9.I - The not-looking exercise
9.II - Creating a fog around you
9.VI - Stalking yourself
9.XV - Being One with the elements
Along with the maneuver of
erasing your personal history already seen above, depending on your case
and on the proportion of their speculation and rationalizations over your
brain, you may need additional elements in order to deconstruct their
brainwashing and sustain your assemblage point on the top position.
Never mind. It's just a question of accustoming your brain.
Again I must remind you of that passage from "The Matrix" :
"(...) There is no spoon. It's not the spoon that bends. It's only yourself" (young boy to Neo)
And just to illustrate a little more, I'll quote once more respectively Carlos Castaneda, the movie "Dark City" and the movie "Crossworlds", all of them dealing with the question of manipulated realities :
(don Juan to Castaneda, in "Journey to Ixtlan")
"The most difficult part about the warrior's way is to realize that the world is a feeling. When one is not-doing, one is feeling the world, and one feels the world through its lines."
(doctor to John, in "Dark City")
"The world can be what you make it."
(man to boy in the elevator scene in "Crossworlds")
"Believe in the floor".
Notice that you create reality with your will, with your heart
and with your thoughts. But most of all with your heart.
The obvious truth must be said again :
you're the only owner and master of your own destiny.
Now think with me : if you stop one of their characters in the middle of
the street, or a classmate in your university, or somebody in your gym,
or a relative of yours in a family meeting, for instance, and ask this person
using the first meaning of the words : "Would you mind if I date
that girl ?" or "Would you mind if I date that boy ?", what do
you imagine would be the answer of this person ? He/She would be surprised,
perhaps laughing at you, and very likely the answer - if there is an answer -
would be something like :
"What ? I don't know. That's your life, not mine. That's none of my
business" or "Well, if you want her (him), and she (he) wants you,
that's something you have to resolve with her (him), not with me !".
Do you see how ridiculous reality can be ? So now in order to save energy and fix the position of your assemblage point, you may have to :
a) keep the image of your beloved one on the top of your memory stack;
b) chew and control meticulously the image that other people officially have of you;
c) practice what Castaneda calls the doing of strategy (that is, not being at the mercy of people);
d) cheat your brain and break with its rational structures;
e) reinforce for your brain the notion that you're in control of your reality and of your life.
Let's then dissect some practices that can bring you these results.
9.I - The not-looking exercise :
It may done preferentially if your beloved one is present in your routine
wearing a kundalinic shell and saying "inside your heart" that this shell is
going to have a concrete relationship with you in the Stage World aiming
at eliminating your illusion of "vampirism" (see section
Your beloved one as a dentist" above).
This maneuver is very simple and very sophisticated, and of course you're encouraged to ask your beloved one inside your heart if it is appropriate for your case, as well as the right moment to do this.
(don Juan to Castaneda)
"Not-doing is very simple and very difficult."
"Not-doing is only for very strong warriors."
The not-looking exercise establishes the idea
of educating your look, in a continuous and regular basis. It is the
opposite of the "bib path", in which you'd have to stare kundalinic shells
present around you and/or that somehow penetrate your perception field.
In other words, in order to stop the world, and reaffirm
your condition as the owner of your destiny, you reunite all your might
and all your strength, and stop staring the kundalinic shells that appear
around you in your routine, or in the streets, anywhere, including the
impersonal elements like TV, Internet, billboards, magazines, etc..
By doing this exercise, you may kill several birds with one only stone :
a) Their speculation is based on the structure of the human memory. They
want your brain to forget the image of your beloved one, especially the
image of that kundalinic shell that he/she says is going to have a
relationship with you in the Stage World aiming to treat your
"vampirism". So if you stop looking to the other girls (boys),
especially to the kundalinic ones, then your memory will not be so perturbed
anymore by kundalinic images, and you will mantain more strongly the image
of the kundalinic shell of your beloved one in your memory;
b) You gain energy and mantain your assemblage point in a good position, using the very elements that produce the illusion of vampirism for your brain (and that could be used by their characters to take energy from you) in your favor. You subliminally tell your brain that you're the owner of your destiny, so that "the forces of the Matrix" cannot control the direction of your look;
(Morpheus) "Are you listening to me, Neo ? Or were you looking to the woman in the red dress ?"
