SETTING THE ST STAGE AGE BY FREDERICK AARDEMA
Introductory chapter from EXPLORATIONS IN CONSCIOUSNESS: A NEW APPROACH TO OUTO!"O#$ EXPERIENCES
Copyright © 2012 by Frederick Aardema All rights reserved, reserved, including including the right to repro reproduce duce this work in any form whatsoever, without permission in writing from the author or publisher publisher
%ore than t&o decade' a(o) I &a' f*r't *ntroduced to the top*c of outof +ody +ody e,per e,per*en *ence ce'' -O"E'. -O"E'. +y Ro+ert Ro+ert %onro %onroee throu( throu(h h h*' f*r't f*r't +oo/) +oo/) 0ourney' Out of the "ody1 2 In that +oo/) %onroe de'cr*+ed ho& he one day) out of the +3ue) +e(an to e,per*ence 'tran(e 4*+rat*on' cour'*n( throu(h h*' +ody &h*3e 3y*n( do&n and prepar*n( for '3eep1 In*t*a33y) In*t*a33y) the'e 'en'at*on' pro4o/ed a (reat dea3 of fear) e'pec*a33y &hen %onroe d*'co4ered that the 4*+rat*on' a33o&ed h*m to 3ea4e h*' +ody1 O4er t*me) ho&e4er) h*' fear 'u+'*ded) and he 'et out to act*4e3y e,p3ore the outof+ody 'tate1 He mo4ed throu(h &a33') f3e& throu(h the a*r) ta3/ed to the dead) and 4*'*ted a33 /*nd' of e,ot*c 3ocat*on'1 At 'e4ent 'e4entee een n year' year' o3d) o3d) I +e3*e4 +e3*e4ed ed that that anyth anyth*n( *n( &a' po''*+3e po''*+3e)) and &*th much much na54et na54et66 and enthu'*a'm I made *t my f*r't pr*or*ty to e,per*ence the 'ame th*n(1 I carefu33y read the method %onroe pre'cr*+ed for 3ea4*n( the +ody) &h*ch re7u*red approach*n( the +order3*ne of '3eep &h*3e '*mu3taneou'3y try*n( to /eep one8' m*nd a&a/e1 !or 'e4era3 &ee/') e4ery n*(ht +efore +edt*me) I attempted to 3ea4e my +ody1 I &a' not 'ucce''fu3 at f*r't I &ou3d a3&ay' fa33 a'3eep premature3y1 It &a' not ea'y to rema*n a&a/e &h*3e 3y*n( *n +ed) e'pec*a33y &hen try*n( to re3a, my m*nd at the 'ame t*me1 I dec*ded that more dra't*c mea'ure' mea'ure' &ere needed1 needed1 What I 3ac/ed 3ac/ed *n '/*33 I &ou3d &ou3d ma/e up for &*th 'heer effort and determ*nat*on1 I 4o&ed that *n my ne,t attempt) I &ou3d not (*4e up) no matter ho& 3on( *t too/1 That 'ame n*(ht) I 'pent &hat 'eemed 3*/e a(e' t&*'t*n( and turn*n( *n my +ed) try*n( e4ery po''*+3e method I cou3d come up &*th1 I e4en 7u*te 3*tera33y tr*ed to &*33 my'e3f out of my +ody1 Of cour'e) th*' method fa*3ed a' &e331 It &a' e,hau't*n() and f*4e or '*, hour' 3ater) una+3e to /eep
'3eep at +ay) I '3*pped *nto uncon'c*ou'ne''1 On3y a coup3e of m*nute' 3ater) I a&o/e1 I heard the 'ound' of +e33' the mo't de3*cate tone' I had e4er heard1 Each 4*+rated at a un*7ue fre7uency) fre7uency) com+*n*n( *nto a +eaut*fu3 arran(ement1 They &ere e,7u*'*te1 A +road 'm*3e appeared on my face1 I had f*na33y made 'ome pro(re''9 "are3y a+3e to conta*n my e,c*tement a' deep and 4*+rant co3or' f3a'hed +efore my eye' &*th each tone) I focu'ed on the 'ound'1 They +e(an to 'peed up) '3o&3y at f*r't) +ut 7u*c/3y reach*n( a pea/1 I +raced my'e3f1 Sudden3y) my +ody +e(an to 4*+rate 4*o3ent3y1 A 'tron( current of ener(y cour'ed throu(h me1 It fe3t 3*/e &hat I *ma(*ne +e*n( e3ectrocuted fee3' 3*/e) +ut &*thout the pa*n1 I fe3t e,c*ted) afra*d) and e3ated a33 at once1 "ut &hat &a' I 'uppo'ed to do ne,t I remem+ered the *n'truct*on' pro4*ded +y %onroe1 They *n4o34ed (ett*n( the 4*+rat*on' to form a c*rc3e around my +ody1 Then I needed to mo4e the c*rc3e of ener(y up&ard a3on( the a,*' of my +ody1 Th*' &ou3d 'omeho& a33o& me to 3ea4e my +ody1 It 'eemed 3*/e a 'cary pro'pect) +ut I cou3dn8t ta/e the 4*+rat*on' much 3on(er1 They &ere +e(*nn*n( to fee3 more and more 3*/e a rea3 e3ectr*c current1 E4ery mo3ecu3e *n my +ody &a' 'ha/*n(1 I re7ue'ted the 4*+rat*on' to form a c*rc3e around my 3e('1 To my 'urpr*'e) they re'ponded a3mo't *n'tant3y) *n'tant3y) 'ett3*n( *nto a c*rc3e around my +ody) +ody) ;u't a+o4e the /nee'1 I had not e,pected *t to +e that ea'y1 They &ere 't*33 the 'ame hea4y pu3'at*on' +ut &ere much ea'*er to +ear *n a more 3oca3*
cont*nued unt*3 I fe3t the ener(y &orm*n( *t' &ay *n'*de 3*/e a 'na/e1 I fe3t 'ome ten'*on a' *t d*d 'o) +ut noth*n( crac/ed1 There &a' no pa*n1 Then 'ometh*n( happened I &a' comp3ete3y unprepared for1 %y head roared a deafen*n( no*'e) a' *f the ent*re N*a(ara !a33' had de'cended *nto my +ra*n1 The ener(y &a' a33 *n'*de of me no&1 The 'heer po&er of *t &a' enormou'1 I &a' on the ed(e of pan*c1 It &a' a33 too much1 Then) a+rupt '*3ence9 I fe3t (ood) 4ery (ood1 A comforta+3e comforta+3e t*n(3*n( 'en'at*on had 'pread acro'' my +ody) +ody) 3*/e the fee3*n( of a thou'and 'oft) &arm ra*ndrop' fa33*n( on my '/*n1 It &a' +3*''fu31 %y m*nd fe3t 3*(ht1 A 3*tt3e too 3*(ht1 The '/y had opened *n front of me a' *f I &ere 3oo/*n( *nto deep 'pace1 Not outer 'pace) +ut 'ometh*n( ent*re3y d*fferent1 !ar *n the d*'tance &ere &*'py c3oud' of a purp3e hue1 I +e(an to hear &h*'per*n( 'ound'thou'and' of 4o*ce'1 It &a' eer*e) nonhuman) not of th*' &or3d1 I fe3t my m*nd e,tend*n( there1 A3mo't 3*/e +e*n( there1 I +ecame afra*d a(a*n and 7u*c/3y focu'ed +ac/ on my +ody1 E4eryth*n( 'eemed norma31 The t*n(3*n( had d*'appeared1 The on3y th*n( out of the ord*nary &a' my 3e(1 It &a' touch*n( the &a33 +e'*de my +ed1 Then *t h*t me1 %y 3e( &a' f3oat*n( out'*de of my +ody9 "ut I &a' not ready yet9 I d*d not &ant to 3ea4e my +ody9 %oment' 3ater) I fe3t my re(u3ar 3e( a(a*n) on the +ed a' *t 'hou3d +e1 I *mmed*ate3y ;umped out of +ed1 I cou3dn8t +e3*e4e the ma(n*tude of &hat ;u't happened1 I had read a+out the 4*+rat*on' and a+out 'ome 'ort of e3ectr*c current preced*n( an O"E) +ut I had ne4er *ma(*ned anyth*n( 3*/e &hat I ;u't e,per*enced1 e,per*enced1 Th*' &a' the the rea3 th*n(9 Rare3y ha' an O"E fe3t a' 4*+rant a' *t d*d that f*r't t*me1 I ne4er fu33y 3eft my +ody) +ut that &a' *ncon'e7uent*a31 !or many year' to come) th*' e,per*ence had me *n *t' (ra'p= I 'ou(ht to