How people perceive and turn their perception into memories
A good analogy of how consciousness perceives is the use of a strobe light. Consciousness perceives physically in five different ways that we call the five senses. We'll talk about the sense of seeing because it's a good representative of the others. 2. The sense of seeing, as do all the other senses, uses synchronization of vibration in order to see. By that I mean all objects are actually vibrations, physically speaking. They are not any kind of permanently solid matter. All is vibration, and the vibration appears to our senses as something solid. 3. Synchronization of vibration means our consciousness also vibrates. When we synchronize the vibration of our consciousness with the vibration of a physical object, then the two vibrations have the same speed, and we see the object. Everything that we see is vibrating at the same speed as some part of our conscious mind, and everything we don't see is vibrating at a different speed. 4. When I'm inside a room looking at the objects, my consciousness vibrates at the same speed as all the objects I see. Each object has its own unique speed of vibration; that's what separates objects from each other. It's obvious then that the mind can vibrate parts of itself at many different speeds, matching the vibration of each object, enabling us to see many objects at the same time. The mind is unlimited. It can parcel itself into as many different parts as are needed to see as many objects as possible that it wants to see.
Part 2
5. Now, a strobe light can be used to demonstrate the mechanism of seeing. A good way to do it is to shine the light on the moving blade of a fan. 6. But first, let me go into more details about the movement of fan blades, so that those who have never seen a strobe light 'freeze' a fan blade can understand how this works. 7. Imagine a medium-sized room fan in front of you. First of all, it's unplugged from electricity, so there's no danger of the blade rotating and injuring your finger (besides, you're doing this only in your imagination). 8. What you're going to do is remove the front cover and rotate the blade with your finger. 9. Place your finger on one of the blades and gently, without removing your finger, rotate the blade a full circle. Start at the top position (the 12 o'clock position) and rotate the blade clockwise through the 3 o'clock, then the 6 o'clock, then the 9 o'clock and back to the top position. You've rotated the blade one full circle. 10. If you did this gently but quickly, taking only one second, then you've rotated the blade one full circle in one second. A circle is also called a cycle. So you've rotated it at a speed of one cycle per second. A circle or cycle is also called a revolution by modern scientists. Not the revolution of war but like the revolution of the earth around the sun. So that speed is also called one rev per second.
Part 3
11. A strobe light is a type of light that turns on and off quickly. Scientists call that pulsing, like the pulse of your heartbeat. So it's a pulsing light. If you turn your room light on and then turn it off quickly, you're pulsing it. If you do this in one second then the pulse speed is one pulse per second. That means in one second the light went from off to on and back to off again, which is a full cycle, or a full pulse. 12. So when you rotate the fan blade a full circle in one second and your friend turns the room light on and off in one second, both of you are completing a cycle in one second. You completed a cycle of rotating the blade in one second, and your friend completed the cycle of pulsing the light in one second. 13. The first action represents material objects, and the latter represents the sense of sight, which is part of our consciousness. I'll try and explain further. We'll come back to the fan blade because it's a good example to use. 14. For now lets replace the fan blade with a white ball stuck to the end of a thin black stick. We make the stick thin and black so we don't see it. We want to concentrate only on the white ball. 15. You are hiding behind a black screen, and everything in the room is black, so that this white ball is the most visible thing. Instead of using the room light, we leave it turned off. We use a flashlight instead, directed straight at the ball. 16. You're going to move the ball back and forth, that is, hide it behind the screen, then expose it again, once every second. So when you begin the ball can be seen, then you pull it back behind the screen, and at the end you expose it again. That's one full cycle. 17. At the same time your friend is turning the flashlight on and off in sync with your movement of the ball, such that when you pull the ball and hide it, he turns the light off, and when you expose it again, he turns the flash light on. 18. When the flashlight is off, there's total darkness; when it's on, the ball can be seen.
