To: The Ixtlan Mailing List
Date: Wed, 31 May 1995 20:43:38 -0400

(Personal note: I don't know how much of this stuff is important or relevant, but they said it to us, so......, you decide)

Taisha Abelar's lecture Sat Nite (or, the nite the I.B. buzzed in).

Taisha told another story about walking down the Grand Canyon. She had always wanted to go, and the Blue Scout (I think?) arranged a trip for her. The persona she was using at the time was Ann Ricard, and a friend of hers, from her job, was accompanying them. Therefore she could not reveal herself as Taisha Abelar. To make a long story short, she ended up using sorcery techniques to get her back up from the bottom (it's a 5000' climb, dodging donkey droppings along the way). Some of the techniques she employed were: she sent her energy body up and down the trail several times the nite before to leave reservoirs of energy; she put her "fatigue" in rocks, she used plants along the trail, sniffing them (her energy body knew which plants to sniff); she used the energy of the mules (this she did by being the first person to walk directly in the path the mule walked in before her, as it was passing her going in the opposite direction - she was going up, it was going down). "Under extreme physical stress the energy body takes over". Getting rid of self concern:

1. By becoming abstract, and getting rid of self-concern
2. By pitting yourself against petty tyrants
3. By knowing you are a being who is going to die

Petty tyrants curtail self importance by bringing to the surface the things that make you angry. (She told a story of a former new member of their group - even though they're not a group! - anyway, his name was Clifford and one day CC happened upon him walking down the middle of the street with his head shaved, bare-chested, with a string of garlic cloves around his neck. When CC asked him what he was doing, he replied that he was curtailing his self-importance! Curtailing self-importance is a private, secret act. No one should be aware of what you are doing.) (She the started talking about gazing.) Gazing: the not-doing of looking (between looking and "seeing".) Things to gaze at: Gravel, Sand, Grass, Leaves.

Do not do in a bad mood (at least not trees since she has an affinity for them after living in one for over a year and doesn't want us putting any bad energy in them). Gazing at trees: take short, quick glances, gaze at the leaves - look at one leaf, QUICKLY, at a time. Eventually the "energy" will come to the foreground, and be supreimposed on the physicality of the leaves. Inner Silence: a matter of accruing more & more time to "collapse" the world.

Carol Tiggs (pronounced Teegs) - 23 minutes
Taisha - 5 minutes
Florinda - 8 minutes

(I'm not sure if that means it takes that much time for them to collapse the world, or, if that's how long they can sustain the collapse!?)

Compulsive behavior can be used to stop internal dialogue. (Told story of one person (can't remember who) who used a stick about 2-3 feet long. Sat down and stood the stick up on the ground between his legs, leaned over and placed the other end of the stick at the position of his third eye, and remained in that position. He also placed some sort of pad on the end so he wouldn't scar his forehead. She thought his method was a little extreme.) One method she suggested was gazing at a match tip burning, from one end to the other, cooling your fingertips in water in order to grab the end that already burned and flipping it over 'til it burns all the way. Discipline and Impeccable Actions: Impeccability - when you give to each of your endeavors "everything" leaving nothing for self-reflection. (therefore there is nothing left to re-capitulate!) - It is the ONLY thing that will keep the flyers (voladores) away! Flyers have NO LIGHT. She then told a story about a shaman's grandson that CC met once in Mexico.

CC met and talked with him for 2 days, at the end of which the man told CC that his path and CC's could not merge (she used a different word) because they were moving at two different speeds. CC thought the man was being a little self-important, but shrugged it off.. 2 Years later CC was driving back to San Diego when he got caught in a dust storm so terrible he could hardly see thru the windshield of his VW bug. He was worried about his safety when suddenly a large truck pulled up along side. The driver (somehow) signaled to CC the drive behind the truck and let it block the wind, to keep CC's car from blowing off the road.

CC followed him for quite some time, when suddenly he realized he was no longer on a paved road, but a gravel one. He thought he was lost and pulling along side the truck, frantically motioned for the driver to pull over. When they stopped and the driver got out, CC realized it was the young man from 2 years earlier. He said he wanted to thank CC for what he had done before when they were together for @ days and this was his way of "paying him back". He said, "we are now in the second attention." And they were. He left, and CC found his way back to San Diego.

Stalking your dreams: fixing your awareness at a certain point.

- you must have a fixation of some sort when you do 'dreaming'
- this locks the assemblage point

Taisha gave an example: she went to a "dreaming mall" with Florinda. She was at a shop and immediately began to look through everything at the shop - opening pockets, looking into purses, constantly paying attention to the intricacies of that specific dream until it acquired cohesiveness. She says to do this when we are dreaming. Wherever we go, stalk the environment of the dream (I'm paraphrasing).