recapture the 'en'e of freedom) +3*'') and de3*cacy of that ;ourney *nto the un/no&n1 The 'heer 'en'e of euphor*a &a' +eyond my &*3de't *ma(*n*n('1 In the year' that fo33o&ed) my O"E 7ue't &a' '*m*3ar to tho'e de'cr*+ed +y other'1 In the +e(*nn*n() I &a' on3y a+3e to part*a33y 3ea4e my +ody1 Often) I &ou3d (et >'tuc/> &*th a phantom arm or 3e( 't*c/*n( out of my phy'*ca3 +ody) +ody) &h*3e the re't of me &a' una+3e to comp3ete the e,*t1 Ho&e4er) a' t*me &ent +y) 'eparat*n( from my +ody +ecame ea'*er1 >Ro33*n( out> of the phy'*ca3 +ody &a' a fa4or*te method for a 3on( t*me1 E4entua33y) I no 3on(er e4en needed an e,*t procedure1 I &ou3d f3y up and a&ay a' 'oon a' the 4*+rat*on' a33o&ed1 Other t*me') I '*mp3y 3*fted my'e3f out of +ed a' *f I &ere (ett*n( up *n the morn*n(1 %y e,per*ence of the 4*+rat*on' a3'o chan(ed1 R*(ht from the 'tart) they pu3'ated at a much h*(her fre7uency1 fre7uency1 I certa*n3y d*d not m*nd that1 It &a' a 3ot more comforta+3e than the e,treme3y hea4y and '3o& 4*+rat*on' I had e,per*enced the f*r't t*me1 A3'o) the d*rect man*pu3at*on of the'e 'en'at*on' &a' no 3on(er nece''ary to ach*e4e 'eparat*on1 I on3y needed to menta33y re3a, *nto them) and they &ou3d automat*ca33y *nten'*fy unt*3 'eparat*on &a' po''*+3e1 L*/e many other' &ho e,p3ore O"E') I *n*t*a33y found my'e3f e,per*ment*n( *n the *mmed*ate en4*ronment of my +edroom1 Ho&e4er) mo4*n( throu(h &a33' and e,am*n*n( the 'pec*f*c attr*+ute'
of the nonphy'*ca3 +ody can on3y ho3d one8' *ntere't for 'o 3on(1 I 'oon found my'e3f 4entur*n( farther out1 Some of the'e e,per*ence' had a phy'*ca3 f3a4or to them) &h*3e other' 'eemed to ta/e p3ace >e3'e&here1> I ne4er had any pro+3em' &*th return*n( to my +ody1 +ody1 Stay*n( out of my +ody &a' the more d*ff*cu3t ta'/1 Often) I &ou3d 'udden3y f*nd my'e3f +ac/ *n +ed dur*n( an O"E1 The '3*(hte't thou(ht a+out my phy'*ca3 +ody &ou3d cau'e th*' to happen1 I &a' a+3e to remedy the pro+3em 'ome&hat +y /eep*n( my'e3f u3trafocu'ed on the en4*ronment) +ut *t &a' far from *dea31 O4er t*me) ho&e4er) thou(ht' a+out my phy'*ca3 +ody 'eemed to ha4e 3e'' of an effect1 Tra4e3*n( for 3on( d*'tance' *n the outof+ody 'tate &a' a3'o 7u*te d*ff*cu3t) I d*'co4ered1 Th*' pro+3em +ecame e'pec*a33y acute &h*3e I &a' 't*33 3*4*n( *n the Nether3and') phy'*ca33y 'eparated from my (*r3fr*end) &ho &a' *n Canada1 Stand*n( *n front of the At3ant*c and ha4*n( to cro'' *t +y f3*(ht *' a pretty o4er&he3m*n( pro'pect1 %y attempt' to tra4e3 'uch 3on( d*'tance' often fa*3ed1 I &a' e*ther pu33ed +ac/ *nto my +ody premature3y) or I &ou3d comp3ete3y for(et a+out my *n*t*a3 purpo'e on my &ay there +y (ett*n( d*'tracted +y 'ometh*n( e3'e1 I had to f*nd a '*mp3er and more 'tra*(htfor&ard mode of tra4e31 The >4o*d> 'eemed 3*/e a (ood cand*date for do*n( ;u't that1 In the outof+ody 'tate) I &ou3d fre7uent3y f*nd my'e3f f3oat*n( *n an empty +3ac/ 'pace &*th noth*n( around me1 It &a' not unp3ea'ant e,cept that 4ery 3*tt3e e4er 'eemed to happen there1 It &a' 3*/e f3oat*n( *n a 'pace of noth*n(ne''1 "ut then 'ometh*n( occurred to me1 If d*'tance *' an *33u'*on *n the outof+ody 'tate and *t certa*n3y appeared that &ay *n the 4o*dthen &hy not u'e *t to tra4e3 from one 3ocat*on to another I &ou3d '*mp3y f3y throu(h *t for a &h*3e) /eep my de't*nat*on *n m*nd) and then ar+*trar*3y touch (round 'ome&here1 W*th th*' method) I had +etter 'ucce'' *n reach*n( my (*r3fr*end) &ho &a' 3*4*n( *n %ontrea31 It certa*n3y &a' a 3ot cheaper than ta/*n( an a*rp3ane1 %*nd you) the method &a' far from foo3proof1 %ore often than not) I &ou3d end up *n &hat appeared to +e a fore*(n c*ty) +ut not a3&ay' c3o'e to the hou'e &here my (*r3fr*end 3*4ed1 It *' not that ea'y f*nd*n( your &ay *n the outof+ody 'tate) e4en *f you are re3at*4e3y c3o'e to your de't*nat*on1 $et) de'p*te a33 the'e d*ff*cu3t*e') I &a' a+3e to reach my (*r3fr*end on 'e4era3 occa'*on'1 Apart from tra4e3*n( *''ue') &hat I a3'o came to rea3*
'tate doe' not a3&ay' act 3*/e phy'*ca3 rea3*ty1 Often) o+;ect' that 'hou3d +e there are a+'ent or d*'p3aced -&*ndo&') furn*ture) door') and 'o on.1 Or you may encounter e4ent' and peop3e that are not rea33y there1 Other *ncon'*'tenc*e' *nc3ude +e*n( a+3e to open door' and &*ndo&' &h*3e out of the +ody1 The 3atter *' o+4*ou'3y not an a+*3*ty that a (ho't *' 'uppo'ed to ha4e1 In the O"E 3*terature) the'e *ncon'*'tenc*e' are often referred to a' >rea3*ty f3uctuat*on'> or >perceptua3 d*'tort*on'1> It *' 'a*d that the outof+ody en4*ronment *' more f3u*d than re(u3ar phy'*ca3 rea3*ty) more ea'*3y re'pond*n( to thou(ht' and e,pectat*on' of the pro;ector1 Th*' d*d not 'eem 'uch a +ad e,p3anat*on e,cept that the'e d*'tort*on' &ere the norm rather than the e,cept*on1 Where &a' rea3*ty 3ocated *n a33 of th*' I had to f*nd other account' of the O"E) 'o I +e(an to read up on the 'c*ent*f*c 3*terature1 I 7u*c/3y d*'co4ered that the pro+3em' I e,per*enced &ere hard3y un*7ue to me1 Of part*cu3ar *ntere't &ere 'e4era3 parap'ycho3o(*ca3 *n4e't*(at*on' carr*ed out *n the 2?