYNAMICALLY CHANGING COMPLEX MODIFICATIONS TO THE SUBSTANCE OF THE SPEECH OR MOVEMENT, IT IS POSSIBLE TO PRERECORD THE COMPLEX MODIFICATIONS INTO THE SUBSTANCE OF THAT SPEECH OR MOTION EVEN IF IT IS NOT POSSIBLE TO PERFORM LIVE OR FRESH THAT SIMULTANEOUS COMBO.
ALL MATURE ACTORS PERFORM MOSTLY BY ROTE FROM THEIR MENTAL JUKEBOXES WHENEVER THEY SPEAK, MOVE, THINK AND PERCEIVE. ONLY WHEN THEY STRUGGLE TO LEARN A NEW ACT EG A MEDICAL STUDENT LEARNING HOW TO ACT LIKE A DOCTOR OR A NEW FATHER HOW TO ACT LIKE ONE (INSTEAD OF BE ONE) DO THEY PAINFULLY, ANXIOUSLY ALTERNATE BETWEEN THE SUBSTANCE AND STYLE OF THEIR NEW ACTS. THERE MAY BE SERIOUS (FORCEFUL) MENTAL BLOCKS OR PAST PSYCHOLOGICAL TRAUMA THAT MAY PREVENT THEM FROM SUCCESSSFULLY LEARNING THEIR NEW ACTS SUCH THAT THEY ARE DEVASTATED THEY DROP OUT OF MEDICAL SCHOOL OR RESORT TO DRINK. HOWEVER, ONCE THEY HAVE NEGOTIATED THE INITIAL HURDLES, THESE NEW ACTS BECOME STABLE AND INCORPORATED INTO THEIR MINDLESS MENTAL JUKEBOXES TO BE REELED OUT WITH PRACTICE WITH INCREASING SLICKNESS.
HOWEVER FREQUENT THEY MAY PRACTICE THEIR JUKEBOX ACTS, IT IS ALWAYS STRESSFUL, INDUCES RESTLESSNESS AND DISTRACTING, IT INCREASINGLY PERMANENTLY WARPS THEIR MINDS AND THEY STRUGGLE TO HIDE THEIR MANDATORY MENTAL DEMONS FROM THEMSELVES AND OTHERS.
Just as there may be superficially no significant difference in quality between a live and recorded musical performance, there may superficially be no difference whether a person speaks by jukebox or live but this is delusion because there are vital differences whether behavior is rote or live.
A Truly Daunting Prospect:
An important message Jesus conveyed is that when you leave here you have two alternative destinations: the furnace of fire and eternal punishment (and many find it) or one denarius or Age in heaven (few enter the narrow gate).
The Buddha said the vast majority of people run up and down this side, few make it to the safety of the farther shore and all ordinary people have suffering due to them that is as vast as an ocean and as long as an eternity; what suffering that remains for noble ones is like a few drops and even that is up to seven more lifetimes. He said the lifespan of the angels of a high divinity was one eon but instead if a being was to wander on (eternal habitations as Jesus spoke of), he would build up in one eon or Age a pile of skeleton as high as Mount Meru. The destination for wrong view is hell or the animal womb and the next occasion you return here as a human may be another eternity, humans did not arise on earth until the last million years or less.
Yet in the face of such a daunting prospect, ordinary people including those who think they are good and intelligent are lackadaisical, they continue to act falsely, hurtfully somnolently from their jukeboxes, think they have little to worry about when they have plenty, they are preoccupied with building and feathering their nests here, enjoying themselves sensually, pampering themselves, concerned with every ailment or blemish of their bodies when they should strive above all else to eliminate (not control) all stress, restlessness and distraction that beset them.