Part 4
19. The audiences watching are going to see it like this: If your movements are perfectly synchronized, then they will see the ball in the same place every time the light is on, and see nothing otherwise. 20. If you didn't tell them what you were doing, and ask them what they saw, they'll say they saw a flashlight shining on a white ball, and the ball was IN THE SAME PLACE ALL THE TIME, NOT MOVING. 21. The reason is because you moved the ball only in total darkness, and exposed it again only when the light came on. So they have no way of knowing that the ball disappeared every time the room turned dark. To them, the ball was perfectly still, in exactly the same position all the time, and the light shone on it on and off. 22. Someone (or your mind) may say that perhaps they saw the ball in slightly different positions now and then, because being 'human and imperfect', you couldn't place the ball in exactly the same spot every time, and the eye can pick up the slight difference. Well, imagine that an extremely accurate machine was used to move the ball, placing it in the exact same spot every time. We can take the electric fan to be such an accurate machine, as you'll soon see. 24. Also imagine that another accurate machine was used to pulse the flashlight on and off, such that the two movements were perfectly synchronized. Such an accurate pulsing machine is a strobe light, or what scientists call a stroboscope.
Part 5
25. So let's go back to the fan blade and strobe light. A strobe light can pulse very fast. On and off in 1 second is nothing to it. It can pulse on and off a thousand times a second, or even faster. 26. So too can a fan blade move much faster than 1 cycle per second. It can rotate 1,000 times per second if it's a very fast fan. Now, put a spot of fluorescent white paint about the size of a penny on one of the blades. Before that make sure that all the blades and the rest of the fan are painted black, so that when you shine a light on it all you see is this white spot of paint. 27. I think you can now see how the spot of paint represents the white ball in the previous experiment, and how the strobe light represents a fast and accurately operated flashlight. We essentially have the same experiment, but we've made it fast and accurate, and we're able to synchronize the movements perfectly. 28. Strobe lights have adjustable pulse speeds, so set the on/off speed at 1,000 pulses per second. Then set the fan speed at 1,000 rotations per second, or 1,000 revs/sec. Make the room totally dark and turn the fan and the strobe on, and watch what you see. 29. The white spot of paint on the blade passes the top position 1,000 times every second. The strobe is aimed right at it, and turns on 1,000 times every second in perfect synchrony. That means whenever the fast-rotating white spot is not in the top position, all is in darkness. As soon as it reaches the top position, the strobe light lights it up. The light relentlessly catches it every time it passes the top position.
Part 6
30. Whatcdo you see?
31. What do you see? First of all, our eyes cannot follow movement going that fast without help. If the strobe was off and the room light was on, the movement of the fan blade would just be a blur, making it impossible to see the individual blades, let alone the outline of the white paint dot. 32. But with the help of the strobe, everything is selectively left in the dark except the white dot, BUT ONLY WHEN IT PASSES THE TOP POSITION. That's when the strobe lights it up, then quickly (in 1/1000th of a sec) lets it go in darkness, then light it up again as soon as it passes the top position. 33. 34. Again I ask, what do you see in all this? If you've seen this type of experiment before, you already know. If not, I'll tell you what you'll see. You'll see the white spot of paint simply SITTING STILL IN THAT TOP POSITION, CONTINUOUSLY. Think about that. 35. You know that the white spot is not in that top position continuously because the fan blade is rotating. But your eyes will see it as if it's there continuously because the period of darkness when the strobe is off is so short that the eye cannot see it. All the eye sees is the light when the strobe is pulsed on, because the eye is attracted to light and not to darkness. 36. And every time the strobe is pulsed on, the dot is in the same position. That's why you'll see the dot continuously sitting still in the same position, never disappearing. 37. Now what would happen if I picked up the fan and moved it back and forth around the room, with the strobe light following it? You'll see the dot moving back and forth according to where I take the fan.