@'1 The'e e,per*ment' u'ua33y *n4o34ed a'/*n( a ta3ented 'u+;ect to e'ta+3*'h the outof+ody 'tate and then try to perce*4e an o+;ect *n another room) &*th the o+;ect *t'e3f un+e/no&n't to the pro;ector1 Surpr*'*n(3y) e4en the mo't famou' and adept pro;ector' &ere una+3e to correct3y 4*e& the o+;ect *n the other room1 There &ere a fe& e,cept*on') +ut o4era33) re'u3t' 'ho&ed that accurate percept*on *n the outof+ody 'tate &a' not a' 'tra*(htfor&ard a' *' often 'u((e'ted *n the popu3ar 3*terature1 W*thout pr*or /no&3ed(e of the en4*ronment) phy'*ca3 rea3*ty &a' a3mo't *mpo''*+3e to perce*4e correct3y1 %y '/ept*c*'m re(ard*n( the rea3*ty of the O"E (re&1 I8d had a fe& e,per*ence' that &ere d*ff*cu3t to re3e(ate to the rea3m of co*nc*dence1 $et) none of the'e e,p3a*ned the 4a't num+er of occurrence' *n &h*ch my e,per*ence *n the outof+ody 'tate &a' d*fferent from phy'*ca3 rea3*ty1 It d*dn8t 'eem to f*t th*' 7u*te 3*tera3 *dea of roam*n( the phy'*ca3 &or3d a' a (ho't) (*4e or ta/e a fe& perceptua3 d*'tort*on'1 I +ecame *ncrea'*n(3y *ntere'ted *n more 'c*ent*f*c and con4ent*ona3 e,p3anat*on' for the O"E1 One of the'e e,p3anat*on' 'u((e'ted that that the O"E *' a 3uc*d dream) &h*ch *' a dream dur*n( &h*ch you are ent*re3y a3ert and a&are) ;u't a' you are *n ord*nary &a/*n( con'c*ou'ne''1 $et) you are actua33y on3y occupy*n( a dream &or3d that *' recreated from your o&n menta3 mode3 of the &or3d) perhap' e4en *nc3ud*n( ho4er*n( o4er your o&n +ody 3ocated on the +ed1 In other &ord') accord*n( to th*' e,p3anat*on) &hen you ha4e an O"E) you are not rea33y out of your +odyyou are dream*n( *t1 Th*' >dream*n( hypothe'*')> a' &e m*(ht ca33 *t) 'ounded pretty con4*nc*n( to me &hen I f*r't 3earned a+out *t1 After a33) my +ody 'eemed to +e a'3eep dur*n( the'e e,per*ence') and *t &ou3d certa*n3y account for the many *ncon'*'tenc*e' I encountered1 So &a' I ;u't dream*n( dur*n( my e,per*ence' And *f 'o) &hat &ou3d that *mp3y Whate4er the term*no3o(y u'ed) dream or other&*'e) mo't 'c*ent*f*c approache' try to ma/e the po*nt that the O"E *' an unrea3 e,per*ence1 Some) for e,amp3e) ho3d that the O"E *' a ha33uc*nat*on of 'ome 'ort that ha' noth*n( to do &*th rea3*ty1 Other' ar(ue that the O"E *' produced +y the +ra*n= they a''ume that con'c*ou'ne'' *' a product of the +ra*n and *' therefore u3t*mate3y 3ocated *n'*de of the +ody) 'o therefore noth*n( *' 3ea4*n( the +ody1 St*33 other' con'*der the O"E the re'u3t of a d*'tort*on *n 4ar*ou' p'ycho3o(*ca3 and perceptua3 proce''e'1 In a33 of the'e per'pect*4e') the O"E *' 4*e&ed a' ent*re3y *nterna33y (enerated) not re3ated to o+;ect*4e rea3*ty a' &e /no& *t1 Noth*n( *'
3ea4*n( the +ody) and the outof+ody en4*ronment *' ent*re3y created +y the pro;ector1 "ut &hat doe' the *dea that the O"E *' *nterna33y (enerated rea33y te33 u' a+out the rea3*ty of the O"E A' noted +y Char3e' Tart) &e a3ready 3*4e *n a 4*rtua3 &or3d *n &h*ch our percept*on *' a '*mu3at*on of rea3*ty rather than rea3*ty *t'e3f1 B We do not e,per*ence rea3*ty d*rect3y) +ut *n'tead) ener(*e' of 'ound and 3*(ht tra4e3 do&n our 'en'ory apparatu' and throu(h our centra3 ner4ou' 'y'tem) e4entua33y re'u3t*n( *n the con'c*ou' percept*on of phy'*ca3 rea3*ty1 So phy'*ca3 rea3*ty) a' &e perce*4e *t) *' *nterna33y (enerated a' &e331 Sen'e' o+4*ou'3y funct*on a' 'en'e') +ut u3t*mate3y) &hat you perce*4e a' the &or3d come' from &*th*n) not from the out'*de1 We do not rea33y /no& &hat *' >out there> on an o+;ect*4e 3e4e31 In Tart8' &ord': >We '*t) a' *t &ere) *n a mo4*e theatre of our o&n) 3o't *n the 'ho& created +y the u'ua33y h*dden mechan*'m' of the Wor3d S*mu3at*on Proce''1> No matter ho& you turn *t) the O"E fundamenta33y cha33en(e' your out3oo/ on &hat *' rea31 I am pre'ented &*th e,per*ence' that ha4e a def*n*te fee3*n( of rea3*ty to them1 There are many *ncon'*'tenc*e') and e4en a h*(h 3e4e3 of 3uc*d*ty may not a3&ay' +e (uaranteed) +ut the outof+ody e,per*ence *' a+3e to c3o'e3y '*mu3ate phy'*ca3 e,per*ence1 Thu') *ne4*ta+3y the 7ue't*on ar*'e' a' to &hat ma/e' anyth*n( rea3 or unrea3) *nc3ud*n( phy'*ca3 rea3*ty *t'e3f1 After a33) 'c*ent*f*c r*(or) *f app3*ed to one end of the 'pectrum) 'hou3d &or/ *n the oppo'*te d*rect*on a' &e331 In the end) the e,per*ence of f3oat*n( *n the a*r &h*3e 3oo/*n( do&n upon your phy'*ca3 +ody) at the 4ery 3ea't) open' up your m*nd to the po''*+*3*ty that con'c*ou'ne'' may ha4e 3e'' to do &*th corporea3 e,*'tence than pre4*ou'3y a''umed1 E4en 'o) a' con4*nc*n( a' the e,per*ence may +e) I 't*33 cannot +e certa*n I am rea33y out of the +ody1 I may mere3y +e 3oo/*n( do&n at a rep3*cat*on of my phy'*ca3 +ody) produced +y my o&n e,pectat*on' and 3ac/*n( any rea3 '*(n*f*cance1 #oe' *t end &*th my *ma(*nat*on the *nner e,per*enced a' *f com*n( from out'*de or *' there 'ometh*n( e3'e a+out the outof+ody 'tate that ma/e' *t rea3 We &*33 ha4e to ma/e up our m*nd' a' &e (o a3on() &*th a33 our e,pectat*on' and +e3*ef' and the*r confound*n( *nf3uence on e4eryth*n( that &e encounter *n the outof+ody 'tate1 21 %onroe) R1A1
[email protected] 0ourney' out of the +ody1 Ne& $or/) #ou+3eday1 B1 Tart) C1 -2??.1 %u3t*p3e Per'ona3*ty) A3tered State' and D*rtua3 Rea3*ty: The Wor3d S*mu3at*on Proce'' Approach1 !issociation, ") BBBB1 1 I+*d) p1 BB@1
Inducing the OBE: The Vigil Method THE VIGI METHOD BY FREDERICK AARDEMA
Chapter from EXPLORATIONS IN CONSCIOUSNESS: A NEW APPROACH TO OUTO! "O#$ EXPERIENCES
Copyr*(ht B2B +y !reder*c/ Aardema A33 r*(ht' re'er4ed) *nc3ud*n( the r*(ht to reproduce th*' &or/ *n any form &hat'oe4er) &*thout
perm*''*on *n &r*t*n( from the author or pu+3*'her1
THE IM!ORTANCE OF "AKEF#NESS So you &ant to ;o*n the ran/' of tho'e &ho) *n the &ord' of the poet 0ohn %a(ee) ha4e >F'3*pped the 'ur3y +ond' of earth and danced the '/*e' on 3au(hter'*34ered &*n('1> $ou &on8t +e f3y*n( an a*rp3ane) &h*ch *n'p*red tho'e &ord') +ut the re&ard' of 3earn*n( ho& to pro;ect are e4en (reater1 So ho& do you ma/e the O"E happen C3ear3y) the 4o3untary *nduct*on of the outof+ody 'tate *' a''oc*ated &*th '3eep1 There are other '*tuat*on' *n &h*ch the O"E occur') 'uch a' dur*n( trauma or other e,treme e4ent') +ut the 4o3untary *nduct*on of the 'tate *' a''oc*ated &*th the natura3 '3eep rhythm' of the phy'*ca3 +ody1 In part*cu3ar) Ro+ert %onroe &a' the f*r't to fu33y reco(n*