YOU WILL DO WELL TO REGULARLY REMIND YOURSELF THAT WHEN YOU DEPART HERE YOU ARE EITHER HEADING FOR ETERNAL PUNISHMENT (AND THE NEXT TIME YOU RETURN AS A MAN MAY BE EVEN AN ETERNITY LATER) OR ETERNAL LIFE (FEW FIND IT) AND IF YOU ARE REGULARLY BESET BY STRESS, RESTLESSNESS AND DISTRACTION YOU STRUGGLE TO SUPPRESS, YOU ARE HEADING FOR MORE AND EVEN WORSE AS YOU FINALLY LOSE CONTROL OVER THEM AND IF YOU THINK YOU ARE HEADED FOR HEAVEN YOU MAY BE FOOLISH.
Every fish you see may be a being equally valid as you waiting for its turn to become a human and the next opportunity for you to return as a man may be another eternity or more (you may not get a chance throughout the next age). If you think an ant is a worthless creature or biological robot born to support your existence here, remember Jesus said worthless men would cast to eternal punishment and if whatever you say, do, think or perceive is rehashed from memory, appears fresh but is rote standard stale, you too are a worthless robot and if you like to deceive, please, impress, dominate and intimidate others you can do it just as well as a fish or ant.
A lifetime of a century may seem very long to you but compared to an eternity you must then spend as beasts in eternal habitations, then as the Buddha said, faster than the man who can catch four falling arrows, faster than the sun and moon, faster than the angels, the life of a man comes to an end.
Many don’t even realize they are constantly heaping deadly karma for themselves they think they are doing good for themselves and others. For instance they gossip and inside they may look down on the other person’s job and they boast about better salaries and prospects elsewhere and encourage the other person to ‘look for fresh pastures’. If you are preaching discontent, telling others they are not OK, their jobs are not OK, if they experience suffering in their new jobs, you have karma to be repaid as suffering.
Pabbatopama Sutta: The Simile of the Mountains
King Pasenadi Kosala approached the Blessed One in the middle of the day. The Blessed One said to him: "Great king, where have you come from?"
"Just now, lord, I was engaged in the sort of royal affairs typical of head-anointed noble-warrior kings intoxicated with the intoxication of sovereignty, obsessed by greed for sensual pleasures, who have attained stable control in their country and who rule having conquered a great sphere of territory on earth."
"What do you think, great king? Suppose a trustworthy man was to come to you from the east and say: ' I saw a great mountain, as high as the clouds, coming this way, crushing all living beings [in its path], do whatever you think should be done.' Then a second man was from the west... a third man from the north... a fourth man from the south and say: ' I saw a great mountain, as high as the clouds, coming this way, crushing all living beings, do whatever you think should be done.' If, your majesty, such a great peril should arise, what should be done?" (This scenario may not be so far fetched as tsunami victims may testify and it may be everyone’s fate at the close of the Age)
"If, lord, such a great peril should arise, what else should be done but Dhamma-conduct, right conduct, skillful and meritorious deeds?"
"I inform you, great king, aging and death are rolling in on you. Great king, what should be done?"
"In this royal court there is abundant bullion stored in vaults, and with such wealth we are capable of buying off enemies when they come; but there is no use, no scope for them, when aging and death are rolling in.
"So it is, great king. As aging and death are rolling in on you, what else should be done but Dhamma-conduct, right conduct, skillful & meritorious deeds?"
That is what the Blessed One said. He further said this:
Like massive boulders,mountains pressing against the sky,moving in from all sides,crushing the four directions,so aging and death come rolling over living beings:noble warriors, priests, merchants,workers, outcastes & scavengers.They spare nothing. They trample everything.
Here elephant troops can hold no ground,nor can chariots or infantry,nor can a battle of wits or wealth win out.
So a wise person, seeing his own good,steadfast, secures confidencein the Buddha, Dhamma & Sangha.
One who practices the Dhammain thought, word & deed,receives praise here on earthand after death rejoices in heaven.
Kingship over men is meager compared with heavenly bliss but nirvana according to the Buddha below is even far higher than heavenly pleasure.
Then, the Blessed One on that occasion exclaimed:
Any sensual bliss in the world,any heavenly bliss,isn't worth one sixteenth-sixteenthof the bliss of the ending of craving.
