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.

A Definition Of A Stretched Syllable:

An Objective Definition Of A Stretched Syllable:
Any syllable that has sufficient duration to permit audible speed (or pitch) and loudness changes to occur in it is stretched (never by itself because effort and energy is always needed for it to stretch but it is stretched unconsciously by rote by the actor) and because all the syllables ordinary people utter have discernible speed and loudness changes that vary from subtle (musical) to gross (stabbing or explosive) they are all classified as stretched.
I do not need a working definition as a guide because I can perceive with no difficulty even subtle stretches of syllables and minute speed and loudness changes. It is relatively easy for me to provide a working definition of what a stretched syllable is but it is another far more difficult thing for people to use this working definition to pay attention to their syllables in order to detect stretching and even when they do, they may still fail to perceive fairly gross stretching of syllables and changes in speed and loudness in themselves and others.
The stretching of syllables is not something subjective arbitrarily determined by me to deprecate others but it is real and can be objectively and indisputably defined.
SYLLABLES MAY BE DEFINED AS PACKETS OF SOUND WITH NARROW SPECTRA OF FREQUENCIES THAT WHEN STRUNG TOGETHER OR ALONE PRODUCE WORDS WITH ASSIGNED MEANING FOR THE PURPOSE OF COMMUNICATING A VERBAL MESSAGE.
ANY SYLLABLE THAT HAS ENOUGH DURATION TO PERMIT AUDIBLE LOUDNESS OR SPEED CHANGES TO OCCUR WITHIN IT IS TO BE CONSIDERED STRETCHED. ONLY A SYLLABLE THAT IS OF A DURATION THAT LEAVES NO ROOM FOR SPEED AND LOUDNESS CHANGES IS PRISTINE OR UNSTRETCHED. NO MATTER HOW BRIEF A SYLLABLE UTTERED HAS BEEN UTTERED, IF IT HAS SUFFICIENT DURATION TO PERMIT LOUDNESS AND SPEED CHANGES (INCREASE OR DECREASE), IF THERE ARE AUDIBLE SPEED AND LOUDNESS CHANGES, IT HAS BEEN STRETCHED. SPEED CHANGES WITHIN A SYLLABLE IS HEARD AS A CHANGE IN PITCH OR FREQUENCY, INCREASED SPEED INCREASES THE PITCH (SHRILLNESS) WHILST DECREASING SPEED LOWERS THE PITCH (MORE BASSY).
(It is possible to say ‘q’ without stretching or changing speed or loudness but people have never heard it and they all say ‘q’ thus “cueee” with a musical/gradual or stabbing/rapid acceleration of speed and loudness from start to finish that is only possible because the syllable has been stretched. Similarly people never say ‘p’ but they always say ‘pee’, they never say ‘t’ but they always say ‘tee’ mindlessly that are not only stretched but there are audible speed or pitch and loudness changes to those who are discerning)
Because I am able to speak without stretching syllables or changing speed I know with certainty that whenever I consciously stretch my syllables, change speed and loudness in imitation of the way all ordinary people speak, I have to apply appreciable mental force on my mind and almost immediately I begin to experience mental pain or stress, restlessness and distraction building up and if I did not desist, I would soon be seized by stress, restlessness and distraction that I cannot shake off and thus seized I am forced to continue helplessly speaking with constantly stretched syllables, constant changes in speed and loudness. Once this state has been reached, the only way to extricate myself is to isolate myself, meditate until calm clarity returns.
Only Three Variables In Speech:
There are only three variables possible in speech and they are the length of syllables, its speed and loudness. Apart from these three variables there are no other variables that can be manipulated by actors to be presented as the style of the speech.
Syllables can only be stretched to variable extents.
Speed and loudness can be varied within a stretched syllable, between syllables and between words. Speed change within a syllable is heard as a pitch or frequency change that can be perceived by those who understand what is meant by pitch or frequency change.