(Neo) "I was ..."
(Morpheus) "Look again." (the woman transforms herself into Agent Smith)
(Morpheus) "If you're not one of us, you're one of them".
c) You subliminally reinforce for your brain the notion that they're
all characters, that they're all pretending around you and that they
really don't give a cent for you in the Stage World. Your life is none of
their business, and your brain disaddicts itself from the idea of waiting to
see what their sentences "reserve" for your life. You're the only master and
owner of your own destiny.
d) You subliminally tell your brain that she (he) is the one you
want to date and marry in the Stage World, not the others. In other
words, you subliminally tell your brain that she (he) is not your
"mother" ("father"), but only and simply your eternal wife
e) You prepare yourself to the relationship you're going to have with
a kundalinic shell of your beloved one. After all, if he/she is going to
approach you (or vice-versa), you no longer need to stare the
kundalinic shells of the other girls (boys) to reduce the level of your
vampirism. He/She is going to do this for you. After all,
"ETERNAL WIFE (HUSBAND) IS ALSO A DENTIST".
If you're a survivor of the hurricane, you probably have
been forced to isolate yourself a little from social life and from
people in general, so as to face their linguistic speculation. And depending
on her (his) character, after you begin this relationship with her (him)
in the Stage World, you're not going to be isolated anymore : you're going to
have a relatively agitated social life, which may include going to parties,
taking part in trips or sports activities together with her (his) friends,
and/or having a night life, for instance.
So by educating your look this way your brain accustoms itself to the
idea of not looking to other girls (boys). Realize that everything you do
in the Stage World can be used against you by their characters, so that they
could set a trap to catch you in one of these social activities using a
kundalinic character that is not of your beloved one.
Regarding this last possibility, don't be afraid. Your "social life" with her (him) in the Stage World in the presence of other people will probably be dosed. Remember that they never push you beyond your limits. Besides, your beloved one is on your side. And if she (he) is for you, who is gonna be against you ?
If you're a survivor, it means that you're a vampire,
because doubletalk creates vampirism, as seen before.
And if you're a vampire, it means it's not easy to avoid looking at
kundalinic shells. You probably got used to doing this if you've followed
the "Bib Path" to reduce the level
of your vampirism. Your brain may be presently addicted to this
So it's basically a question of discipline and will.
"You must focus, Trinity"
(Morpheus, in "The Matrix")
An old oriental proverb says :
"Discipline is freedom".
If you can't stand performing this maneuver in one only movement, never
mind : you can do it in parts. But you must be determined. First, you
only stop looking at the kundalinic shells of other people when you're in the
presence of the kundalinic shell of your future girlfriend (boyfriend).
Then, in a second moment, you stop looking to the other shells even when
your beloved one is not present around you using that very kundalinic shell.
If you're going to do this exercise, you must be honest.
Following the same reasoning, you first stop looking at their bodies.
You focus only the faces (or heads). Then, you naturally look only to the
faces of some kundalinic shells around you, and not to all of them.
You can alternate these faces with the faces of non-kundalinic shells.
You alternate your look between men and women. You can look also to
young children and elder people. You accustom your brain to the idea
of passing a kundalinic shell coming in your direction and not looking to
this shell, not even to its face. You may keep your look straight forward,
So finally you alternate it randomically : to some people you look
(but only to their faces), and to other people (especially those ones that
are "pulling" your look toward them) you do not look, not even to their
faces, unless obviously in case you're speaking directly to them. In this
last case, you must be as technical as possible, limiting yourself to the
subject of the conversation.
And beware of kundalinic shells wearing clothes with vivid colors.
Certain colors can function like a magnet pulling your eyes. Practice
deviating your look to some point out of these clothes.
Another point is : while doing this exercise, do not change your acts or
physical movements in the Stage World in order to do the exercise of
not-looking. In other words, don't be anxious to do
not-looking : not-looking is also not-doing.