Why It Must Be By Rote:
For one who sees correctly the different ways all ordinary people speak have syllables that are constantly stretched, only the extent varies. Whenever they stretch their syllables they also change speed and loudness.
How many people are intermittently aware, let alone that they are constantly aware that their syllables are not frequently but constantly stretched and there are constant speed and loudness changes in their speech?
On those occasions when you are not aware you are stretching your syllables, changing speed and loudness, on those occasions those changes must have been committed without awareness automatically by memory or rote.
And being consciously aware you are stretching your syllables or changing speed or loudness is only consciously listening to or observing your stretching your syllables or changing speed and loudness, not consciously stretching your syllables or consciously changing speed and loudness.
People largely do not hear themselves stretching their syllables, do not hear themselves changing speed and loudness, let alone that they mindfully attentively stretch their syllables, change speed and loudness on each and every occasion.
Because the process of fabrication or manufacturing of stretched syllables, changes of speed and loudness is unconscious (if I were to ask any actor to demonstrate exactly how they have just changed speed and loudness it is likely they will be dumbfounded whilst I can mindfully demonstrate to them how their speech would have sounded otherwise), they must be by memory or prerecorded needing no awareness to render automatically.
Even after I demonstrate to supposedly intelligent conscientious people how they have just changed speed, changed loudness and stretched their syllables, they continue irregardless, indicating they cannot help it, the way they speak is largely if not entirely beyond their control or they are robots, slaves rather than masters of how they speak. It is likely if not certain that not only can they not help it, they are not even aware the usual ways they speak have constant, not frequent changes in speed and loudness and stretched syllables.
Even with the most hi fidelity equipment, not all sounds that are present can be recorded or audible on playback. If there is a loud passage, the shuffling of musicians’ scorebooks, though present is not audible and only in quieter passages is the rustling audible.
In the same way, the apparently simultaneous speed, loudness changes and stretched syllables are not separate or discrete soundtracks but a single momentary complex fluctuation across the entire audio spectrum transforming continuously with time that is encoded in the actor’s jukebox to be decoded on demand and fed to the person’s mental amplifier and voice generator (loudspeaker) renders the person’s physically impossible combo of substance and multifaceted style.
It is impossible to render this substance and multifaceted style live or freshly formulated because there are too many things to pay attention to at once in order for anyone to do or say it. In order to say live this simultaneous combo of substance and style, one has to at every moment make sure one changes speed, loudness, stretched one’s syllables whilst remembering what one wants to say. In contrast, in a jukebox rendition, there is no attention necessary, one merely has to select the jukebox speech to say and the rest of the decoding, amplification and playback apparatus takes over to render without needing any attention just as a Hi Fi system needs no attention to play back the disk you selected.
SPEECH THAT HAS THE SIMULTANEOUS COMBO OF SUBSTANCE AND MULTIFACETED STYLE (WITH MULTILAYERED SPEED AND LOUDNESS CHANGES) CAN NEVER BE RENDERED LIVE BUT IT CAN ONLY BE RENDERED FROM A PREVIOUSLY ENCODED OR DUBBED MENTAL FILE TO BE DECODED ON DEMAND AND FED INTO THE PERSON’S VOCAL APPARATUS WITHOUT CONSCIOUSNESS BEING NECESSARY. IN FACT CONSCIOUSNESS IS A HINDRANCE TO ROTE PERFORMANCE AND WHEN THE ACTOR BECOMES SELF CONSCIOUS, HE MAY BECOME HESITANT AND HIS CHARADE OR ROTE SPEECH MAY UNRAVEL. THERE IS ACTUALLY TREMENDOUS BLIND FORCE OR WILL BY THE ACTOR TO COMMIT HIMSELF TO JUKEBOX BEHAVIOR.