!REIMINARY CONSIDERATIONS Ti$e o% !&'ctice O4era33) the +e't t*me for pract*ce *' *n the m*dd3e of the n*(ht after ha4*n( '3ept 'ome1 $our m*nd &*33 +e f3e,*+3e and a3ert) +etter a+3e to ho4er near the +order3*ne of '3eep &*th 3e'' r*'/ of *mmed*ate3y 3o'*n( 3uc*d*ty1 At the 'ame t*me) your phy'*ca3 +ody &*33 ha4e a natura3 tendency to fa33 a'3eep1 Idea33y) you &*33 pract*ce mu3t*p3e t*me' at n*(ht *n +et&een '3eep cyc3e'1 Each '3eep cyc3e *' /no&n to 3a't around n*nety m*nute'1 $ou &*33 therefore +e 7u*te +u'y throu(hout the n*(ht) 'h*ft*n( fre7uent3y +et&een &a/*n( and '3eep*n() &*th the (oa3 of ha4*n( an O"E ne4er far from your m*nd1 A4o*d pract*ce *mmed*ate3y after retreat*n( to +ed1 The phy'*ca3 +ody may +e 7u*te &*33*n( to fa33 a'3eep at that t*me) +ut 'o *' your m*nd1 There *' +are3y any tran'*t*on *n +et&een &a/*n( and '3eep*n(1 $ou are far +etter off (o*n( to '3eep for a &h*3e) after &h*ch t*me your m*nd &*33 ha4e re'ted 'ome) and then pract*c*n(1
If you 3*/e to e,per*ment) you can a3'o (o to +ed much 3ater than u'ua3 or (et up for a &h*3e *n the m*dd3e of the n*(ht1 Th*' &*33 often 3ead to a h*(her 'tate of &a/efu3ne'' a' &e331 The phenomenon *' not un3*/e the '*tuat*on &*th ch*3dren &ho (o to +ed too 3on( pa't the*r +edt*me and con'e7uent3y are una+3e to '3eep +ecau'e the*r natura3 '3eep rhythm ha' +een d*'tur+ed1 !or the 'ame rea'on) ;et 3a() *n'omn*a) fe4er and '3eep depr*4at*on can a33 +e +enef*c*a3 cata3y't' for pract*ce1 !*na33y) 'ome peop3e report 'ucce'' &*th pract*ce *n the morn*n() a' oppo'ed to pract*ce *n the m*dd3e of the n*(ht1 Ho&e4er) *t *' often more d*ff*cu3t to e'ta+3*'h an ent*re3y 3uc*d tran'*t*on *nto the outof+ody 'tate1 E'pec*a33y at around or am) you are far more 3*/e3y to e,per*ence a fu33 f3ed(ed O"E 'tra*(ht from the &a/*n( 'tate) &*thout any *nterrupt*on *n con'c*ou'ne''1 So *f you &ant a +*t of ma(*c) pract*c*n( *n the m*dd3e of the n*(ht *' your +e't +et1
!o(ition There *' no *dea3 +ody po'*t*on from &h*ch to pract*ce the outof+ody 'tate1 Some occu3t approache' ha4e propo'ed not cro''*n( your 3e(' dur*n( pract*ce +ecau'e *t &ou3d put a 'tra*n on ener(y path&ay'1 Other' ha4e propo'ed that your head 'hou3d po*nt to&ard ma(net*c north1 Ho&e4er) none of the'e po'*t*on' &*33 ha4e any effect on your a+*3*ty to pro;ect1 There m*(ht +e 'ome +enef*t to the 'up*ne po'*t*on -*1e1) 3y*n( on your +ac/.1 The out&ard focu' can he3p to *ncrea'e your 3e4e3 of &a/efu3ne'' a' your +ody fa33' a'3eep1 "ut there are a3'o a fe& dra&+ac/' to th*' po'*t*on1 %any peop3e fee3 too e,po'ed *n th*' po'*t*on and are una+3e to fa33 a'3eep +ecau'e of that1 Th*' po'*t*on a3'o *ncrea'e' the r*'/ that you &*33 end up *n '3eep para3y'*') &h*ch *' a comp3*cat*on to a4o*d1 In (enera3) therefore) the +e't po'*t*on for pract*ce *' '*mp3y the po'*t*on you fee3 comforta+3e &*th1 Th*' may *nc3ude 3y*n( on your '*de) on your +ac/) or on your +e33y1 Once you are *n a preferred po'*t*on) act a' you norma33y &ou3d +efore fa33*n( a'3eep1 To''*n( and turn*n( are often part of that proce''1 So *f you e,per*ence an ur(e to mo4e) react a' you norma33y &ou3d +efore your +ody fa33' a'3eep1
!u&)o(e 'nd Intent The *ntent to ha4e an O"E 'hou3d ne4er +e far from your m*nd1 $ou &*33 ha4e to /eep *t act*4e throu(hout the n*(ht1 It 'hou3d a3'o +e act*4e dur*n( the day1 $ou &*33 &ant to fre7uent3y th*n/ a+out pro;ect*n(1 It ha' to +e a ma;or pr*or*ty *n your da*3y and 3on(term (oa3'1 W*thout purpo'e and *ntent) the m*nd ea'*3y &ander' off *nto 'em*'3eep) and +efore you /no& *t) thou(ht' ta/e on a 3*fe of the*r o&n and you +e(*n to dream1 W*th *ntent and purpo'e) on the other hand) your 3e4e3 of &a/efu3ne'' &*33 +e ma*nta*ned1 It *' one of the dr*4*n( force' +eh*nd a con'c*ou'ne'' that *' a&are1 Intent and purpo'e a3'o 'er4e to en'ure that you &*33 &a/e up after each '3eep cyc3e1 It *' mere3y a matter of +e*n( 'uff*c*ent3y mot*4ated1 !or e,amp3e) mo't peop3e are pro+a+3y fam*3*ar &*th &a/*n( up a fe& m*nute' +efore the a3arm c3oc/ (oe' off +ecau'e they ha4e a p3ane to catch or an *mportant meet*n( dur*n( the day1 If you do e,per*ence d*ff*cu3ty &a/*n( up natura33y) there are &ay' to (et around *t) 'uch a' +y u'*n( an a3arm c3oc/1 Wa/efu3ne'' throu(hout the n*(ht *' a3'o (reat3y enhanced +y +e*n( *n a (ood mood1 O4er t*me) you
&*33 3earn to reco(n*
THE VIGI METHOD: A SI*+STE! G#IDE Ste) ,: !&e(lee) !&e)'&'tion Immed*ate3y after retreat*n( to +ed) +e(*n +y reduc*n( your *nner d*a3o(ue the u'ua3 chatter of your m*nd1 The rea'on *' to '3o& do&n your thou(ht' a 3*tt3e 'o that aff*rmat*on' &*33 ha4e a (reater effect1 Thou(ht' &*33 ne4er cea'e comp3ete3y) +ut they can +e '3o&ed do&n enou(h 'o that react*on' are not 'o 7u*c/ and your m*nd *' 7u*eter than u'ua31 A '*mp3e techn*7ue to '3o& do&n the chatter *n your m*nd *' to focu' on a fe& '*n(3e thou(ht' or a repet*t*4e act*on for a &h*3e1 !ocu'*n( on your +reath*n( *' a (ood &ay to accomp3*'h th*') e'pec*a33y *n com+*nat*on &*th another act*on1 !or e,amp3e) each t*me you +reathe *n) focu' on the dar/ne'' *n front of your eye') and each t*me you +reathe out) defocu' on the +3ac/ne'' *n front of you1 #o*n( 'o &*33 '3o& do&n your m*nd fa*r3y 7u*c/3y1 Th*' method of 7u*et*n( your m*nd &*33 a3'o 'er4e you &e33 3ater *n the n*(ht1 !or e,amp3e) ta/e note of ho&) dur*n( each *nha3e) you &*33 fee3 '3*(ht mu'c3e ten'*on around the eye') &herea' the'e mu'c3e' re3a, &*th each e,ha3e1 Th*' re3a,at*on repre'ent' a po*nt at &h*ch your m*nd mo4e' *nto *t'e3f rather than out&ard3y *nto the phy'*ca3 &or3d) &h*ch *' e,act3y &hat you &*33 need to do 3ater on a more cont*nua3 +a'*'1 Once your m*nd fee3' re3at*4e3y c3ear and a3ert) *t *' t*me to com+*ne the e,erc*'e &*th 'ome aff*rmat*on' that re*nforce your *ntent to pro;ect1 Te33 your'e3f you &*33 &a/e up 3ater on and that you are (o*n( to ha4e an O"E1 En4*'*on your'e3f &a/*n( up *n the near future rather than *n the pre'ent) ;u't a' you &ou3d *f you ha4e an *mportant appo*ntment 4ery ear3y *n the morn*n(1 It *' a 'u+t3e +ut *mportant d*fference1 #o not +e afra*d to +ac/ up your aff*rmat*on' &*th 'ome force and determ*nat*on1 $ou ha4e to fee3 them *n your (ut a' oppo'ed to them mere3y +e*n( a ro+ot*c mantra1 Any mu'c3e ten'*on *' not a pro+3em at th*' po*nt or 3ater on) for that matter1 $ou are not med*tat*n(1 $ou are *ntend*n( to &a/e up 3ater on and ha4e an O"E1 Ho& often you &*33 need to do th*' 4ar*e' from *nd*4*dua3 to *nd*4*dua31 If you do not &a/e up) dou+3e the t*me you 'pend on *t the ne,t t*me1 Repeat the *n'truct*on to your'e3f a' often a' needed unt*3 the *mpr*nt *n your 'u+con'c*ou' *' 'tron(1 Then) 3et *t a33 (o and a33o& your'e3f to fa33 a'3eep natura33y &*th the /no&3ed(e and con4*ct*on that you &*33 &a/e up 3ater on1