Part 7
38. I hope you can imagine all this if you haven't actually seen it. That is similar to how our consciousness causes our sense of sight to see. 39. All objects in the universe are vibration and nothing else. There are no atoms, no molecules, no electrons, no anything of any kind that is solid. Such a thing does not exist. If it did, ask your self what would it be made of? It would have to be made of smaller particles, themselves made of even smaller particles, to infinity. Which means it would never be found. That means it doesn't exist. Anything that exists can be found, and will be found by black people. That is the purpose of the universe; to find all that exists, that has been created by the original Gods and all our Ancestors. And they are all eventually found. That's when the universe is said to have attained its purpose and comes to an end, to be replaced by an almost infinitely larger one with new creations to be found by our descendents.
So matter is the vibration of consciousness. Consciousness, or the mind, condenses itself through seven stages, starting with the highest vibration that we call magnetism, then electricity, light, and ether, until it reaches the lowest vibrations that we call gases, liquids, and solids. 41. So part of our consciousness is 'outside' ourselves, vibrating as matter, and the other part is 'inside' us, vibrating as our senses of perception. This is vitally important to understand, as you'll later see, in order to comprehend how memories are formed and recalled. So matter is the vibration of consciousness. Consciousness, or the mind, condenses itself through seven stages, starting with the highest vibration that we call magnetism, then electricity, light, and ether, until it reaches the lowest vibrations that we call gases, liquids, and solids. 41. So part of our consciousness is 'outside' ourselves, vibrating as matter, and the other part is 'inside' us, vibrating as our senses of perception. This is vitally important to understand, as you'll later see, in order to comprehend how memories are formed and recalled. Part 8 42. (In truth, we don't have an 'inside' and 'outside'. All is you, and you separate yourself into endless things by means of unique vibrations that you give to each thing condensed from your mind, your body being your primary vibration). 43. As I was saying, matter vibrates 'outside' us, and our senses of perception vibrate 'inside' us. The fan blade with the painted dot represents the part of our consciousness that is 'outside'. The strobe light represents the part that is 'inside' us. When the two vibrate at the same rate, we see the object, its name being its speed of vibration. 44. In other words, every object has a unique vibration (or to be more specific, a unique symphony of vibrations) and that symphony is its name. An apple is a particular symphony of vibrations - part of the symphony vibrates as the color 'red', part as the form 'round', part as the 'applish' smell, part as the feeling 'cold' when we touch it, and part as its taste. Another apple is a different symphony, but the same kind of song. A stone is a completely different song than an apple, as is every other object. 45. Our perception is and entire 'school' of symphonies, bringing together many different songs so that we can perceive many objects at the same time. Our mind is unlimited. There is no limit to the number of 'songs' we can 'hear' at the same time. At the end of the universe when we reach total divine unity, we hear all the songs of the universe simultaneously, meaning we perceive all things at once by being all vibrations at once, which in truth is ONE VIBRATION. 46. 47. So how do we see ordinarily? We adjust the speed of our 'strobe', that part of our consciousness we call the sense of sight, using its instrument, the eye, and make that part of the mind vibrate at the same rate as the object we desire to see. As the First Self, we know the specific speeds of vibration of all things. That is, we know the true
Part 8
42. (In truth, we don't have an 'inside' and 'outside'. All is you, and you separate yourself into endless things by means of unique vibrations that you give to each thing condensed from your mind, your body being your primary vibration). 43. As I was saying, matter vibrates 'outside' us, and our senses of perception vibrate 'inside' us. The fan blade with the painted dot represents the part of our consciousness that is 'outside'. The strobe light represents the part that is 'inside' us. When the two vibrate at the same rate, we see the object, its name being its speed of vibration. 44. In other words, every object has a unique vibration (or to be more specific, a unique symphony of vibrations) and that symphony is its name. An apple is a particular symphony of vibrations - part of the symphony vibrates as the color 'red', part as the form 'round', part as the 'applish' smell, part as the feeling 'cold' when we touch it, and part as its taste. Another apple is a different symphony, but the same kind of song. A stone is a completely different song than an apple, as is every other object. 45. Our perception is and entire 'school' of symphonies, bringing together many different songs so that we can perceive many objects at the same time. Our mind is unlimited. There is no limit to the number of 'songs' we can 'hear' at the same time. At the end of the universe when we reach total divine unity, we hear all the songs of the universe simultaneously, meaning we perceive all things at once by being all vibrations at once, which in truth is ONE VIBRATION. 46. 47. So how do we see ordinarily? We adjust the speed of our 'strobe', that part of our consciousness we call the sense of sight, using its instrument, the eye, and make that part of the mind vibrate at the same rate as the object we desire to see. As the First Self, we know the specific speeds of vibration of all things. That is, we know the true names of all things, because the true name of a thing is the song of its vibration. 48. So by 'speaking' the unspeakable name of each thing, we cause the perceiving part of our mind to vibrate at the speed of that thing, and the synchronization that results causes us to see it, exactly the same way we see the dot when its speed of vibration is synchronized with that of the strobe light.