Try to be as natural as possible.
Every time you act with the intention of not-looking, they can
try to manipulate the elements (especially the kundalinic shell itself) to
give you the sensation that you're being judged by them : one time
the kundalinic shell is available to your look (or to your not-look),
the other it is not.
For example, in a mall you can take either one of two elevators, but you
know (with your peripheral sight) that one of them has a kundalinic shell.
You're doing your not-looking exercise, and you can feel tempted to
enter that elevator with that shell just to not-look at her or him.
So you do not do this. Don't try to be perfectionist doing a "better"
exercise. Just act naturally : take the elevator that you think
is going to close the doors first, or the one that is closest to you, for
example. And if you naturally enter his or her elevator, then he/she may
give up taking the elevator (mentalize "QUANTUM HORSE") or he/she may
just suggest that is going to give up taking the elevator but change again
his or her mind (mentalize "ZIG ZAG MOVEMENT").
A second possible variation for this kind of speculation may be labeled as
the "ANTICIPATION MANEUVER" : a kundalinic shell anticipates your routine,
in order to "fish" a change in this routine. For instance, you're
walking in the streets and their characters know your itinerary, so a
kundalinic shell anticipates your moves, appearing ahead of you going to the
same direction, albeit maintaining a certain distance from you. Both of you
follow the same street for - say - three blocks. Here you're being tempted
to accelerate your steps or slow them down so as to be in the presence of a
kundalinic shell a little more, either for looking or for
not-looking. It's a dynamic trap. Watch out. Try to act
as natural as possible, and do not alter your speed. Mentalize : "LOOKING
INDUCEMENT" and "ANTICIPATION MANEUVER".
An additional goal of this exercise is to disaddict your brain from the
automatic behavior of looking toward kundalinic shells, principally if you're
a man. Generally speaking, men in the Stage World are educated to be more
aggressive and to look automatically to the women that pass them, especially
to their bodies. Sometimes they turn round to see that specific kundalinic
woman who has passed them. On the other side, women are educated to be more
discreet when looking at men. Homo-rooted vampires tend to be
more discreet as well, because of the fear of prejudice and negative reaction.
Other variation of this speculation would be their characters commenting on a
report in the media about kundalinic shells, especially when linked to the
very root of your vampirism. They can say, for instance, that the
magazine "X" of this week is showing a report about it, or they can open a
page on the Internet right in front of you and start commenting on this
This is done to weaken your will and undermine your not-looking
exercise. They want to control your life. They want you to avidly
look for that magazine in the newsstand and/or to anxiously search that
news on the Internet. If you're doing your not-looking exercise,
it means that you're going against their interests, which are to
rule your destiny. And your brain may be also addicted to the idea of
observing carefully all the reports in the media about kundalinic shells
and/or about the root of your vampirism.
So maybe it's time now to free your brain and disaddict it from this
behavior, too. Ask yourself : do you wanna be free, or do you wanna be a
puppet under their control ? Remember : the media manipulates idolatry, uses
to generalize ideas and likes to exaggerate a lot concepts, adjectives, words,
etc.. They are in the business of selling descriptions of reality.
In this case, they may be selling a fantasy to survivors' minds.
You can just act naturally : if they didn't say anything about it and
you're reading a magazine or newspaper (or watching TV) when you stumbles on
a report about kundalinic shells and/or the root of your vampirism,
you can read (or watch) the report normally as any other report, but if there
are pictures don't look at their bodies : concentrate on their faces.
Another important point is : do not repress your kundalini energy
while practicing this not-looking exercise. Let kundalini come : it's
the energy of the spirit. Sometimes even without looking directly to
kundalinic shells you can experience the manifestation of kundalini.
The peripheral sight alone, or the creation of tiny elements by their
characters (like for instance someone around you passing his/her hands
on the hair, slowly) may be enough to generate a wave of kundalini.