The audible style of speech is nothing more than how these three variables (length of syllables, its speed and loudness) are manipulated in an individually characteristic way that can only come about because it is from memory or rote.
The visual style of speech is the sum of all the constantly changing in speed and force facial, bodily and hand movements that accompany jukebox speech never in a haphazard but in a predictable manner. If you are familiar with a rote actor, you can predict how he will regularly jerk his head, grimace, raise or lower his eyebrows etc as he emphasizes what he says.
All style in speech or motion is false, for show and unnecessary stress and issues by rote from one’s mental jukebox. Because style is false, only for show, why bother to freshly fake each time but instead it is more efficient and consistent to commit your style to memory and render it each time automatically mindlessly without need for attention.
Two Dangers Of Robotic Behavior:
Although acting from one’s mental jukebox may be so appropriate and realistic it fools everyone including the actor himself that they are dealing with a live person when they are dealing with a very resourceful and cunning biological robot, actors have no direct only indirect control over all playback from their mental jukeboxes. Once they have initiated playback from their jukeboxes, blind force of varying strength takes over to render the desired stylish speech or motion. At any time the actor can intervene to order a sequence of rote speech or motion stopped to be replaced by a different rote sequence but the jukebox may not respond or respond with a lag that can prove dangerous even fatal in some situations.
Actors are only responsible for recording tracks that they would like to be played in the future, they may edit their recorded tracks by regular practice in the modified ways but once recorded, the speech and behavior will be played back as recorded inflexibly.
Because rote behavior from a jukebox is blindly driven by force, it may be hard or impossible to stop especially if on that occasion it is powered by excessive force. Behavior that is truly attentively live is not forced and can be stopped instantly. For instance, if one saw a nail one can instantly knowingly not put one’s foot forward or change its path in midair to avoid the nail. On the other hand if one was walking too forcefully by rote, even though one has seen the nail, it may be too late to order the jukebox to stop or after an order to evade has been issued, there may be a lag in response from the jukebox that makes it too late to stop one’s foot from stepping on the nail.
Because rote speech and behavior are driven by blind force once they have been activated, with frequent practice there develops a strong urge to activate them for no or silly reasons. All longstanding actors have mad urges to do or say certain things they know are inappropriate, may make a fool of themselves but they cannot help it. They have this dread that they may say or do certain socially inappropriate things they have strong irresistible urge to activate. By contrast, a person who always performs live has no recorded forceful sequences that they must struggle to control its expression.
ACTORS ONLY HAVE INDIRECT CONTROL OF JUKEBOX BEHAVIOR ONCE TRIGGERED AND IN CERTAIN SITUATIONS THIS INDIRECT CONTROL MAY PROVE DISASTROUS. BECAUSE JUKEBOX BEHAVIOR AND SPEECH IS DRIVEN BY FORCE AND ONCE INITIATED THERE IS FORCEFUL URGE TO COMPLETE THE COURSE AS RECORDED, WITH REPEATED PRACTICE THERE DEVELOP DIFFICULT TO RESIST URGE TO RENDER THEM INAPPROPRIATELY & EXPLOSIVELY. THE EXISTENCE OF SUCH POWERFUL URGES TO DO OR SAY THINGS INAPPROPRIATELY DISTRESSES ACTORS AND UNDERMINES THEIR CONFIDENCE IN THEMSELVES.
False In More Than One Way:
Quote: We all like to believe that there is an all knowing, all powerful force looking after us. No, I am not talking about organized religion and God. I’m talking about the widespread belief the Federal Reserve Board controls interest rates and inflation and is looking after each and everyone of us.
Comment: The fact that he corrected himself (that he was not talking about God or organized religion) indicates he knows his statement is (intentionally) misleading. You think (and he likes you to think) that he is talking about God but he is referring to something else and that is mischief. You might think it is funny to mislead others but when you are roasting in a furnace it will not be so funny (but it may be funny to fellow goats from the sidelines). A person who lets his yes be yes only, anything more comes from evil does not intentionally mislead others but he goes straight to the point.