UNTIL THEY BECOME MAD, NOBODY KNOWINGLY (OR ATTENTIVELY) HURTS OR KILLS HIMSELF (PHYSICALLY OR VERBALLY) AND BECAUSE ACTING HURTS ONESELF & IS ULTIMATELY FATAL, THEY MUST NOT ONLY BE UNABLE TO SEE THAT THEY ARE FAKING IT FROM THEIR JUKEBOXES BUT THEY MUST WILFULLY, FORCEFULLY REFUSE TO SEE EXACTLY HOW THEY ARE HURTING THEMSELVES AND EVEN INSIST THEY ARE BENEFITING THEMSELVES AND OTHERS WHICH IS WHY IT IS HARD, ALMOST IMPOSSIBLE FOR ACTORS TO SEE CLEARLY HOW THEY ARE CONSTANTLY STRETCHING SYLLABLES, CONSTANTLY FORCEFULLY CHANGING SPEED AND LOUDNESS.
An Indication Of Jukebox Behavior:
Each person has a typical way of pronouncing each word. For instance if you listen to different people pronouncing “white” or “black”, you will detect differences in which they pronounce that can be reduced to the characteristic ways in which they stretch the syllables, change speed and loudness. Yet the same person always pronounces the same word with little variation. This is indication that the individual ways they pronounce their words are their individual styles and that style is largely fixed in that person because it emanates by rote from that person’s mental jukebox.
In order to quit jukebox speech, you must stop the automated jukebox and then learn to speak live without style. Because the mental jukebox has been operating throughout life it has very powerful and difficult to stop habit energy and if you cannot stop this automatic jukebox rendering, you cannot replace it with live speaking.
Why Bother To Freshly Fake:
Because what they say or do and the styles with which they say or do are always false, designed to deceive, please, impress, intimidate or dominate others, it does not matter if the falsity is freshly baked for the occasion or if it is a rehash of past fakes, only when something said or done is true, in specific response to a current situation is it mandatory that it must be freshly baked each time. Instead it is more efficient to forcefully rehash it from memory without requiring consciousness because it is painful to be constantly aware one is fabricating and it takes extra effort compared with jukebox rehash to freshly fake each time. Although there will be occasions when you will be found wanting, for all intents and purposes, a rehash from memory is adequate to meet with demands.
Does it matter whether a fake (eg crying to manipulate your parents) is fresh or a copy of past fakes (because a rehash works just as well as a fresh fake)?
If it does not matter whether a fake is fresh or a rehash, why bother with the hassles of being innovative but just to rehash as you have done before?
And so it is that because actors are faking all the time to get along, others expect they also fake just like them, it is much more efficient to close one’s eyes to one’s conscience and dish it out without consciousness from the mental jukebox of one’s mind.
IF SOMETHING IS FAKED, IT DOES NOT MATTER IF IT IS FRESHLY FAKED OR STALE FROM MEMORY AND IT WOULD SAVE A LOT OF HASSLE IF IT IS MEMORIZED AND RENDERED BY ROTE BUT FOR SOMETHING TO BE GENUINE, IT MUST BE FRESHLY MADE EACH TIME.
IF YOU ARE TELLING A LIE IT WOULD BE MORE AWKWARD AND ANXIETY AROUSING IF YOU WERE TO TELL IT ATTENTIVELY EACH TIME AND IT WOULD BE MORE EFFICIENT IF YOU REMOVE AWARENESS FROM THE EQUATION AND RENDER IT BY ROTE FROM PAST EXPERIENCE. AND SO IT IS THAT ACTORS HAVE NOT JUST LEARNT TO LIE (ACTING IS LYING WITH BODY, FACE AND SPEECH) BUT TO BECOME FORCEFULLY AMNESIC TO THEIR SHENANIGANS AND EVEN FORCEFULLY INSIST TO THEMSELVES REPEATEDLY THAT WHAT THEY ARE DOING IS NOT HARMFUL BUT BENEFICIAL TO THEMSELVES AND OTHERS SUCH THAT THEY NOW FIRMLY BELIEVE THEIR FALSITY IS THEIR TRUTHFULNESS. THE RISK OF THIS SITUATION IS THAT YOU SURRENDER CONTROL OF YOUR LIES TO A MINDLESS FORCE DRIVEN JUKEBOX THAT CAN AND WILL BECOME CORRUPTED OR MAD.