On the other side, depending on your case this exercise may activate a
little more your kundalini energy. The manipulation of the kundalini energy
is something that should be customized for each case, but once this is
impossible here, you're encouraged to feel the situation. If you're
experiencing an extreme wave of kundalini energy due to this exercise,
you have the option of taking some hatha yoga lessons, so as to purify
the quality of your thoughts and of the kundalini energy itself, to balance
your energetic meridians and to bring part of the energy to the chakras of
A last possibility that they may induce your brain to examine is the
artificial introduction in your perception field of what you may call a
"megacute shell", in order to break your resistance and determination, and
try to force you to do looking instead of not-looking,
especially if you're tired.
For "megacute shell" I'm not referring to a very kundalinic shell that you
can find here and there. I mean those very rare and specific, strongly
kundalinic shells that you don't see anywhere, and that you don't see in the
media, either, that correspond to the maximum potential of the very root of
your vampirism. You know they exist, as you see them once a year,
on average, for instance.
As with any other exercise, your resistance to not-looking to a
kundalinic shell may have a limit, but this limit will be ever increasing
till you manage to not-look a shell corresponding to the maximum
potential for your type of vampirism, physically speaking.
So try not to think in terms of "right" or "wrong", "success" or "failure".
Your goal is to do not-looking, but if once in a blue moon you
stumbles on a "megacute shell" that is above your present limit and if you
realize that you won't resist looking to that shell, then you can do
looking, but only to that shell. It's better to look because
you have decided to look (for you stay in control of your acts) than
to look because they want you to. In other words, you
assume responsibility for your looking in this specific case.
In this case, don't forget : you never play a "game" with their characters,
you never "win" or "lose", there are no "victories" or "defeats", and there
is no external judgement and no "evaluation" of your acts, like in an "exam"
in a terrestrial school. Your spirit cannot be measured. They want to
take energy from you. Nothing is intrinsically right or wrong : it
depends on the point-of-view. It's all a question of dosage. So if
the dosage is too high, maybe they are wrong : aren't they responsible for
the dosage ?
Notice that even foreigners of
OUR SIDE had their limits before the hurricane, when sometimes
depending on their missions among neutrals or among lizards,
they had to "put their fingers on the outlet" and thus "recharge batteries"
in the collective crystal of the Operation Center(s).
But do not indulge yourself in looking to
this megacute shell, unless it is really beyond your limit. With
concentration, you can reach the maximum potential for this exercise in a
question of weeks, although the speed and the time required are always
As always, they will try everything they can to lure you out of your
If you're willing to do not-looking, then they may purposely say
everything in their sentences around you in order to induce your brain to do
looking. So you must be determined. If you want, you can
create archetypes in your visualization to label these antagonistic maneuvers
of them : "ANTI-NOT-LOOKING MOVEMENT", for instance, and/or
Now take a look at some examples of sentences their characters may say around you where you could apply these archetypes :
a) (if you're a man) : "He is a very macho man"
(because you're resisting to look at kundalinic shells);
b) (if you're a woman) : "She is afraid of men";
c) (two characters saying to each other) : "What are you saying ? I'm married !"
(inducing dichotomy over your brain : saying it is (and it was) "wrong" to do looking because you're married to your beloved one...);
d) "It's a sweet illusion. It doesn't make any difference."
(the not-looking exercise is on the top of your memory stack. Here they're attacking the validity of the exercise for your brain, and at the same time contesting the capacity that you and your beloved one have of creating the reality of your lives, calling what he/she says inside your heart an "illusion");
e) (in your gym) "The pool is empty" or "I'm not gonna do my abdominals today"
(meaning that you're not going to do your looking - "bib path" - today, but who knows tomorrow...);
f) (someone in your workplace carrying a pile of thick books) "It's too heavy"
(meaning that you're not ready to do the not-looking exercise, or that it is too strong for you).
9.II - Creating a fog around you :
This time you manipulate the image that their characters officially
have of you, just like you have seen above in the section
Erasing your personal history".
It can be done with people that know you very much.
The idea here is to put yourself in the middle of the way. You
don't say anything specific enough that they could handle and use against you
in their sentences. Every time you do this, you reduce the scope of their
speculation, and you reinforce for your brain the notion that your
life is none of their business.