Ste) -: E(t'.li(hing 'n Ancho& Immed*ate3y after &a/*n( up) or e4en &h*3e &a/*n( up) your f*r't thou(ht' 'hou3d +e a+out ha4*n( an O"E1 If you8re *n 3uc/ and are re3at*4e3y e,per*enced) you m*(ht +e a+3e to tr*((er ener(y 'en'at*on' a3mo't *mmed*ate3y1 #o not count on *t) ho&e4er1 U'ua33y) you &*33 need to (o throu(h a (ood dea3 of preparat*on f*r't1 Th*' +e(*n' &*th e'ta+3*'h*n( an anchor *n &a/efu3ne''1 An anchor *' a repet*t*4e menta3 act*4*ty focu'ed on a f*,ed pattern of thou(ht1 It' pr*mary purpo'e *' to /eep your m*nd act*4e enou(h to pre4ent *t from fa33*n( a'3eep1 It' 'econdary purpo'e *' to
pr*me your 'u+con'c*ou' for the act*4*ty of pro;ect*on= a' you dr*ft to&ard the +order3*ne of '3eep) the anchor &*33 he3p you remem+er your or*(*na3 *ntent1 "ecau'e the anchor act' a' a rem*nder *n the e4ent that you 3o'e 'ome 3uc*d*ty) *t can +e he3pfu3 to choo'e an act*4*ty that you *n 'ome &ay a''oc*ate &*th the O"E1 !or e,amp3e) a common anchor u'ed +y many 'ucce''fu3 pro;ector' re4o34e' around >ener(y &or/)> 'uch a' *ma(*n*n( +reath*n( *n 3*(ht' or co3or' &h*3e '*mu3taneou'3y 4*'ua3*<*n( the 'econd +ody +e*n( char(ed and f*33ed up &*th ener(y1 There are many 4ar*at*on' on >ener(y &or/1> $ou m*(ht prefer *ma(*n*n( ener(y 'en'at*on' or h*(h ener(y 4*+rat*on' 'urround*n( your phy'*ca3 +ody1 A3ternat*4e3y) you can 4*'ua3*
ener(y &or/> on3y ha' a +enef*c*a3 effect on ach*e4*n( the outof+ody 'tate +ecau'e *t funct*on' a' an anchor that pro4*de' the pro;ector &*th 'ome *n'u3at*on from fa33*n( a'3eep1 So do not he'*tate to try d*fferent anchor*n( techn*7ue') e'pec*a33y *f you ha4e no f*rm +e3*ef' a+out the'e matter'1 The on3y rea3 re7u*rement *' that the act*4*ty con'*'t of a re3at*4e3y '*mp3e menta3 act*on) &h*ch) a3+e*t re7u*r*n( 'ome effort) 'hou3d other&*'e +e fa*r3y automat*c and rhythm*c1 It *' *mportant to +e a&are that anchor*n( may *n*t*a33y ma/e you fee3 4ery '3eepy1 Th*' *' not +ecau'e the anchor*n( act*4*ty fa*3' to /eep you a&a/e +ut rather +ecau'e your m*nd &*33 re'*'t the repet*t*4e pattern and &*33 ha4e a 'tron( tendency to &ander off *nto uncontro33ed thou(ht) 3ead*n( *nto o+3*4*ou' '3eep1 The 'tep of e'ta+3*'h*n( an anchor *' therefore not an ea'y ta'/1 $ou &*33 need to e,erc*'e a (reat dea3 of 4*(*3ance to /eep your'e3f from dr*ft*n( to&ard the +order3*ne of '3eep1 Repeat your aff*rmat*on' to pro;ect1 eep your m*nd act*4e1 If you ha4e to) u'e d*fferent anchor*n( techn*7ue' to +rea/ any +oredom1 After around t&enty m*nute' of anchor*n( act*4*ty) you &*33 f*nd your'e3f 3e'' *nc3*ned to mo4e to&ard the +order3*ne of '3eep) at 3ea't *n any non3uc*d manner1 Any '3u((*'hne'' or dro&'*ne'' 'hou3d ha4e d*'appeared1 L*/e&*'e) '3eepy thou(ht' that *n*t*a33y tended to ;ump to the fore(round and try to catch your attent*on &*33 no 3on(er arr*4e &*th the 'ame *nten'*ty1 Effect*4e3y) you &*33 ha4e created a +arr*er that pre4ent' your m*nd from fa33*n( a'3eep &h*3e your phy'*ca3 +ody) due to natura3 '3eep cyc3e') &*33 e4entua33y +e(*n to *n'*'t on fa33*n( a'3eep1 The more t*me you 'pend +u*3d*n( th*' +arr*er) the more *mper4*ou' *t &*33 +ecome1 In fact) *t *' po''*+3e to +u*3d up th*' +arr*er enou(h to create an *n'omn*ac 'tate of m*nd1 $ou may f*nd your'e3f frant*ca33y to''*n( and turn*n( *n +ed1 When th*' happen') do not &orry too much a+out *t1 $our m*nd may fee3 7u*te hyperact*4e) +ut the natura3 tendency of the phy'*ca3 +ody to fa33 a'3eep &*33 e4entua33y catch up &*th you1 It a3mo't a3&ay' doe') e4en for tho'e &*th rea3 *n'omn*a1 And once *t doe') pro4*ded you ha4e rema*ned focu'ed on your *ntent to pro;ect dur*n( a33 th*' t*me) *t may e4en (uarantee an ent*re3y 3uc*d tran'*t*on *nto the outof+ody 'tate1
Ste) /: D&i%ting 0ith 'n Ancho& Once the anchor *' f*rm3y e'ta+3*'hed *n your 'u+con'c*ou') e*ther +efore or after reach*n( an
*n'omn*ac 'tate of m*nd) depend*n( on your preference and a+*3*ty) you can proceed to the ne,t 'ta(e) *n &h*ch you a33o& your'e3f to dr*ft a 3*tt3e +*t to&ard the +order3*ne of '3eep1 $ou &*33 cont*nue to anchor) +ut you &*33 *nterm*ttent3y a33o& your m*nd to dr*ft) a' *f e,tend*n( the connect*on +et&een your anchor and a&arene''1 $ou do th*' +y ta/*n( on an unfocu'ed per'pect*4e to&ard the ed(e' of your a&arene''1 The act*4*ty *' 7u*te '*m*3ar to the unfocu'ed per'pect*4e you too/ on ear3*er dur*n( pre'3eep preparat*on &h*3e e,ha3*n(1 $ou &*33 f*nd that ta/*n( on th*' unfocu'ed per'pect*4e &*33 happen 7u*te natura33y1 It *' not 'ometh*n( that re7u*re' effort or contro31 The m*nd &*33 ha4e a natura3 tendency to &ander a&ay from the +oredom *nduced +y anchor*n(1 Ord*nar*3y) 'uch &ander*n( 3ead' 'tra*(ht to '3eep1 Ho&e4er) the anchor*n( act*4*ty of the pre4*ou' 'tep 'hou3d en'ure that you ne4er dr*ft a&ay too far1 St*33) ne4er (*4e up on your anchor*n( act*4*ty for too 3on( or e3'e your m*nd &*33 fa33 a'3eep1 A' your m*nd dr*ft') you can e,pect 'ome hypna(o(*c phenomena to occur) &h*ch) *n the *n*t*a3 'ta(e') typ*ca33y con'*'t of 4ery momentary) 4a(ue) and undef*ned form') 