Whether he is referring to God or the Federal Reserve, the statement that we all like to believe there is an all knowing, all powerful force looking after us is false because not everyone likes to believe so.
If all forces are blind and harmful, humans and creatures in this world are all forceful but God is not and God is not a force then by referring to God as a force he is in danger of misrepresenting God so that others may come to believe like him that God is a force for good.
Just as he might think he speaks the truth when he is trampling the truth, even so ordinary people like to think they are very genuine alive people when they are little more than robots, voyeurs acting no more than disk jockeys operating jukeboxes.
Not only is the way people speak and move always stereotyped by rote but the substance or what they speak and do can be ascertained to be also a rote rehash eg they like to make sweeping statements like everybody likes to believe blah blah blah or they habitually make statements that intentionally falsely suggest one thing when they mean another because they enjoy misleading others.
It is not that truth is hard or need effort to see or understand but because truth is un-deceptive it is plain and needs no effort to see and understand but instead actors forcefully have no eye for the truth and this force must be extinguished before they can see truth. It is not that falsehood can be seen and understood but because falsehood is deceptive and false it is not truly possible and mad to see and understand and effort must always be made and force used to see and understand falsehood but because people have forced themselves so long so well to fake as if they can see and understand falsehood that they are now forced to see falsehood as true. Similarly it is not that rote jukebox behavior is hard or impossible to tell or see but actors have no eyes to see. They have acted so well so often from their jukeboxes, accepted what is jukebox behavior from themselves and others as true so well so often that now they cannot tell what jukebox or rote behavior is when it cannot be mistaken for live behavior.
What I say above is in line with what Jesus said: This is why I speak to them in parables, because seeing they do not see, and hearing they do not hear, nor do they understand. With them indeed is fulfilled the prophecy of Isaiah which says: 'You shall indeed hear but never understand, and you shall indeed see but never perceive. For this people's heart has grown dull, and their ears are heavy of hearing, and their eyes they have closed, lest they should perceive with their eyes, and hear with their ears, and understand with their heart, and turn for me to heal them.' But blessed are your eyes, for they see, and your ears, for they hear. Truly, I say to you, many prophets and righteous men longed to see what you see, and did not see it, and to hear what you hear, and did not hear it.
Crossing The Pond:
Quote: American cars don’t cross the pond well.
Comment: The statement is referring to the notion that American cars are usually not well received in Europe on the other side of the Atlantic Ocean disrespectfully referred to as a pond.
By no stretch of the imagination is the Atlantic Ocean anything closely resembling a pond and to call it a pond is false to reflect an arrogant or cavalier approach towards reality, encouraging others to follow suit. Far from harmless fun, it may have deadly karmic consequences.
Investment Is Suffering:
No matter how anyone might deny investment is gambling, because investment is greed for (unrighteous) gain (without need for productive work) with fear for loss that can come very suddenly and unexpectedly, few investors are indifferent but they tend to anxiously look over, checking their investments frequently and each time they do so they are conditioning themselves, reinforcing themselves to emotionally worry, to entertain doubt and uncertainty that is never static but grow stronger, easier to arose and hard to shake off and spill over to other areas of their lives.
However fabulous the material rewards from investing, they are scant ephemeral rewards for the worry, doubts and uncertainty that can reach agonizing levels and will accompany his mind when he departs this world to future states of woe.
In order for everyone to invest in several houses in the name of asset appreciation and rental collection instead of buying only one for each to live in, more unnecessary environment damage must occur than otherwise and you have karmic debts for pushing the earth to ecological disaster.
Yoga Is Practicing Concern For The Body:
Quote: Yoga allows energy to flow through the body, letting the organs function fully and at optimal capacity.