Let's see now a couple of examples :
a) (someone asking you) : "Are you working out ?"
(your answer) : "Sometimes. When I can, I go."
b) (someone) : "Are you on a diet ?"
(your answer) : "Yes and no. It depends on the day."
So the person offers you a piece of chocolate cake : "Come on, help me end this cake". If you're really on a diet, you can say : "Not today. Thank you.", but don't say you're on a diet.
c) Let's say you study in the university. Your workmate knows that already. It's not enough. He/She wants more details :
"At what time do your classes begin ?"
(you're writing something) : "Just a moment" - You make a sign with one of the hands and continues writing for a few seconds. Right after that you just leave the place and go to the restroom, without answering that question. You stay at the toilet for ten minutes. When you come back, your workmate will probably be concentrated on something else. And if his or her character insists, you can say : "It varies depending on the day". If he/she continues insisting : "At what time do your classes begin today ?", then you can say : "Today ? Humm, I don't remember. Why are you so curious ?".
If you want, you can ask something specific about the life of his or her character in the Stage World.
9.III - Fishing your speculators' personal history :
The goal this time is to counterattack. Now you're going to see how
they do when you're trying to corral their characters and to fish their
personal histories. If you find out something interesting, write down
their defense techniques to use later against themselves, when they try to
fish your personal history.
The only difference here is that they can act in groups to make their
defense, while you can't do this. Using their activated crystals,
they can create a combined interruption in the conversation
(a phone call, somebody else arriving, somebody else calling that person
whose personal history is being fished by you, and so on).
Let's repeat the previous example. Someone asks you :
"Are you working out ?"
Then comes your answer : "Sometimes. When I can, I go". And
depending on whom you're talking to, then you can ask back the same
question : "And you, do you work out ?"
Another example : you're at the hairdresser's, and the character of
the man responsible for your hair seems to be very sympathetic to you.
(no second meanings here please). He asks you "innocently" :
"What do you do ?".
In this case, you can't ask him back the same question (because you know
already he is a hairdresser) and you can't create a diversion
(because you can't even move seated there in that chair). So you have to
use your imagination and ask him something about his life using the elements
that are available in your perception field and/or in your memory.
So you can ask him : "Are you having a good turnover here in the
salon ?". You can even add a more specific question :
"How much rent do you pay ?"
In some cases, it may be more strategic to ask a specific question about
the other person's life in advance, even when it is possible for you to
ask back the same question that he or she has asked you. Sometimes
what is important for you is not important for the other person.
So if the person fishes your personal
history in what is important for you, you can fish his or hers in what
is equally important for him or her, instead of replying automatically the
same question. You can ask something specific or detailed enough about
his or her life.
Like for instance : "How are your jiu-jitsu classes ?
Do you have classes every day ? How many times a week ? In which days
do you go ? At what time do you go ? Is it expensive ? How much do you pay
a month ?". And so on.
But beware of questions that they could use later against you to
manipulate your brain through the second meaning of the words. If you say :
"I don't know jiu-jitsu. How are the main movements ?" then you
should prepare your brain for being bombarded by their divisions of reality,
and generic fishings using a machine gun of options, something that we'll
see later on in the section "Options Mill".
Remember : "there is no game" and therefore
there is no fight, there is no "auric karate", and there is no
"auric jiu-jitsu". You're not competing with their characters
(let alone with other survivors for a "better place" in their
dreamworld-to-sell). And you're not being judged by a referee, either.
Finally, you'll probably notice that at times they simply won't answer
your question. They use a technique that you may want to call
sudden silence during a conversation" : they simply ignore you and
your question, gratuitously, like if you were not there. It's an aggressive
alternative technique that with training you can learn to use.
Never mind if you can't be as fast or as smart as them. They have their
activated crystals and they think in a speed hundreds of times faster
than you, and they read your thoughts thoroughly. The goal here is not
to take energy from them, but just to respond somehow to their
personal history fishing over you.
9.IV - Inventing little stories about yourself :
Here you not only create a fog around you : you also deliberately
introduce some invented elements in the descriptions of reality that you
choose to give them about your life. Just like they do to you all the time.