ALWAYS PRERECORDED:
ORDINARY PEOPLE NEVER SPEAK OR MOVE LIVE OR FRESH EACH TIME BUT THEY SPEAK AND MOVE REMOTELY BY ROTE EXCEPT ON OCCASIONS WHEN THEY FREQUENTLY SWITCHING BETWEEN THE SUBSTANCE AND THE STYLE OF WHAT THEY WANT TO SAY OR DO WHEN THEY ARE LEARNING NEW ACTS.
WHAT THEY CALL PAYING ATTENTION TO THEIR SPEAKING AND MOVING IS PAYING (SELDOM CONSTANT OR STEADY BUT INTERMITTENT AND HAPHAZARD) ATTENTION TO THEIR SPEAKING AND MOVING BY ROTE, NOT PAYING ATTENTION TO SPEAK OR MOVE WHICH IS IMPOSSIBLE UNLESS THE SPEECH AND MOTION HAS NO STYLE.
WHEN THEY ARE RELATIVELY UNHARRASSED BY STRESS, RESTLESSNESS AND DISTRACTION THEY OBSERVE THEIR JUKEBOX SPEECH AND MOVEMENT CLOSER AND SO THEIR BEHAVIOR AND SPEECH APPEARS MORE APPROPRIATE TO FOOL THEMSELVES AND ONLOOKERS THAT IT IS A REALTIME RESPONSE. WHEN THEY ARE HARRASSED, THEY MONITOR THEIR SPEECH AND MOTION LESS AND THEY THEN DETERIORATE SO THAT IT BECOMES ODD OR INAPPROPRIATE.
ACTORS ONLY USE THE CONSCIOUSNESS THEY ARE ENDOWED WITH SPARINGLY TO MONITOR THEIR CURRENT SITUATION TO INITIATE WHAT THEY DEEM ARE APPROPRIATE RESPONSES, TO MONITOR THEIR ACTING IN PROGRESS, TO STOP AND REPLACE CURRENT WITH OTHER ACTS.
PERFORMANCE BY ROTE IS NEVER PASSIVE OR VOLUNTARY BUT THERE IS ALWAYS GREAT HARD TO RESIST MENTAL FORCE AND AUTOMATISM THAT IS FURTHER ENFORCED BY OTHERS ALL AROUND TO PERFORM BY ROTE AND THE ACTOR HAS NO CHOICE BECAUSE THE ONLY SPEECH AND BEHAVIOR HE KNOWS HAS SUBSTANCE AND STYLE AND THEY CANNOT BE PERFORMED LIVE. THIS IS THE REASON WHY IT IS SO HARD TO EXIT SUBSTANCE AND STYLE SPEECH EVEN THOUGH IT IS MIND WARPING STRESSFUL. FURTHER ACTORS HAVE AN AVERSION OR HAVE TURNED NOT JUST A BLIND EYE BUT A FORCEFUL BLIND EYE TO THEIR STRETCHING OF SYLLABLES AND SPEED AND LOUDNESS CHANGES IN FAVOR OF GETTING ALONG WITH OTHERS AND IT IS NO SURPRISE THAT THEY HAVE NOW COME TO FIRMLY BELIEVE THEIR STYLE IS GOOD FOR THEMSELVES AND OTHERS.
A Style Competition:
Quote: Somali Girls Wins Koran Recital For The First Time.
Comment: What they all read, the Koran is the same and it is only their styles that differ and it is a reflection of mankind’s obsession with style over substance that they organize Koran reading (or poetry reading) competitions that encourage competitors to outdo each other in how they read the Koran or their styles (according to the dictates of the judges who must also value style). All style is false, unnecessary and stressful and therefore even those who are religious are deluded.
