M: Good morning and once again it is my privilege and pleasure to come and spend these few moments of your time. There is so much that operates in the wider scheme of existence that, from the physical perspective, is yet little more than a drop in the bucket. A little speck within the frameworks and the fields of existence.
Universal Languages: Mathematics and Music
M: I want to talk, as you have pointed out, regarding the connection between the two Universal languages – mathematics and music – because these are vibrational schemes. Vibrational systems that operate well beyond the physical nature that their expression is within.
And it is for this reason that the descriptions of Universal principles are both described by mathematics and expressed in terms of cosmic vibrations. One then must consider the valuable understanding that a thing is as it seems only because of the perception of the one [person] that is observing it.
So you could say then, that the beauty of the cosmic structure, as it is described in mathematical terms, is so much presented in the fluxes, the flows and the harmonies given to it in terms of music. Sitting within the middle of these two, what you would love to know, is that dance, that is, the rhythmical outpouring in terms of spacial arrangements, is both mathematical and musical at the same time. [I presume he is talking about geometry and spacial mathematics]
M: So let us begin then with understanding that all things operate within the framework of the fields. That is, as we have described before, within space and time. [lots of material on Einstein’s equation and space and time] You understand there cannot be any music as such, without the time and the language of music defines the degree of the extensions of the fields of existence.
That is then, something exists within space over a period of time. There is an existing scheme in which something is “allowed” to exist. Mathematics describes it in terms of its relationship between the ultimate indescribable and the smallest structure possible, that is a singularity.
When something begins to approach a singularity it is arriving at its beginnings. At it’s ultimate expression. You understand where all gravity has increased. (A: OK, I admit, my eyes are starting to cross at this point…) All mass, all of the weight of the creation approaches its ultimate at its point of singularity. [some references to calculus?]
Everything is being sucked into the originated and it is, from that point of differentiation, that the field in which something exists such as the relationship between vibrative tones, one with another, and the emptiness between. Language and music is ultimately inter-connected.
A: Right. I can’t quite picture what you mean about coming down to the singularity and sucking it in.
M: Understand, everything emerges from its conceptual point.
A: Yep I get that.
M: And the creation, as it exists, contains all of its components at that point. Everything, all of the gravity of it, all of the substance of it, all of the idea of it, all of the sense of it, has to emerge from that initial singularity. [as a quantity approaches infinity another parameter goes to zero]
A: OK. So all the elements… is that the right word?
M: Of course.
A: OK. So they produce all at the same time…
M: Of course, they are all contained within the singularity that emerges out to its descriptor. That is the boundary in which it exists.
(A: These boundaries are explained in more detail later on. If you have no boundaries for it to exist in the physical world, it remains a dream or a concept without taking physical form.)
Law of Attraction
M: For example, you want to have an experience. The creation occurs at that point where one casts it into the environment. It populates its own field. It is a container of its own self including all of its own field, everything in it. So many similarities with other creations that they overlap, overshadow, one another. So you create a world where you are creating your own business. However you have already created your own location in your own city. You have already created your own house and your own furniture and your own children and your own vehicle, your own sense of your self, your own challenges, your own benefits, your own liabilities. You understand this?
A: Yes yes.
M: And as you create over the top, these ones then take on a stronger sense of reality. So a new creation comes with lots of boundaries …
A: And baggage (laughs)
M: Of course.
A: So is it possible to create something pure without all that interference from all the other things? Is it possible to do that in this 3D world?
M: You understand, One has to begin by taking off the energy invested in the previous creations…
(A: You can often sense energy is stronger around something by gauging your emotions. eg – if you feel extreme happiness and joy or extreme anger or fear about something, you are investing more energy in that thought pattern which makes it stronger, regardless of whether it is a positive or negative vibe.)
M: … and that is why it is important, for the idea, that you can’t simply think yourself into a different environment when the environment already exists. This is related to what I began to talk about. That is the mathematics and the music of it. First of all one has to understand that the creation is the expression in harmonic terms. It is fitting together because it all sounds so true. Do you follow?
Stepping up to a higher vibe
M: It is all within the symphony One has already created and let us say you want to change the tonality of your symphony, you are likely to put notes in that which do not quite fit. They are dis-harmonic. [discordant?]