When Nelida tried to move her AP Taisha freaked out (The Sorcerer's crossing) and that was when she was suspended from a tree. She described her 4 major roles in the "Theater of the Real", as Julian called it. I believe these were:

1: A tree dweller (for over a year - fist time she ever felt any "real" affection for anything).

2: an engenue (spelling!!) - a visitor from Phoenix staying with her 2 aunts, Nelida & Florinda, in order to find a husband. It ended (after a year) when she "fell in love" with the town wacko (an ex-priest who did something to ostracize himself from the community), and then tried to "cure" his madness (he spent his day riding buses and visiting churches) by hoisting him up in her tree, where he went "really" nuts. DJ had to intervene. She received "many" marriage proposals at this time. The change was also extremely difficult as she had to learn to be a prim and proper, educated, etc. young lady. This is after living in a tree for a year.

3: A beggar. (Alphonsina) DJ hired a real beggar woman to be Taish'a mom and teach her how to beg properly. This was difficult, as the transition from high society to beggar was again extreme. She wanted to quit, but DJ said she would have to quit the sorcerer's world. It was under the pressure of this life (beggar) that she experienced love - she really loved the beggar woman as her mother. when she left she hoped to one day go back and save her. (she was almost in tears as she told this story - very emotional. her entire lecture was softely charged with emotion - affection).

4: Ricky - a young American man who was in love with life. Questioning everything. He never took life for granted. It was her favorite role. and, as opposed to the beggar role (which she couldn't wait to end) she never wanted this role to end. Everything we do in life is a role. Another form of affection: when you no longer have an ego, it is nothing to enter a parallel universe.

I.B.'s world: a world that is pourous. You sense and hear it. The dreaming emissary "whispers". It is a FEMALE voice. All emissary's voices are female (CC's too). One correlation to slow speed (I.B's world) is slower breathing. Two I.B.'s have taken her on many journeys in their world (the two living in her attic). I.B.'s can feel affection. I.B.'s do not want to harm us. They only want to share affection. They live billions of years. (or something like that. At this point I thought she was going to suggest living in their world as an alternative. She was very emotional. But she surprised me.) The universe is permeated by affection - there is a giant wave of affection in the universe. In that wave of affection are included ALL affections for EVERYTHING. Using THAT affection allows us to "fly off".

P.S. At one point Taisha showed us the slide of the voladore in Mexico. When the picture went up on the screen, we noticed a large-winged bug next to it. It almost looked as if it was part of the picture. Since I was sitting quite close (second row) I knew it was not. Still it was startling, and funny. On the next enlargement, it came back, right next to where the voladore was projected on the screen. Even Taisha laughed/commented. I was looking at it, and it moved, and then was gone. I thought it was funny that I didn't see it fly off the screen, but I figured it must have flown straight up, or something (in retrospect, there was no logical explanation, but it was only a bug - right?) The next night Florinda asked us if anyone noticed that the bug disappeared. She said it was Lobus and Phoebus.

George

To: The Ixtlan Mailing List
Date: 95-05-31 19:55:05 EDT

Rather than reiterate George Korey's careful and succinct notes, I will just fill in with my notes on Taisha's lecture.

The world is composed of units of interpretation. Sorcerers believe we have been so socialized that we can do nothing but interpret. The goal of sorcery is to see energy directly.

The energy body is a core of filaments of energy. Sorcerers try to bring back the energy body from whereever it has been since it was knocked off at birth.

Sorcerers are able, through discipline and dreaming, to transform the energy body into an exact double of the physical body. This double body is called the dreaming body. Also the reverse is true; sorcerers can change the physical body into pure energy.

The nine ways to move the AP: Taisha said that dreaming and stalking are put last in the list, because by the time we get to them, we will have to have built up enough awareness to get above the ankles.

The energy of the stars: In the tensegrity movements, the foot pass [number 1 of the second series] mixes impersonal energy of the stars with the area of self-reflection in the foot. Another one of the star groups they had to know was the belt in the constellation of Orion.

Recapitulation: you can do it in public using an inner breath. You don't have to turn your head.

Globus [?] and Phoebus: Taisha sleeps with them every night that she sleeps in her attic, and cuddles up with them. She says they are becoming more and more real as she matches her speed with theirs.

Rjuna
   

To: The Ixtlan Mailing List
Date: 95-06-04 13:47:09 EDT

Rich has done it again! Great notes! I just have a few things to add.