It is not just here that mankind is fascinated with style but whatever they do, style is important, often more important than the substance of what they do or say.
How many people realize a Koran or poetry reading competition is entirely a style competition? Very often they are obsessed with the style component of their behavior and speech without realizing they do. In other words, their awareness of their preoccupation with style is like the tip of the iceberg, they are far more beholden to style instead of substance than they concede.
Another Style Competition:
'World's highest gig' at Everest
The band played to about 100 mountaineers (credit: Nepal News)
British musicians claim to have set the world record by playing a gig at the world's highest altitude - above Mount Everest's Base Camp.
Playing one’s gig at the highest point is merely the style of the performance that is for show to attract attention that is not without dangers or effort needed (considerable effort have to be made to organize and physically do it). For the sake of fame one is prepared to expose oneself and others to potential danger or going against oneself. Therefore this is another purely style competition that will serve as a challenge for others to try to foolishly surpass.
Gambling:
The wise never gamble which is to subject oneself to uncertainty with its inevitable doubts and risk in the hope of material gain of some sort be it wealth, your own life or for love.
If investment be it stocks, property or commodities even futures are a certainty, risk free it would not be a gamble but precisely because they are uncertain, contain risks in the name of quick or long term gains, they are forms of gambling that unsurprisingly are re-labeled as investment by pretentious people who are attached to their lives here and are kidding themselves they are not anxious about their lives, what they shall eat or what they shall drink, nor about their bodies, what they shall put on.
Jesus said you should not be anxious about your bodies and ordinary people are not only anxious about what they put on their bodies but they are very emotionally concerned about their bodies, their health and are alarmed by any indication of disease. It is the stressful ways that they choose to behave that abuses their bodies so that they are vulnerable to disease and as a result, no matter how they seek to remedy by lavishing all the care they can muster, they are doomed to failure and will return here because they are attached to their bodies and lives here. A person who does not act has ceased to unnecessarily harm his body, whatever harm that remains are fruits of the past and because he does not harm his body, his body will take care of itself without him being concerned.
IT IS ACTUALLY NOT UNBRIDLED PLEASURE BUT SUFFERING, WASTES PRODIGIOUS ENERGY, A FORM OF ROTE BEHAVIOR THAT INTENSIFIES, BECOMES MORE COMPELLING WITH REINFORCING PRACTICE THAT CAN REACH MADDENING PROPORTIONS TO BE CONSTANTLY ANXIOUS ABOUT YOUR LIFE, WHAT YOU SHALL EAT OR DRINK, ABOUT YOUR BODY AND WHAT YOU SHALL WEAR BUT IT IS INCOMPARABLE RELEASE, YOU ENJOY LIFE BETTER IF YOU ARE WITHOUT CONCERNS FOR YOUR LIFE HERE AND THE TRUTH IS THAT IT IS BEYOND MOST ORDINARY PEOPLE TO ACHIEVE THAT EVEN IF THEY WANTED BECAUSE THEY ARE FORCEFUL PEOPLE DRIVEN BY EMOTIONS BEYOND THEIR CONTROL THAT DO NOT PERMIT THEM TO PRACTICE WHAT JESUS SAID. LIKE HEROIN ADDICTS, THEY ARE ALREADY HOOKED ON THEIR OBSESSIONS WITH THEIR LIVES HERE NOT REALIZING THEY ARE CONSIGNING THEMSELVES TO ETERNAL PUNISHMENT EVEN AS THEY MASOCHISTICALLY PUNISH THEMSELVES HERE AND SET BAD EXAMPLES FOR OTHERS.
The Rights & Obligations Of Speech:
Everyone has the right to say what he wants to say but if what you say is false or deceptive, you force the listener to entertain your falsity (delusion) or deceptiveness and if that is suffering to fabricate and suffering to listen to and leads them astray, you have debts.