A: Yes, so you almost need to remove the manuscript and start again.
M: Let us say, first of all, the music sounds a little disrupted, a little dis-harmonious, a little – shall we call it – modern. Do you understand what I mean?
A: (laughs) Yes I do.
M: You understand, it clashes…
A: Until it all fits into the new tone.
M: Of course. At the same time, one is beginning to realise that the structure of the new creation has still to meet its mathematical limits. It has to fit within the same structure and one simply has to begin to change the formulas that one is operating out of.
A: Right. That makes sense.
M: So you could say then, from a mathematical point of view, one is looking at the ideas that you have in place such as “the world must follow its ongoing pathway”, shall we say. And yet, from the mathematical point of view, from a more mechanical point of view, if a new energy comes into a closed system as such, it will indeed disrupt the system. Shall we say a judiciously placed energy, such as a billiard ball coming in, will change the trajectory of the future.
M: So you understand you are considering such a thing in terms of what size? That is what amount of energy? What amount of solid commentary? Certainty? Something that contains a certain degree of solid certainty will have more impact on the trajectory than something one is unsure of. What follows would be less solid.
A: Yes. So if I put this back into physical terms rather than big world, planet terms, in somebody setting up a business, if they are setting it on the wrong tones, then they aim to change their formula so that they can create something that’s different from what they’ve done before. If they are unsure of that then they’ll probably fall back into their old patterns. Right?
M: That is the case. The question here is to recognise that the first new import will create dis-harmony.
A: Yes yes
M: You understand. So you are going along in a certain way and you choose to make changes. The first thing that happens of course is that your children begin to play up.
A: (laughs) They are disrupted.
M: They do not like change, of course. So one has to persevere with the new music. One begins to continue with what seems dis-harmonious as it changes into the new…
M: … tones. The new symphony. The new structure of the music. And move out of what you would call your classical tones into something more upbeat and Jazz.
M: You understand why I choose that is because Jazz is syncopated and that is a very useful word to come to grips with because it is a shift, not only in tonalities but in pace. [syncopate – to omit something from the middle, such as beat in music, or sounds in speech]
A: In rhythm, yes. But in a deliberate way. Not a chaotic way.
M: Of course. We are not talking about creating chaos. We are talking about shifting the quality of the music, the style, and at the same time putting into place a different structure, a different boundary. Sometimes a creation is limited by its perception, by its size, by its shape because some creations have solid walls around them. They are not fluid and any creation that is not governed by the mathematics of fluids but governed by the mathematics of solid form. Limited solid form, at that. Then the point I am making…
A: Is anything really that solid?
M: Not at all! Only in the…
A: The perception, right.
Linking back to Differentiation and Integration
(A: ie – go out and explore or find a new idea, bring it back and incorporate to change the current situation)
M: You understand. And this is why the science and mathematics of differentiation and integration are important because they are fluid mechanisms for setting a new framework. Do you follow?
One begins one’s new creation first of all, in exploratory terms. One has not yet set any new boundaries because it is essential to explore, but it is also essential to finally set a boundary in which to integrate from. If you do not have any boundaries then of course, the creation is endlessly fluid and takes no solid form. [Calculus – differentiation describes the boundary line; integration describes the area under the line (what the boundary contains)]
(A: This reminds me very much of the work I do with highly creative people in my coaching. Sometimes they are so caught up in the creating of new ideas and exploring the potential that they create nothing in solid form and it is my job as a coach to help them decide on some boundaries to they can bring it to fruition.)
M: Do you understand what I am getting at? Because when you look at this, when you re-read our conversation you will see that I am laying down the foundation to truly recognise the principles and process of setting a creation into place. First of all, by creating (shifting) the old creations in fluid terms. Taking away…
A: … the boundaries.
M: … the boundaries by having integrated them in totality. Understanding the entirety of the creation and releasing it from its reference co-ordinates.
(A: So when you create a business, like in the example above, based on your current co-ordinates of not getting along with people, not being good a managing money, unsure of yourself etc., it is necessary to loosen up the “solidness” of those old ideas about yourself and making them more fluid in order to start running this business differently from how you might have done in the past.)
M: They have references co-ordinates in terms of who you are. You limit yourself by descriptions of who I am, what I can do, where I am focussed, how I see myself. These are limitations that only appear to be solid because they have been set in limited solid mathematical formula.