Part 9
49. The same is true for the other four physical senses plus the two spiritual senses (feelings and thoughts).We have a total of 7 senses that we use in the universe. These are seeing, touching, smelling, hearing, tasting, feeling (emotions) and thinking. 50. Of the five physical senses, the most crucial and indispensable is the sense of touch. With it we discover the forms and weights and textures etc of objects. It's possible to lose one or more of the other 4 senses and still function, albeit at a disadvantage. But it's not possible to function without the sense of touch. You wouldn't be able to feel anything. 51. You know what it's like to have your leg 'go to sleep' in numbness. Imagine if your whole body was numb, inside and out. You couldn't stand, walk, or do anything. You wouldn't even be sure if you were alive without feeling your body. 52. We've heard of people who function without one of the 4 other senses. But no one has seen a person functioning without the sense of touch. They would soon pierce and lacerate themselves in order to get some kind of feeling in their body, as many white youths do today whose bodies are getting more and more numb from the use of drugs and prescription medicines. 53. They pierce their tongues, lips, eyelids and other sensitive parts of their bodies, and others hang themselves on meat hooks by their skin in order to get some feeling in their almost totally numb bodies. 54. The first sense that we call thinking was created by the first 24 Elders of the Nation on the first earth. The second sense, feelings (emotions), was created by the 144 Chiefs. The third sense, the sense of touch, was created by the 144,000 Judges. Then they all collaborated to create the 4 other senses. 55. All the senses are vibrations, and they work the same way - i.e. by synchronizing their own vibration with that of the thing to be perceived, whether that thing is a thought, a feeling or a physical object. 56. So where are things when we don't see them? They're still there, but 'inside' us. All the vibrations are 'inside' us. We project them 'outward' in ordeo see them. Our mind or consciousness is a multi-vibration tool that contains all vibrations in itself, which are infinite. We don't need to experience all of them at once in our daily lives because our lives are very focused on particular goals. We project only those vibrations that we need in order to attain our goals, that way we avoid distractions. But as our minds expand, we'll be able to perceive more.
Part 10 57.