'uch a' d*fferent 'hade' of (ray or a 'en'e of mo4ement 'ome&here *n the dar/ne'' *n front of you1 A3ternat*4e3y) you may e,per*ence +r*ef *ma(e' or *ncoherent pattern' of thou(ht) &h*ch are yet another '*(n that your m*nd *' mo4*n( to&ard '3eep1 Each t*me th*' occur') you 'hou3d (o +ac/ to your anchor*n( act*4*ty for a &h*3e and then a33o& your m*nd to &ander yet a(a*n1 O4er t*me) a' you cont*nue to *nterm*ttent3y anchor and dr*ft) you 'hou3d +e a+3e to perce*4e *ncrea'*n(3y comp3e, *ma(ery1 $ou &*33 +e a+3e to dr*ft further a&ay) e,tend*n( the 3*n/ +et&een your attent*on and your anchor) +ut &*thout much r*'/ of comp3ete3y 3o'*n( 3uc*d*ty1 $ou may e,per*ence 'ee*n( face') 3and'cape') o+;ect') hou'e') an*ma3') peop3e) or anyth*n( e3'e you cou3d po''*+3y *ma(*ne1 When th*' occur') you may no 3on(er need to anchor each and e4ery t*me after an *ma(e occur'1 #o not concern your'e3f too much &*th the content of the'e *ma(e'1 $our purpo'e at th*' po*nt *' not to ana3y'ee> a fa4or*te *ma(e for on3y a 4ery +r*ef per*od of t*me a' *f *t come' out of no&here1 If *t8' 4a(ue) do not try to ma/e *t more 4*4*d1 Jet on &*th the ne,t one1 A' you cont*nue to p*c/ up *ma(ery) e,pect ener(y 'en'at*on' to occur e4ery no& and then1 The'e ener(y 'en'at*on' &*33 often re3ate to the type of anchor*n( act*4*ty you en(a(e *n1 !or e,amp3e)
*ma(*n*n( 3*(ht may 3ead to 'ome 'tro+o'cop*c effect') &herea' *ma(*n*n( an aura around your +ody may 3ead to fee3*n( a 'hort +ur't of 4*+rat*on'1 The'e are a33 (ood '*(n') +ut do not e,pect too much to come of them1 !or the'e 'en'at*on' to rea33y ta/e off) your phy'*ca3 +ody ha' to fa33 a'3eep or +e 4ery c3o'e to do*n( 'o1 If your +ody *' *ndeed ready to fa33 a'3eep) that8' (reat) +ut other&*'e) ;u't *(nore the'e 'en'at*on'1 #o not try to ho3d onto them1 !*na33y) +e a&are that *n your pract*ce of dr*ft*n( &*th an anchor) a yo#yo effect &*33 ta/e p3ace1 2 $ou &*33 'h*ft *nto 'em*3uc*d*ty) an *ma(e &*33 +e(*n to appear) and a' 'oon a' you 'tart to not*ce) you833 'h*ft +ac/ to comp3ete &a/efu3ne''1 $ou &ant th*' to happen9 There *' no need to (o >deep> a' *f you &ere med*tat*n( and try*n( to reach 'ome e3u'*4e 'tate of con'c*ou'ne''1 It *' '*mp3y a+out &a*t*n( for that moment &hen your phy'*ca3 +ody *' ready to fa33 a'3eep &h*3e your m*nd *' not1
Ste) 1: F&ee+Flo0 So far) the anchor ha' 'er4ed to pro4*de you &*th 'ome protect*4e *n'u3at*on from fa33*n( a'3eep) a' &e33 a' to pr*me your 'u+con'c*ou' to&ard the (oa3 of pro;ect*n(1 In the ne,t 'tep) the anchor &*33 cont*nue to perform the'e funct*on' +ut &*thout the need to act*4e3y en(a(e *n any anchor*n( act*4*ty1 Rather) you &*33 en(a(e *n a freef3o& e,erc*'e *n &h*ch you a33o& your a&arene'' to dr*ft &*thout pay*n( any attent*on to your anchor1 The rea'on for dropp*n( the anchor *' that * t ha' 'er4ed *t' purpo'e) and *t *' far too r*(*d an act*4*ty for your +ody to ea'*3y fa33 a'3eep1 Ha4*n( (one throu(h the act*4*ty *' *mportant) ho&e4er) a' the anchor &*33 cont*nue to e,ert an effect) e4en &h*3e not act*4e3y ma*nta*ned1 On3y *f you are h*(h3y pract*ced can you '/*p the pre4*ou' 'tep' and (o 'tra*(ht to freef3o& *n your pract*ce1 E4en then) 4*(*3ance &*33 ha4e to +e ma*nta*ned to pre4ent you from fa33*n( a'3eep1 "e(*n the freef3o& e,erc*'e +y once a(a*n a33o&*n( your m*nd to dr*ft to&ard the mar(*n' of your attent*on1 At the 'ame t*me) do rea3*
!or e,amp3e) *f you ha4e 'pent the ent*re day &or/*n( *n the (arden) do not +e 'urpr*'ed to f*nd your'e3f en(a(ed *n e,act3y the 'ame act*4*ty dur*n( a m*n*dream1 The'e 'hort dream' are o/ay to ha4e for perhap' a fe& 'econd') +ut *f you 3o'e your'e3f *n one for any 3on(er) *t *' a c3ear &arn*n( '*(n that you are a+out to 3o'e 3uc*d*ty ent*re3y1 Pu33 +ac/ *nto fu33 &a/efu3ne'' a' 'oon a' you f*nd your'e3f en(a(*n( *n a m*n*dream1 Repeat the anchor*n( e,erc*'e for a coup3e of m*nute' *f you need to1 Throu(hout the freef3o& e,erc*'e) cont*nue to +a3ance on the +order3*ne of '3eep) p*c/*n( up *ma(ery a' you (o a3on( and &atch*n( any *ncoherent thou(ht pattern' de4e3op &h*3e *nterm*ttent3y rem*nd*n( your'e3f not to fa33 a'3eep1 E4entua33y) you &*33 reach a de3*(htfu3 pattern of freef3o&) ea'*3y mo4*n( *n and out of '3eep) +ut &*thout any rea3 r*'/ of comp3ete3y 3o'*n( 3uc*d*ty1 $our +ody &*33 +ecome *ncrea'*n(3y re3a,ed) &h*3e your m*nd &*33 '*mp3y +e en;oy*n( the f3o&1 !rom here on out) once your +ody *' ready to fa33 a'3eep) ener(y 'en'at*on' are 3*/e3y to en'ue1 $ou do not need to do anyth*n( 'pec*f*c to (enerate them1
Ste) 2: T&'n(itioning Once a 'uff*c*ent +u*3dup *n '3eep pre''ure ha' +een e'ta+3*'hed) ener(y 'en'at*on' &*33 +e(*n to occur that are 'tron( and per'*'tent enou(h to carry you *nto the outof+ody 'tate1 !or mo't no4*ce pro;ector') th*' *' more 3*/e3y to happen *n a 'em*3uc*d 'ta(e of con'c*ou'ne'') *n a part*a3 'tate of 'en'ory reduct*on *n &h*ch an *ma(e) thou(ht) or fee3*n( 'udden3y catche' your attent*on1 !earfu3 *ma(ery) an e'pec*a33y 'tron( tr*((er *n th*' re(ard) can +e put to u'e 7u*te 'ucce''fu33y) a3thou(h *t may not +e ad4*'a+3e to purpo'e3y 'ee/ out 'uch *ma(ery1 eep *n m*nd that ener(y 'en'at*on' may not occur *f you (a*n 3uc*d*ty &h*3e deep *n'*de the hypna(o(*c 'ta(e of '3eep1 $ou are no 3on(er connected to the phy'*ca3 +ody *n any &ay) and a' 'uch) there &*33 +e an *n'uff*c*ent 3e4e3 of 'en'ory *nput to a33o& for the percept*on of ener(y 'en'at*on'1 Th*' *' an unpro+3emat*c phenomenon) ho&e4er) '*nce you &*33 ha4e 3ar(e3y comp3eted the tran'*t*on proce'' &*thout /no&*n( *t1 $ou may 't*33 en(a(e *n 'ome 'ort of 'eparat*on) 'uch a') for e,amp3e) >'&*n(*n(> or >ro33*n(> out of the +ody) +ut u'ua33y there &*33 not +e much of a tran'*t*on 3eft to comp3ete1 Wh*3e 'em*3uc*d tran'*t*on' are common a' you 'tart out) do not undere't*mate the de(ree of de'ynchron*7u*c/en*n()> a he*(hten*n( of arou'a3 that) parado,*ca33y) doe' not remo4e you further from '3eep1 In'tead) *t +r*n(' you c3o'er1 !or e,amp3e) ha4e you e4er +een to''*n( and turn*n( *n +ed) una+3e to (et any '3eep) unt*3 a po*nt &hen a33 the chatter *n your m*nd come' to a 'udden ha3t and your phy'*ca3 +ody fee3' a' *f *t &ere made out of a p3ea'ant) &arm 3*7u*d or ;e33y that trem+3e' and roc/' e4er 'o 3*(ht3y Under the'e cond*t*on') *f you re3a, your m*nd ;u't a 3*tt3e more) touch*n( e4er 'o '3*(ht3y on the +order3*ne of '3eep) a 'en'e of 7u*c/en*n( &*33 fo33o&a 'udden *ncrea'e *n arou'a31 Once *t doe') ener(y 'en'at*on' &*33 en'ue a3mo't *mmed*ate3y1