Let's say you live alone, and that your beloved one is present in
your routine wearing a kundalinic shell and guaranteeing you this shell is
going to date you in the Stage World. Your parents live in the same city
along with your sister, who has a flute.
So you call your parent's house and you ask your mother if your sister
would mind lending you her flute because you're going to give a party to
your friends at your house and her flute would be welcome. The party is
invented, and your friends - that they don't know - are invented too.
You didn't ask your sister directly because you wanted your mother to know
that you have friends - perhaps a girlfriend (boyfriend) - and that you have
a social life as well, in spite of the fact that they (your parents) don't
know anything about it.
So you're reinforcing for your brain the notion that you owe the
characters of your parents no explanations about your life, and that you're
the only owner and master of your own destiny.
If you don't have a close relative living in your city, you can apply
this technique to anyone having a good notion of your personal history.
Every time you describe reality to their characters inventing an element
like this one, you change the official image their characters
have of you. They no longer know you and your life with certainty.
They cannot control your life any longer. They cannot control
what they don't know. At least, what their characters
officially don't know.
The maximum they can try here is to "trace" your invented story, in order
to "catch" your "lie". In the example above, your mother can ask afterwards
for details of the party, so you simply don't give them away : "normal party",
"cool friends", etc..
Or she can try to induce your brain to believe that
they are still in control of your life : "I called your house Friday night
but there was nobody home, only an answering machine".
Then you can either be more aggressive or cynical. Aggressive :
"Are you investigating my life ?". Cynical : you lie again.
"Really ? We didn't listen to the phone ringing. Perhaps you've
called the wrong number". "But I left a message for you",
she says. "Curious. I didn't get it. Perhaps the machine didn't record it."
You can manipulate exceptions just like they do while brainwashing you all
the time. Now it's your time to have a straight face.
9.V - Not being at the mercy of people :
Another technique they may use to subliminally tell your brain that
they're the ones that govern your life and your destiny is manipulating
dichotomies and rationalizations in order to control your acts while in the
presence of their characters.
The point here is : if you're in their presence, you must do what
Carlos Castaneda calls the doing of strategy.
One of the aspects of this is not being on their hands regarding time or
transportation, for instance. You must be as independent of their
characters as possible, otherwise they can control your life for you.
For example, let's say your cousine is going to get married in a
ski resort 80 miles away from your city. The wedding is on a Friday night,
and all the guests will have to spend the night in a hostel, as it would be
too late to return after the ceremony. So some of your relatives are
willing to combine to go together to the wedding in the same car with you.
In order to be independent, you have basically two strategic options here :
either you don't go to the wedding or you go in your own car. If you go
with them, they will be able to determine whether they want to stay there a
few more hours on the Saturday or not. They could even decide to spend the
whole weekend on the area, and definitely returning on Sunday was not in
your plans. After all, they could brainwash you for three days, creating
a variety of unpredictable situations...
Every time you show their characters that you are not at their mercy,
you subliminally tell your brain that you're in control of your life.
9.VI - Stalking yourself :
Another way of telling your brain that you're in control of your life
is cheating the rational structures of the brain by stalking
yourself. You can perform unpredictable actions in the Stage World,
spontaneously, so as to disaddict your brain from your routine.
So for example if you never stop in a cafe' for a meal, then you can
do it now. If you never buy a lottery ticket, you can do it now.
If you have different ways of going to work - by car, by bus and by subway,
for instance - why should you go the same way every day ? And if you go
by car, you can take different routes, just to be spontaneous.
You can also introduce new pieces of clothes that you don't have the habit
of wearing, like for instance a cap (if you're a man) or a boot
(if you're a woman). Use your imagination.
Innovating is the verb here.
Stalking yourself versus the not-looking exercise - Another
point is : do not lie to yourself. If you're doing your
not-looking exercise, beware of the presence of kundalinic shells in
the places that are the object of this movement of stalking
yourself. Do not
"justify" the change of your physical movements as if you were "stalking"
yourself (unless you didn't know there was a kundalinic shell in that place).
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