Everyone has the right to speak in whichever way he wants but if the way you speak have constant forcefulness, forcefully stretched syllables, constant forceful changes in speed and loudness you are forcing yourself and your listener to entertain these properties whilst he processes the substance of your message and if that is stressful, induces restlessness and distracts, you have debts never merit.
Indiscriminate & Forceful:
Whatever is across board or indiscriminate is blind and false. Force is always blind and indiscriminate and therefore what is forceful or driven by force is also blind.
For one who perceives correctly, stretching of syllables is never selective but it is indiscriminate, every syllable the actor utters is forcefully stretched to greater or lesser extent (and it is totally unnecessary because there are no benefits but it consumes prodigious energy and stresses the speaker and listener). At more subdued levels, undiscerning people who turn a forcible blind eye to their stretching of syllables may fail to appreciate there is appreciable excess unnecessary force and stretching.
Similarly, actors always (unnecessarily) accelerate or decelerate (change speed) through every syllable they stretch, at milder levels the undiscerning may not realize there are accompanying appreciable speed and loudness changes.
Because these stretched syllables, speed and loudness changes are indiscriminate and backed by force they are blind and false. No matter how true or genuine you think your message (eg I love you) might me, if the way it is said is false, stresses yourself and the listener, it is rendered completely harmful and false. That may be the reason why Jesus may have said somewhere that he did not accept the praise of men.
All actors have urges that drive them; they have urges to get up, to smile, to go out, to sing, to dance, to say or do something or to move or speak without reason eg fidget, drum their fingers, shake their legs (restlessness). Urge is forceful and whenever you have urges you are blindly driven by force and doing something against your true wishes.
Silly & Foolish:
Isn’t it silly and foolish for a blind man to comment on the visual aspects of things he cannot see? The only reason a person does that is because he is deluded, he thinks he can see when he can’t or he thinks despite his handicap he is nevertheless qualified. He is not mad yet but in due course he will be because he has false logic.
In the same way, isn’t it silly and foolish that people who are not particularly committed to truth, who are wracked by doubt and uncertainty even over trivial matters, who cannot see that there are constant unnecessary changes in speed and loudness/forcefulness in the way they speak and move and how this is the inalienable root to the restlessness they all suffer from, who cannot tell why such statements like “A saree is anything but a square piece of cloth” and “Everyone would like to believe there is an all powerful and knowing God” are false, who are capable of telling lies and giving excuses without feeling guilty should consider themselves fit or competent judges of what is true and false, holy and not, should feel adamantly or forcefully they are competent to decide who can or cannot be the counselor that Jesus described. Not that they can help otherwise but they are being emotionally irrationally antagonistic, foolishly offering their heads on the chopping board and this is but one incident in an endless continuous stream of folly. Because force is blind and whatever is backed by force is also blind or false, therefore their resentment or antagonism that is backed by emotion or force is also ALWAYS false and they do not realize they are treading on thin ice. Irregardless of whether they are right or wrong, anyone who emotionally antagonizes or raises issues must suffer mental turmoil because he is applying harmful force on his mind in the process. Whilst in the past I would be lying if I said I was not emotionally hurt, now just as water does not adhere to a lotus flower, I am effortlessly unperturbed by barbs thrown at me, something that pretentious others cannot experience even if they want because their minds are slaves to, not masters of their mental force.
Isn’t it amazing that throughout mankind’s history they were all practicing constant unnecessary changes in speed and forcefulness when it should be possible then as now to practice constancy in speed and forcefulness, no one perceived that they were doing so and how this is the only inalienable source of the restlessness that they all suffer from? Even when it has been pointed to them today, they still struggle to perceive that they are still constantly unnecessarily changing in speed and forcefulness.
Trembling & Shaking:
It is impossible for a Buddha or God to tremble or shake to any provocation and I can attest nowadays I do not tremble and shake to provocations as I did before.