The further pro(re''*on of the tran'*t*on proce'' *' pr*mar*3y (u*ded +y your m*nd +y nud(*n( *t'e3f to&ard '3eep1 It *' the 'ame menta3 mo4ement a' &hen you d*pped *nto the hypna(o(*c 'ta(e of '3eep) e,cept that you &*33 +e ent*re3y 3uc*d1 It &*33 fee3 3*/e mo4*n( more deep3y *nto the ener(y 'en'at*on'1 They &*33 *nten'*fy a' you do 'o1 I(nore any fee3*n(' of dread or terror that may co*nc*de &*th th*' mo4ement1 There may +e a 'en'e of approach*n( the o+;ect of your fear) &h*ch *' d*'concert*n() +ut once you ha4e comp3eted the tran'*t*on proce'') e4eryth*n( &*33 +e 7u*te ca3m and peacefu31 E4entua33y) th*' 3ayer of fear &*33 d*'appear from your e,per*ence') and you &*33 +e 3eft &*th the accompany*n( he*(htened 'en'e of arou'a3 a3one) no& fu33y c3a*med a' your o&n1 Unt*3 then) e'pec*a33y *f the 'en'e of terror *' 'tron() you &*33 ha4e to +e +ra4er than you e4er *ma(*ned1 A (reat dea3 of coura(e &*33 +e re7u*red1 $ou 'hou3d fee3 4ery proud of your'e3f *f you cont*nue to pu'h throu(h1 It *' a '*(n*f*cant accomp3*'hment &hen a per'on *' &*33*n( to r*'/ 3*fe and 3*m+ for a (reater (oa31 $ou are not rea33y do*n( that) of cour'e) +ut *t &*33 certa*n3y fee3 that &ay) &h*ch ma/e' *t 7u*te a hero*c feat1 !*na33y) +e carefu3 not to mo4e too 7u*c/3y throu(h the tran'*t*on proce''1 $our phy'*ca3 +ody *' *n the proce'' of fa33*n( a'3eep) and *f you are not carefu3) you &*33 3o'e 3uc*d*ty *n the proce''1 It *' a 4ery f*ne thread of con'c*ou'ne'' on &h*ch you ha4e to ma*nta*n your +a3ance1 Then) a' you mo4e further *n the tran'*t*on proce'') you &*33 not*ce the ener(y 'en'at*on' *nten'*fy unt*3 they reach a pea/1 It *' here) or 'hort3y thereafter) &here you are free of phy'*ca3 3*m*tat*on' and ha4e e'ta+3*'hed the outof+ody 'tate1
Ste) 3: Se)'&'tion 'nd Eng'ge$ent If you e,per*ence d*ff*cu3ty *n 'eparat*n( from the phy'*ca3 +ody) you ha4e '*mp3y not yet comp3eted the tran'*t*on proce''1 $ou &*33 need to nud(e your m*nd c3o'er to&ard the +order3*ne of '3eep unt*3 your phy'*ca3 +ody fa33' a'3eep more comp3ete3y1 A3'o) remem+er that you do not nece''ar*3y need to (o throu(h any >e,*t> techn*7ue1 In theory) a3thou(h *t &on8t +e 'o ea'y the f*r't t*me) you 'hou3d +e a+3e to '*mp3y (et up out of +ed *n your phantom +ody) &h*ch &*33 ha4e rep3aced your phy'*ca3 +ody at the end of the tran'*t*on proce''1 If you e,per*ence d*ff*cu3ty) *t can +e u'efu3 to (o throu(h an e,*t techn*7ue1 The act of mo4*n( >out> of the +ody &*33 (*4e your m*nd 'ometh*n( to occupy *t'e3f &*th) &h*ch *' 3*/e3y to further deepen the proce'' of 'en'ory reduct*on1 Ho&e4er) a3&ay' try to u'e a techn*7ue that *' natura3 and effort3e''1 !or e,amp3e) ro33*n( o4er) a' you &ou3d norma33y do &hen 3y*n( *n +ed) *' an e,ce33ent techn*7ue that &*33 pro4*de you &*th the fee3*n( of 3ea4*n( the +ody1 If you (et 'tuc/) try not to force *t th*' &*33 on3y ma/e th*n(' &or'e1 In'tead) re3a, your m*nd a 3*tt3e +*t more) &h*ch &*33 re'u3t *n the further *nten'*f*cat*on of ener(y 'en'at*on') and you &*33 f*nd that mo4*n( out of +ody *' much ea'*er to accomp3*'h1 U'ua33y) upon e,*t*n() *f you ha4e ma*nta*ned +ody a&arene'' dur*n( the tran'*t*on) you &*33 'ee the en4*ronment that you phy'*ca33y occup*ed moment' +efore1 If you ha4e ma*nta*ned no +ody a&arene'' dur*n( the tran'*t*on) the en4*ronment' you encounter &*33 tend to +e of a more nonphy'*ca3 nature1 If you '3o& do&n the proce'') you may a3'o f*nd your'e3f *n'*de of the 4o*d preced*n( the appearance of an outof+ody en4*ronment1 When you are *n'*de of the 4o*d) you ha4e comp3eted the tran'*t*on proce'') and you &*33 on3y need to (et up) f3y a&ay) or en(a(e
4*'ua33y *n order to enter an outof+ody en4*ronment1 We3come to the c3u+9
S#!!EMENTARY METHODS AND TECHNI4#ES The 4*(*3 method ha' +een f*netuned for more than t&o decade' a' I ha4e +ecome more prof*c*ent at *nduc*n( the O"E o4er t*me1 It *' *n fact ho& I *nduced my f*r't e,per*ence) rather acc*denta33y) +y mere3y pre4ent*n( my'e3f from fa33*n( a'3eep for a pro3on(ed per*od of t*me1 In e''ence) *t *' that '*mp3e1 The 'tep&*'e approach *n com+*nat*on &*th anchor*n( ma/e' *t e4en more effect*4e than &ou3d other&*'e +e the ca'e1 If proper3y app3*ed) *t 'hou3d a33o& a 'u+'tant*a3 num+er of peop3e to *nduce an O"E &*th*n a rea'ona+3e amount of t*me1 Of cour'e) *t *' un3*/e3y that the 4*(*3 method &*33 &or/ for e4eryone1 There *' 't*33 a 3ot that rema*n' to +e done *n the area of 4o3untary O"E *nducement1 Ho&e4er) do not (et fru'trated *f you8re not 'ucce''fu3 r*(ht a&ay1 No ener(y *' &a'ted '*nce the effort' of the pre4*ou' n*(ht carry o4er to the ne,t1 If you are not 'ucce''fu3 after t&o or three &ee/' de'p*te putt*n( *n the t*me and effort) *t8' 3*/e3y that another pro+3em 'tand' *n the &ay) &h*ch you &*33 need to *dent*fy *n order to (et any further1 If you are 'ucce''fu3 and you 't*c/ &*th *t) you833 f*nd that *t +ecome' pro(re''*4e3y ea'*er to *nduce the outof+ody 'tate1 $ou may f*nd your'e3f ea'*3y &a/*n( up &*th a '*n(3e *ntent *n'tead of ha4*n( to repeat *t to your'e3f end3e''3y +efore '3eep*n(1 $ou m*(ht +e a+3e to ;ump 'tra*(ht to the freef3o& 'ta(e &*thout u'*n( any 'pec*f*c anchor other than your *ntent and &*thout the r*'/ of fa33*n( '3eep1 $ou m*(ht &a/e up &*th on(o*n( ener(y 'en'at*on' and +e a+3e to pro;ect *mmed*ate3y1 $ou m*(ht a3'o (et 3a