Comment: Such a statement encourages others to be concerned with their bodies contrary to what Jesus said not to be concerned for your body, champions yoga & makes it appear impressive and this will entice those who are anxious, attached to their bodies to embrace it.
Such statements usually have vested interest, but the person espousing them must forcefully believe what he says to a substantial degree and if it is false or imagined, yoga does not let energy flow throughout the body letting organs function fully then it is make believe so real the person imagines it does, it is courting future insanity and by misleading others you have karmic debt.
The Buddha never spoke of how wonderful yoga or meditation is that it let energy flow and organs to function fully and to say so may be fanciful that is never harmless but courting future madness. Further it is fostering attachment to one’s bodies, to the preservation of one’s organs that is against Jesus’ advice not to be concerned about your body.
It is the height of delusion that people should tout a concept that they must stretch their imagination to visualize that yoga allows energy to flow through the body letting organs function fully when they fail to see what needs no stretching of their imagination that they are constantly forcefully stretching their syllables, constantly changing speed and loudness and this is the only inalienable totally avoidable cause of the stress, restlessness and distraction that beset them that they seek to keep at bay by practicing yoga.
Anyone who acts cannot obey Jesus’ advice that they should not care about their bodies because their forcefulness, their speech with unnecessary constant stretching of syllables, changes of speed and loudness are creating insoluble stress, restlessness and distraction that is harming and killing them. It is impossible that anyone who is constantly stressing himself should be truly without concern for his body but he should be inconsolably alarmed and to force himself not to be concerned is a form of denial bringing further stress. Only a person who does not forcefully act, does not induce insoluble stress and restlessness in himself have no reason to be concerned about his body because he never knowingly harms it.
IF YOU WERE TO DENY YOURSELF, CARRY YOUR CROSS AND GO WITH JESUS YOU WOULD NOT PREOCCUPY WITH YOGA ALLOWING ENERGY TO FLOW FREELY THROUGH YOUR BODY LETTING YOUR ORGANS TO FUNCTION FULLY AND AT OPTIMAL CAPACITY.
DO NOT CONFUSE YOGA WITH MEDITATION THAT THE BUDDHA DESCRIBED WHICH IS DIRECTED AT SETTING ASIDE GREED AND DISTRESS WITH REGARD TO THE WORLD, BRINGING MINDFULNESS TO THE FORE, REPLACING DISTRESS WITH BLISS THAT IS NOT OF THE FLESH AND PASSIVELY PUTTING A STOP TO ALL DISCURSIVE THINKING.
Silliness & Foolishness:
Silliness is not to be mistaken for foolishness.
When you do or say something that is illogical or irrational, you are being silly and because people (forcefully, emotionally) believe the silly things they say or do are meaningful they are reinforcing forceful silliness in them that will culminate in mad logic.
When you say or do things that harm yourself and others or causes suffering (eg become angry) you are being foolish because you are creating suffering not only for the moment but you are creating karmic burdens for future suffering.
A Substance Competition:
Just as there are style competitions, there can be substance competitions that are infinitely more beneficial compared to style competitions.
For instance there can be substance competitions where contestants compete to interpret the meaning of what is said in the scriptures with the interpretation that is most illuminating winning.
A Mad Or Involuntary Lie:
According to BBC, when praise was lavished recently on the suit he wore, Bush quipped that God told him to wear his suit. Later he added that he was merely joking.
This suggests he is aware of the furor he created by saying God told him to invade Iraq. This suggests that rather than hallucinating or hearing voices, he may be deliberately lying when he said God told him to invade Iraq.
Because telling lies is forceful and reinforcing, a person who has repeatedly told lies in time develop an urge that may become hard to resist, to tell lies just for the sake of telling lies. He possibly think God doesn’t mind if he told others God told him to invade Iraq and this lie may benefit him because it would exonerate him from the subsequent debacle if some people can be convinced it was not him but God who has responsible for his decisions.