57.The sense of touch, for example, gives us the form and weight and texture etc of objects, and the other senses tell us the object's other attributes. 58. The mind uses different parts of the body as tools, or portals, for sensing the various attributes of objects. Each tool or sense organ, such as the eye, is itself an object that vibrates at a specific range of speeds or frequencies designed to cover the entire spectrum of vibrations that fall within that range. For example, the tongue covers the entire spectrum of taste. That means the tongue is capable of vibrating at an endless number of different frequencies within the range called 'taste' in order to be able to recognize all the different tastes of different things. 59. So it is with the other senses. Our whole body even though it seems and feels solid, is actually a symphony of vibrations. We perceive the vibration we call our body using the vibrations we call our senses. So it's vibration on vibration, and that gives the effect of solidity. This effect is not an illusion, as eastern 'mystics' like to say, calling it 'maya' (illusion). It's exactly the way the Gods designed it to be. This makes it free, effortless and limitless. 60. If God had designed it so that matter is some kind of solid substance, it would surely break apart at some point. As it is now, we sustain the vibrations for as long as it is in their season to be in existence, then they decay and are transformed, and the matter is recycled and reused. All things that are solid, like metals, even stones, are recycled after the appropriate time, sometime taking millions of years. Then they start the cycle of materialization again, going through the seven stages until they reach the lowest vibration once more. All matter behaves this way, including light. 61. Sunlight enters plants and animals and is transformed to a lower vibration. In the case of a plant, after it decays, the leaves that absorbed and changed the sunlight by the process of photosynthesis then decay, and the sunlight that once entered it starts a new cycle all over again. It condenses through all the stages until it reaches the lowest vibration of solid matter, forming new flowers and leaves, or becomes part of another objeatter as vibration is recycled over and over again. The perception of our senses matches these vibrations, enabling us to see, hear etc. 63. Now, if all matter is vibration, and comes from the mind, how do you make the mind, or consciousness, vibrate in the first place? The answer is, you don't. Consciousness itself is vibration. 64. It's like asking how do you make fire hot, or how do you make water wet. You don't. Fire itself is heat, and water is wetness. Anything that has heat has fire in it, and anything that is wet has water in it. Similarly, anything that vibrates has consciousness in it (not necessarily self-consciousness). Since all things vibrate, then all things are made of consciousness, or the mind. 65. Next time, I'll discuss what all this has to do with memory and recall.
Part 11
66. The perceptions of our experiences are stored as memories mainly in our brains. In truth, they are stored in every cell in our body. But different groups of cells or organs of our body play different roles. The brain plays the primary role of storing and recalling memories. 67. Nonetheless, all the person's memories can be retrieved from any cell in the body. This is demonstrated in modern science by the fact that an entire animal can be cloned from any cell. 68. These memories are stored in our brain as vibration also, because all is vibration. As I explained, we perceive by matching the vibration of our sensing organ with that of the object we see. Once the outer vibration is matched with the inner one, the object is perceived. This vibration then continues forever in our brain. 69. It vibrates quietly in the background, and we call it memory. When we want to recall it, we use our will to place our attention on it, and this naturally increases its 'volume', the same way we can increase the volume on a radio. Then the vibration is no longer in the background, but comes to the forefront. 70. The reason it's easy to recall recent memories is because their vibrations are still loud enough to be heard just below the surface of our consciousness. Older memories recede all the way into our subconscious and vibrate so quietly that we totally forget them. 71. How can old memories be recalled? How can we increase their 'volume' of vibration so they come to the foreground of our consciousness?
Part 12
72. The mechanism of recall is quite simple. The only difficult part is that to activate it requires repetitive and patient practice. 73. The mechanism works in the following way: All memories are linked to one another. This includes our very first memory of conception, when the First Self incarnated in us, all the way through our childhood memories right up to the present. They are linked like a network or a spider's web. 74. The reason we find it easy to recall recent memories is because they are linked closely to whatever memories we are busy recording at present. 75. It's an obvious fact that our brains are busy recording memories every moment of our lives. These memories that we record in the present link themselves in a network to all our past memories; first to the more recent ones, then to the more distant ones. 76. Whenever we recall anything, the memory is triggered by another more recent memory, even when the connection is not obviously clear to us. This is the natural mechanism of recalling. 77. It's not possible to recall a memory in isolation, without going through the network or chain of links that connect all memories together. The linking action can cascade from memory to memory so fast that we totally miss it, the result being that a memory pops into our head as if out of nowhere. That is never the case. No memory can pop into our head out of nowhere. There is always a series of connections going backwards from the more recent memories until it arrives at the one that popped into our head. Part 13 78. But the connection can be so subtle that we miss it. For example, we might be walking down a street and hear a sound that attracts out attention, causing us to glance to the left, and then suddenly have a memory of jello pop into our head. 79. We might think that the thought of jello came out of nowhere, but that is not the case. In turning our head to see the source of the sound, our eyes may momentarily pass over some red roses. Even though the red roses did not register in our conscious mind, they nonetheless did register in our subconscious, which perceives all things in our immediate surroundings. 80. Now, the red color of the roses may be what initially triggers the thought of jello, because it so happens that the last time we ate jello, it was red in color, or perhaps there were red roses on the table, or some other factor connected either to roses or to the red color. 81. So that quick glance at the red roses, even though we didn't consciously see them, nonetheless triggered a series of memories in our network that led to the thought of jello. Intermediate between the red roses and the jello will be a string of other thoughts connecting as well, perhaps the fact that we are hungry or just passed by a restaurant. 82. Regardless of how the trigger goes from the first to the last, the fact is that there is a series of clear connections, where the more recent memories trigger the older ones, until we arrive at the final image.