Trembling and shaking is not normal and the fact that anybody trembles and shakes signifies he harbors mental forces and it is the violent uncontrollable conflict between these two that is causing his uncontrollable shaking. Whatever you like to think these mental forces are warping and degrading your mind and will destroy it and you in due course and the fact that you tremble and shake indicates you are not master of yourself, your mind is not unmoving like a mountain and you are in danger of serious future suffering if you don’t take steps to eradicate force in your mind by regular calming meditation and stepwise reduction of your forcefulness in speech and motion.
If you must smile like the girl above, it is impossible that you should not tremble and shake and if you applaud and appreciate her smiles, you will join her in her suffering in future lives.
(Seven Stations of Consciousness)
The Buddha: "Ananda, there are seven stations of consciousness and two spheres.
"There are beings with diversity of body and perception (sight, sound, smell, touch, taste and thought), such as human beings, some devas (angels), and some beings in the lower realms (hell, animal and ghost). This is the first station of consciousness.
"There are beings with diversity of body and singularity of perception, such as the devas (angels) of the Brahma hosts generated by the first [jhana]. This is the second station of consciousness.
"There are beings with singularity of body and diversity of perception, such as the Radiant Devas. This is the third station of consciousness.
"There are beings with a singularity of body and a singularity of perception, such as the Beautifully Lustrous Devas. This is the fourth station of consciousness.
"There are beings who with the complete transcending of perceptions of form, with the disappearance of perceptions of resistance and not heeding perceptions of diversity, thinking, 'Infinite space,' arrive at the sphere (or realm) of the infinitude of space. This is the fifth station of consciousness.
"There are beings who with the complete transcending of the sphere of the infinitude of space, thinking, 'Infinite consciousness,' arrive at the sphere of the infinitude of consciousness. This is the sixth station of consciousness.
"There are beings who, with the complete transcending of the sphere of the infinitude of consciousness, thinking, 'There is nothing,' arrive at the sphere of nothingness. This is the seventh station of consciousness.
"There are sphere of non-percipient beings and the sphere of neither perception nor non-perception. [These are the two spheres.]
"Now, as for the first station of consciousness -- beings with diversity of body and perception, such as human beings, some devas, and some beings in the lower realms: If one discerns its origination, its passing away, its allure, drawbacks and discerns or can see the escape from it, would it be proper for one discerning to take delight there?"
"No, lord."
(Similarly with each of the remaining stations of consciousness and two spheres.)
"Ananda, when knowing -- the origination, passing away, allure, drawbacks of -- and escape from -- these seven stations of consciousness and two spheres, a monk is release through lack of clinging & discernment.
(Eight Emancipations)
"Ananda, there are these eight emancipations.
"Possessed of form, one sees forms. This is the first emancipation.
"Not percipient of form internally, one sees forms externally. This is the second emancipation.
"One is intent only on the beautiful. This is the third emancipation (in heaven there is only the visually beautiful, not ugliness or demonic appearances).
"With the complete transcending of perceptions of [physical] form, with the disappearance of perceptions of resistance, and not heeding perceptions of diversity, thinking, 'Infinite space,' one enters the sphere of the infinitude of space. This is the fourth emancipation.
"With the complete transcending of the sphere of the infinitude of space, thinking, 'Infinite consciousness,' one enters the sphere of the infinitude of consciousness. This is the fifth emancipation.
"With the transcending of the sphere of the infinitude of consciousness, thinking, 'There is nothing,' one enters the sphere of nothingness. This is the sixth emancipation.
"With the complete transcending of the sphere of nothingness, one enters the sphere of neither perception nor non-perception. This is the seventh emancipation.
"With the complete transcending of the sphere of neither perception nor non-perception, one enters the cessation of perception and feeling. This is the eighth emancipation.
"Now, when a monk attains these eight emancipations in forward and reverse order, when he attains and emerges from them wherever & however he wants, when through the ending of the mental fermentations he enters the fermentation-free release of awareness and discernment, having directly known it and realized it, he is said to be a monk released in both ways. And as for another release in both ways, higher or more sublime, there is none."