Warm up number four on page two of his notes: remember Chubby Checker and the twist? Well, this is like the twist, except that you twist to one side very rapidly, then stop; then twist to the other side and pause briefly, etc. You put a lot of force into each 'twist'so that the body really feels it.

Warmup number five: on page 3:this is more of a hop..heels out at 45 degrees with toes about 4 inches apart..then hop up bringing heels in and toes out;now hop bringing toes in and heels out.repeat many times.

Re: Fluidity foot part two: I think you are basically right here, Rich; you just step forward with your right foot, right leg straight, left leg bent, weight more on left leg. Then raise toes and rotate foot inward[twist foot until you can see your arch], then lean to left. repeat on other foot.

re stellar hatch: (..allow ball to rise to top of luminous egg). This would be just above the top of the head, they said. (strike down with right [palm flat, thumb in locked position]). I think palm is supposed to be vertical here. you are cutting a hole in space. -think of opening a manhole cover from below. Now after you cut the hatch, you want the ball to go out into infinity, so you stare out through the hatch into infinity as the ball goes out. lower hands as you watch the ball go out.Then you drop your head.

Kylie said we're not accessing energy from the earth, but from our own energy field with this movement.

Re: Drawing the width of the energy circle: moving leg remains straight during movement.moving foot faces forward until it reaches as far as you can get it to the rear of your half circle at which point it faces outward. think of the leg as extending all the way from the hip, and use the entire leg from the hip downward. extend your leg as far as possible. You are drawing a line of energy.

Re: axing energy:never extend the arm fully, on any pass. always keep elbow slightly bent; that way you won't risk injuring the elbow. They constantly stressed this during the workshop. By the way, we had to sign a lengthy waiver of responsibility for any injuroies occuring during the workshop, and nobody was allowed in without having signed it!

Re: little house of energy: I think that it starts, as Rich says, with hands brought around to the back then they end up in front slightly palms up at waist level, with a jerk. (hands up to eye level) about 1 1/2 feet apart. (hands flip and slice with impact). yes, the hands do each part of this exercise fast and with precision. In other words, when you make the roof, it's pause at sides at eye level after raising hands up, then faster than the eye can see, cross hands and back to sides, pause. Then lower hands fast stopping with a jerk, palms facing down. pause, then slice again to make floor.that's it! Very hard to describe.

Re: pyramid of energy: after the first three arm movements, the hands end up at waist level, palms parallel to floor, thumb side of hand touching waist, tips of fingers just touching. now, form one side of pyramid by angling hands at 45 degree angle up and moving them up and out about one foot. now form second side of pyramid by bringing hands down again at a slant outwards. Pretend you've got an A-frame house in front of you[a model of one] and its facing to your left. now you are going to trace its roof. so your hands go up and out to the peak, then down and out to the other side. now place hands parallel to floor[theyre still out from your waist about a foot] and bring them into your waist.

This forms the floor of the pyramid. now you have two other sides of the pyramid to form.place your hands out in front at your sides, with finger tips facing front and thumbs up. now raise them up at an angle till they come together at the top of the pyramid.now back down the same sides to the bottom. now, you've got this pyramid sitting in front of you at waist level. place your hands fingers forward, palms parallel to ground, thumbs facing each other about 6 inches apart and grab the pyramid and shove it forward. now, the entire building of the pyramid is done with one slow exhale, and when you shove it forward away from you[only a few inches], exhale quickly any remaining air. now, inhale and raise the pyramid[still holding onto it] and set it on the top of your head.now do the 3 inhales and exhales.[whew!! this is a heck of a one to describe without pictures].

Re: Sorcerer's breath: a clarification on :

1. cross arms at wrists over chest.
2. inhale and bring right hand up to left, over to right and back to starting position, while left hand goes up to right, then over to left, down and around and back to start. The right hand goes clockwise and the left hand goes counterclockwise.
3. now exhale while right hand makes circle going counterclockwise and left hand goes clockwise

Clarification on (inhale and push arms out toward the front in a round motion three times). okay, you're turning a paddle wheel with your hands; your hands ARE the paddles. push them out in front in a circular motion sort of at a 30 degree angle, etc.

Adding a bit to what Kylie said at this point:
The warrior's way is not about getting something. It's about getting out of the way.

we are unfamiliar with ourselves because we don't interact the same way we used to, because our APs have moved..That's why it's so important to just do the movements.

If you want it bad enough, you can hook into it. It's our own solitary fight. We're not a group, but we're hooked into the same intent.