(A: ***Excellent journalling exercise to look at each of these questions and making them more fluid.)
A: Right. We haven’t talked much about maths through this. I completely understand what you’re saying in musical terms. Um, so you are coming back to… talking about the creation of Self now, aren’t you?
M: I am talking about the creation of all things.
M: Because when one is creating from the singularity, it comes from within.
M: The first edge that it meets is the idea you have of yourself. [Identity]
M: Then it reaches the boundary of what it feels to be like that. Then of course it reaches the boundary of the physical body with all of its failures.
M: You understand, how one criticises one’s physical looks, one’s weight, one’s structure and so on it goes. Then of course, it meets the next boundary of how you are seen by others. Of course, you are not seen by others in that way at all. It is your own projection of the ideas and how you feel about that. Do you follow what I mean?
(A: This is like the Four Agreements book in Toltec Wisdom that all the world is a reflection of yourself. If you see yourself as not worthy, the world will reflect back evidence that you are not only not worthy but that it looks as though other people think you are not worthy. Sometimes this will be blatant and they really will think that because they have picked up on your vibe. Other times what they say and do is interpreted by you to mean they think you are not worthy when they didn’t mean it that way at all.)
M: So often there is even a disparity between what you think of yourself and what you think others think of you. (A: eg – you think you are quite bright but you think others see you as not intelligent and they misunderstand you. Even this thought pattern will be reflected back to match.) Then your physical environment begins to hold you into more and more solid structures, all of which have mathematical formulas to describe. They are solid plane formulations.
A: And it feels like the New Epoch is certainly not about that. So we need to find a way to break down those barriers. And I understand being totally present means that I don’t think about who I am or what I look like or what anybody else thinks of me. It doesn’t occur to me at all.
M: That is correct and of course, in terms of your modern mathematics, your physics and your astro-physics and so on, all the of the formulas that are used offer differentiating points which offer up the degree of probability.
Probability and Possibility – Making it happen!
M: Probabilities that are in some way related to possibilities. Do you understand?
A: No, I don’t get this.
M: Let us put it this way. You want to achieve something in your life and you begin to formulate the idea.
Step One – Create the Possibility – First of all, you have to make it a possibility.
M: If there’s no possibility at all, what a waste of time. You have to consider the physical reality and the physical body. If you are a heavier person then being a racing horse rider is unlikely. You have to do an awful lot… do you follow what I mean?
A: Yes I do
M: The possibility becomes more difficult. However, if it’s within the possibilities of life then you have to stream out from that singularity the concept of possibility. And in doing so, one will notice how it interacts with the existing creation. You understand, if you want to be the jet setter one has to realise, what will happen to your children?
A: Right (laughs)
M: Because they will do everything in their power to override your creation.
A: That’s right. Well at the moment I think I’ve been creating the idea of me in a new car, a little yellow car that I like. That’s easier for them to integrate, I think.
M: Of course. Then the possibility is in existence already. You are beginning to see what that could be.
Step Two: Sense it in your Imagination
M: Then you begin to put yourself in it. You start to sense the feel. What is it like when you put your key in the door? If you unlock your little red vehicle.
M: Yellow, of course!
M: You open it up and the smell is so fresh. All of this …
A: So you connect with the senses and the emotional side of it.
M: Of course. That is making it more probable.
A: Right, so that changes the tone. So what kind of disruption would there be there? If we looked at that case of “here’s my old car and I’m dreaming of a new yellow car”…
Step Three: Finding the un-harmonious tones
M: Then you go into your existing structure. Where does the new dream clash as it were with the existing? First of all, there has to be plenty of money.
M: There has to be so much that it is not even much of a choice but an important necessity for your yellow car. The probability then, you are making it fit. As you begin to do that, immediately you start to sense a different rhythm. A dis-harmonious tone begins to sound, as it were, in the music of your creation.
A: Right, so in order to keep with the new tones, even though it will be dissonant for a while, to just continue … it’s Law of Attraction basically, isn’t it, to…
M: Of course.
A: … to continue seeing myself in that car and the emotions and the senses and continue to do that, then the tone must change.
M: And continue to realise that the music is changing its sound and its place. You are not trying to impose something on the top of something else. You are shifting to a certain degree out of alignment with the existing.