Part 14
83. That is the mechanism of recalling, and it's crucial to understand it because we can then use it to consciously help us retrieve old memories that are buried deep in our subconscious. 84. Anyone who knows a little about sound knows that similar frequencies of sound enhance one another. Sound is vibration, and all vibration behaves that way. Since the memories are also vibrations, then similar vibrations can also be used to enhance others of their kind. 85. By practicing certain techniques of recall over and over again, we affect not only our mastery of those techniques, but the entire mechanism of recalling. The mechanism is similar for all memories, new and old. The technique we practice, being itself a vibration, enhances all that is similar to it, even if those others are buried at the deepest depths of our minds. It's exactly the same as using sound to enhance others of its kind. Always, recent memories trigger older ones. 86. So when we do our recall of a set of 7 exercises, we start with Ex7 then go to 6 then 5 and so on backwards to the first, while at the same time trying to maintain a regular rhythm. Rhythm is key for the purpose of making the recall as effortless as possible, otherwise it would take too long. 87. So we start with the rhythm of once every 3 days, then once every 2 days, then once every day, then once every 2 days, then once every 3 days, then once every 2 days, then once every day, and so on, going up and down then up again like a person climbing over a series of small hills. We also keep in mind that 7 is the number of completion, so we limit each set of exercise to 7.
Part 15
88. This is an effective method. It teaches us to consciously use recent memories to trigger older ones. 89. Those who have heard of near-death experiences and their life recall, will know that people who come back from such an experience report that they see their whole life flash right before their eyes, IN REVERSE ORDER. Such a phenomenon will always show the most recent memories first and then go backwards, event by event, until it ends with the person's childhood memories. This is a natural way of recall, and we use this backward movement in our practice. 90. Our most distant memories can only be accessed by being triggered by other, not so old memories. By practicing this technique we enhance the capacity of older ones to trigger even older ones, and so on down the chain or network until we arrive at the oldest. 91. After enough sustained practice, our ability to trigger older memories using recent ones will cascade throughout our memory network until one day, in a flash, we access the deepest memories buried in our subconscious. 92. We practice this technique in a simple way, for example by first recalling Ex7, then 6 and so on back to 1. All our recalls will follow this same procedure - it's the key to accessing all our memories, including the most precious ones when we were in communion with our First Self. 93. That is the ultimate purpose of level2 of blackroots science, i.e. to get in touch with the buried memories of our communion with our First Self. We do this not just to remember those memories, but also to establish permanent conscious contact. 94. The nature of the Original God is such that he/she lives in a timeless state. When we re-live the memory of our past communion with him/her, that contact will continue in the present. It's important to understand that with God time does not exist. What to us is a past memory, to God it's an experience in the present. 95. When we re-live such a past memory, our First Self enters into it again in a new way. So the conscious contact of past memories will be taken by our First Self and turned into permanent conscious communion in the present. That is the permanent state of mind in which we want to live - it's the beginning of our initiation.