There's only you and IT.

The recap never ends; every single second counts.

The mere fact that we know we are sentient beings who are going to die should jolt us.

Re: The Seer's Window: (move each hand across the bottom ledge of the window and back to the hand's starting position, beginning with the right hand.) okay, you have finished with the crossing three times to make the bottom of the window. now, your two hands are palms down at waist level about 1 foot apart, and your hands are slightly out in front of your body. now, move the right hand, palm down ,over to touch the left. move it back. now move the left hand over to touch the right, and move it back over to the left. do the right hand one more time. next, you trace the outside of the window by turning your hands so palms are vertical with thumbs up, hands 1 1/2 feet apart. now move hands up 1 1/2 feet, and back down 3 times[tracing the outside of the window].

Next you take your right hand, bring it up to the top of this imaginary window, and flip your hand over so the palm faces out to the right at eye level[now it's supposed to be just INSIDE the frame you just traced]. do same with left hand on the left side of the frame.now both of your hands are raised to eye level, your elbows are bent outward, and the palms are facing outward, thumbs down.  now, trace INSIDE of window by moving hands up and down 3 times. next continue with what Rich says about tracing the roof, and when you come to ..it's the same movement you did at the bottom of the window, with the right hand moving over to the left, etc. This is a wonderful pass, and a lot of fun to do. When you look out of the window, you should look into infinity. It was really something to see 500 people in the tent, looking through their windows, then stepping back and yelling INTENT at the top of their lungs..

Re: Local Application of Energy: a few points:

1. again, never fully extend arm in any of these movements to protect the elbow from injury.
2. when you pull the energy down with the two fingers, the two fingers curl inward like you are scooping ice cream, so you raise arm with fingers straight, at top, you curl and scoop and bring arm down.
3. when you bring the scoop of energy down, do it with a lot of tension in the arm and hand.

Re: elbow crank: this is a heck of a pass to describe in words. (beginning with the right hand with palm flat and pointing upwards, thumb locked,"shoot"hand out toward the front with the elbow bent. Then bring the hand up and make it into a fist.) Okay as you bring up your fist, the thumb is pointing to your right, and the fingers are facing your body.there should be lots of tension in this pass.

(rotate the fist and turn it inward and then down, with the elbow coming up) now, as the fist moves down, the back of the fist faces your left, and your thumb faces towards your body, until the fist is justat the side of your right thigh.

(and then push out with the left palm across the front of the body to the right, as you bring the right hand around to the back of the body.)

now, as the right fist, which is now down by your right thigh and by now the thumb-side of the fist is facing your body, and your fingers are facing the rear], moves to behind your back, the left hand is facing palm up and to the right, the left elbow is bend and the left forearm is parallel to the ground. The left hand "pushes"the right fist, but never actually touches it. There's always 3 or 4 inches between them.

just let me state here that at the beginning of this pass, the left hand waits palm up and a bit out in front of the left chest, while the right hand does its thing with the fist. Only when the right fist starts its movement around to the back, does the left hand 'push'it.

(then bring the left hand around and back to the left and push it out. Then do the same movements as described above, beginning with the left hand.)

[this particular maneuver was very difficult for a lot of us to grasp even with them repeating it ad nauseum for us]. okay, the left hand is down by the right thigh, the upper part of the body is turned to the right and the right fist is behind the right buttock. NOW, bring the left hand up and over the head and behind towards the back on the left and down to waist level and shoot it out palm up all in one fluid motion. Now, at the same time[yeah right] the right fist opens, and the right hand comes up in front with palm up facing forward. Now repeat on left side.

[ you guys will probably laugh your heads off at these futile attempts to explain these passes with mere words when you see the video...oh well ]

Rjuna's Notes from Monday Morning Review Session

On the Axis Breath: We're trying to break the connection with the social order. The energy loops out of the bottom of the body; it's brought up and out; it gives us a moment when we don't have to be concerned with the social order. After raising the arms, look out into infinity, sending the energy out. Then break the connection with the energy you have sent into space, by lowering your eyes, then lower the head, and lower the arms.

"The mass energy we get from doing these passes and from the workshops allows us to pull out of ourselves and focus on something else besides ourselves. Then our chains are broken. Carlos is compelled to do this" [ i.e., to make Tensegrity available to those who are interested ].

"In the social world, our words are never the same as our actions. In our world, our words are the same as our actions."

"We're talking about the hypothetical alcoholic who even though he has been sober for 15 years, longs for that one drink; we will make that desire for that one drink as if it were never there."