(A: This is an important part of Law of Attraction. Even if it’s only in your mind, imagine you are changing to this new tune. Don’t keep looking for the evidence that nothing has changed. Whatever you look for is what you will find.)
M: We have talked in the past about how one’s alignment to the present has to be different for a future to be different as it goes forward. Remember we talked about changing your past.
A: Yes, the pivot point.
M: Of course.
M: You understand why I am saying what I am saying?
A: So you talked about, there’s got to be plenty of money to buy the yellow car and if I perceive that to be a solid boundary then that is no longer a probability, is it.
M: Of course.
Step Four: Remove the Solidness of the Limitations
A: So in order to remove that boundary, do we just move our focus away from the fact there are not the funds to buy the yellow car? Do we just move back to the fun of being in the car?
M: Not at all. One has to look at the solid nature and understand how is it that it became so fixed? Why is it that you have such an investment in it being solid?
(A: Another superb journalling exercise!)
A: Right (laughs) I see.
M: And of course, as one realises that it is solid because you have described it to yourself.
A: Right. So it’s my perception of it being solid that is the only thing that makes it solid.
M: Of course. And if you consider it for a moment and to rename it as “not solid”. That is being able to shift it into the exploration modality. That is, “if I am to embody this creation as it is and I engulf myself in it then, immediately I feel its constraints.” You accept it as it is then begin to explore it’s weak points.
A: Oh, I see. So rather than turning away from it, you engulf yourself in it and then explore the edges.
(A: See how different this is from what we often do? Usually we fight against the limitations but the harder we fight, the bigger the obstacle becomes. If instead, we just accept that this has been the status quo up till now, then explore for where the story doesn’t quite match, explore where new options could open up, that is how we make the limitation more fluid and it is easier to overcome.)
M: Exactly. Realise that the edges are its weakest point because they are not solid as such. They are only the boundaries one has applied. Then you can explore a little further. What will happen on the other side if you were to expand this part of the boundary? If you were to change it’s shape? If you were to put holes in it?
A: Right (laughs)
M: You understand, by doing such, it becomes again fluid, more expandable and then you begin to realise what is it that lies beneath? Because as we have pointed out, these are layers upon layers upon layers, fundamental ideas begun in the history of time.
Carrying old ideas and limiting beliefs forward
A: Yes. Do we need to recognise those before we can remove them?
M: Only when they exist (for you). Only when they are imposing their nature upon the creation. Something that you don’t think about is just as important as what you know.
A: Right but if you’re influenced by something that was set in motion in the Collective Consciousness two thousand years ago…
M: And you are still energising…
M: … then it will still impact. If you are to take the ideas of your church with all of its history that was imbued into your life and you are operating within its constraints, of course it will overshadow all attempts to free yourself from the limited perspective you have.
(I have a feeling this, in my life, refers to my radio man with the ring)
A: So we do the same with this. If we decided that what we wanted to do was limited by the boundaries that the church set, then again you engulf yourself in it and then look for the weak points. Would that be right?
The expectations for male and female
M: Of course! Realise whether this is accurate, whether this still remains true and even so, what is it? For example, the ideas one projects about male and female impose huge qualities on the ideas of self and the physical world in which you exist. While either / or is in place the entire creation must apply. So if you think you have to work twice as hard to get anywhere because of your gender (being an woman) … Do you follow?
A: Yes I do
M: then of course
A: It’s true!
M: It’s more than true because the only way to change that is to change everybody else. Do you follow? Unless one realises “what nonsense! Nothing holds anybody back at all accepting the agreements.” You do not have to agree with anybody else because it is your Universe in its entirety. Even if others are experiencing a different one, one cannot (need not) agree with them in any way.
A: Yes I get that.
M: I realise that we are touching very deep.
A: Yes. I feel there are parts where I’ll really need to digest it again.
M: Of course and that is why it is certainly enough for today.
A: I think so, yes, but its been a wonderful conversation. I love the way that it continues on from last time. I’m sure we can continue on again next time too.
M: I want to say there is a lot to comment on when you begin to review what we have said.
A: I think so too, yes.
M: Then thank you for your time and we will talk again.
A: Thank you so much Mercredan.
M: Then Good Morning.
A: Good morning.