BUSH MAY NOT HAVE BEEN HALLUCINATING BUT HE MAY HAVE TOLD A BLATANT LIE THAT GOD TOLD HIM TO INVADE IRAQ BECAUSE AFTER FORCEFULLY TELLING SO MANY LIES ALL HIS LIFE, HE HAS A DIFFICULT TO RESIST A MAD URGE TO DO SO. FURTHER IT MAY BENEFIT HIM TO SAY SO AND HE MAY THINK GOD PROBABLY WOULD NOT MIND BECAUSE THE INVASION WAS IN A GOOD CAUSE.
All people who are actors are already owners of significant troubling mad stress, mad restlessness, mad distraction, mad logic, mad perception (hallucination), mad rote speech and behavior, mad emotions and mad violence and they are only frequently struggling to suppress them to enable them to function with a semblance of normality not realizing that what is forcibly controlled is subject to intermittent loss of control that culminates in final total loss of control or florid madness.
Why Practice?
All athletes practice regularly, even when they become expert in their fields.
In the same way musicians, actors, doctors and surgeons practice even when they are expert musicians and actors too refresh and improve their inherently contrived unstable substance and style skills.
The reason they practice is not because they are mad but they are desirous of recording even more perfectly for easier consistent recall their already slick jukebox recordings. If they did not practice, the complex amalgam of substance and style will be less sharp and slick. This is an indication that all rote speech and motions are unstable, contrived and must be held together by force and forceful memorization.
Whenever actors practice what they want to say or do eg recite a complex passage or hit a golf ball, they are practicing to say or do them automatically without need for thinking, without needing to be conscious or doing or saying them blindly.
How To Get To Heaven:
Puggala Sutta: Persons (excerpt)
The Buddha: "Here, bhikkhus, a certain person abides with his heart imbued with loving-kindness extending over one quarter, likewise the second quarter, likewise the third quarter, likewise the fourth quarter, and so above, below, around, and everywhere, and to all as to himself; he abides with his heart abundant, exalted, measureless in loving-kindness, without hostility or ill-will, extending over the all-encompassing world.
"He finds gratification in that, finds it desirable and looks to it for his well-being; steady and resolute thereon, he abides much in it, and if he dies without losing it (Jesus said he who endures till the end will be saved), he reappears among the gods of a High Divinity's retinue.
"Now the gods of a High Divinity's retinue have a life-span of one aeon. An ordinary person [who has not attained the Noble Eightfold Path] stays there for his life-span; but after he has used up the whole life-span enjoyed by those gods, he leaves it all, and [according to what his past deeds may have been] he may go down even to hell or to an animal womb or to the ghost realm. But one who has given ear to the Perfect One stays there [in that heaven] for his life-span and after that he has used up the whole life span enjoyed by those gods, he eventually attains complete extinction of lust, hate and delusion in that same kind of heavenly existence.
"It is this that distinguishes, that differentiates, the wise hearer who is ennobled [by attainment of the Noble Path] from the unwise ordinary man, when, that is to say, there is a destination for reappearance [after death, but an Arahant has made an end of birth].
A Heap of Bones
This was said by the Lord....
"Bhikkhus, the skeletons of a single person, running on and wandering in samsara for an aeon (or Age, Jesus spoke of this Age, the close of the Age and the Age to come), would make a heap of bones, a quantity of bones as large as this Mount Vepulla, if there were someone to collect them and if the collection were not destroyed."
The bones of a single personAccumulated in a single aeonWould make a heap like a mountain -- So said the Great Sage.
He declared it to beAs great as Mount VepullaTo the north of Vulture's PeakIn the hill-fort of Magadha.
But when one sees with perfect wisdomThe four noble truths as they are -- Suffering, the origin of suffering,The overcoming of suffering,And the noble eightfold pathLeading to relief from suffering --
Having merely run onSeven times at the most,By destroying all fettersOne makes an end of suffering.

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."