M'ni)ul'ting the T&'n(ition The type of tran'*t*on you &*33 e,per*ence pr*mar*3y depend' on your focu' of attent*on dur*n( the tran'*t*on proce''1 !or e,amp3e) *f you pr*mar*3y ma*nta*n a 4*'ua3 focu' dur*n( the tran'*t*on proce'') ener(y 'en'at*on' of a more 4*'ua3 nature) 'uch a' 3*(htn*n( or f3a'he') &*33 occur1 A' a re'u3t) an a'omat*c tran'*t*on *' more 3*/e3y to occur1 Con4er'e3y) *f you rema*n focu'ed on the phy'*ca3 +ody) you are more 3*/e3y to e,per*ence tact*3e 'en'at*on') 'uch a' 4*+rat*on' or trem+3*n(1 Under the'e c*rcum'tance') a para'omat*c tran'*t*on *'
more 3*/e3y to occur1 None of th*' 'hou3d rea33y concern you too much *n the *n*t*a3 'ta(e' of your pract*ce1 Ho&e4er) a' you +ecome more pract*ced) you may &*'h to effectuate a 'pec*f*c type of tran'*t*on1 $ou m*(ht prefer an a'omat*c tran'*t*on) &h*ch *' effectuated +y ma*nta*n*n( a 'o3e3y 4*'ua3 focu' and pay*n( 4ery 3*tt3e or no attent*on to your phy'*ca3 +ody1 Or you m*(ht &ant to en(a(e *n a para'omat*c tran'*t*on +y rema*n*n( ma*n3y focu'ed on ener(et*c 'en'at*on' of a tact*3e nature1 Th*' may pro4e to +e d*ff*cu3t to accomp3*'h '*nce u'ua33y) once ener(y 'en'at*on' ha4e +een tr*((ered) you &*33 f*nd your'e3f on a ro33er coa'ter &*th a c3ear path car4ed out *n front of you1 !or e,amp3e) *f your e,per*ence 'tart' out &*th 4*+rat*on') *t *' 7u*te d*ff*cu3t to chan(e them to 'ometh*n( of an ent*re3y 4*'ua3 nature1 It *' here &here the anchor*n( act*4*ty you ha4e en(a(ed *n pre4*ou'3y *' *mportant1 !or e,amp3e) *f the anchor*n( *nc3uded *ma(*n*n( 4*+rat*on' acro'' your +ody) you can e,pect ener(y 'en'at*on' of a tact*3e nature to occur1 Th*' *' then natura33y fo33o&ed +y a para'omat*c tran'*t*on) dur*n( &h*ch +ody a&arene'' *' ma*nta*ned1 Con4er'e3y) *f your anchor*n( act*4*ty &a' more 4*'ua3 *n nature) 'uch a' &hen *ma(*n*n( on3y 3*(ht' or co3or') you can e,pect ener(y 'en'at*on' of a 4*'ua3 nature to occur) (*4*n( r*'e to an a'omat*c tran'*t*on1 $ou &*33 therefore +e a+3e to ma/e one type of tran'*t*on more 3*/e3y than the other) e4en +efore ener(y 'en'at*on' ha4e 'tarted) depend*n( on the anchor*n( techn*7ue you u'e1 Th*' *' certa*n3y not a foo3proof method1 U3t*mate3y) the type of ener(y 'en'at*on' you &*33 e,per*ence depend' on &here your attent*on (oe' at the on'et or dur*n( the tran'*t*on proce'' *t'e3f1 If your attent*on *' a33 o4er the p3ace) a' *' *n*t*a33y the ca'e for mo't) you can e,pect a p3ethora of ener(y 'en'at*on' acro'' d*fferent 'en'ory moda3*t*e'1 Ho&e4er) match*n( up your anchor*n( techn*7ue &*th the type of tran'*t*on you prefer to e,per*ence &*33 at 3ea't (*4e you a (ood head 'tart1 The fo33o&*n( are 'ome e,amp3e' of anchor*n( techn*7ue' to u'e unt*3 you f*nd your o&n: Co3or "reath*n(: Ima(*ne +reath*n( *n your fa4or*te co3or and f*33*n( up your ent*re +ody from top to +ottom1 Th*' method 3ead' to para'omat*c tran'*t*on') *nc3ud*n( many 4*'ua3 phenomena *n the cour'e of the tran'*t*on1 $ou may a3'o *ma(*ne +reath*n( *n 'par/3*n( ener(y) *n &h*ch ca'e tact*3e 'en'at*on' are more 3*/e3y to occur dur*n( the tran'*t*on1 S&*n(*n(: Ima(*ne your'e3f '&*n(*n( +ac/ and forth *n +ed or mo4*n( +ac/ and forth on a '&*n(1 Th*' *' 3*/e3y to 3ead to a para'omat*c tran'*t*on &*th pronounced 'en'at*on' of mo4ement a' &e33 a' 4ar*ou' tact*3e 'en'at*on'1 !3y*n(: Ima(*ne your'e3f f3y*n( o4er a re3at*4e3y monotonou' 3and'cape 'uch a' a de'ert) fore't) or mounta*n area1 Increa'e the comp3e,*ty of the en4*ronment) or the *ma(*ned f3*(ht path *t'e3f) &hen too much +oredom +e(*n' to 'et *n1 The anchor*n( 3ead' to an a'omat*c tran'*t*on) pro4*ded that a 4*'ua3 focu' *' ma*nta*ned at the on'et of ener(y 'en'at*on'1 Th*' doe' not mean you &*33 automat*ca33y +e f3y*n( o4er the *ma(*ned 3and'cape at the end of the tran'*t*on proce''1 !3o& &*th &hate4er *ma(ery occur' &hen ener(y 'en'at*on' of a 4*'ua3 nature commence1 L*(ht Sho&: D*'ua3*
a'omat*c tran'*t*on more 3*/e3y to occur1 Wa3/*n() dr*4*n( or padd3*n(: Ima(*ne a fa4or*te 'cene that *nc3ude' a rhythm*c) repet*t*4e mo4ement &here you &a3/ do&n a path) dr*4*n( do&n a road) or padd3*n( do&n a r*4er1 Th*' method tend' to 3ead to an a'omat*c tran'*t*on1 It (enera33y (*4e' r*'e to a more (ent3e 4*'ua3 tran'*t*on than an anchor *n4o34*n( f3y*n(1 Th*rdEye %ethod: Ima(*ne an *nf*n*te re'er4o*r of purp3e ener(y at the center of your forehead) and &h*r3 *t *n a +and of ener(y around your head1 eep &h*r3*n( *t around your head) each t*me p*c/*n( up more ener(y from the *nf*n*te re'er4o*r) unt*3 the ener(y +ecome' *ncrea'*n(3y 4*ta3 and e,pan'*4e around your head1 Th*' anchor*n( techn*7ue tend' to 3ead to a po&erfu3 'em*a'omat*c tran'*t*on1 It &*33 +e accompan*ed +y 'tron( +ac/(round a&arene'' of the head 'pace +ut &*thout any other 'ort of +ody +oundary1 E,pect a ro33ercoa'ter e,per*ence1 It8' not for the fa*nt of heart1
Kee)ing ' D&e'$ 5ou&n'l In the cour'e of your pract*ce) e'pec*a33y a' you are 'tart*n( out) ma*nta*n*n( a dream ;ourna3 *' h*(h3y +enef*c*a3) 3*/e3y e4en mandatory1 It &*33 th*n the 4e*3 +et&een &a/*n( and '3eep*n() and a' a re'u3t) your *ntent to ha4e an O"E &*33 ha4e a (reater chance of (ett*n( throu(h1 It &*33 a3'o *ncrea'e the fre7uency of &a/eup') &h*ch u'ua33y occur *mmed*ate3y after you ha4e a dream and &h*ch pro4*de opportun*t*e' for pract*ce1 To ma*nta*n a dream ;ourna3) +e(*n +y &r*t*n( do&n e4ery '3*4er of a dream you remem+er r*(ht after &a/*n( up) e4en *f *t *' on3y one &ord or 'entence1 If you don8t remem+er any dream' at a33) &r*te do&n that you do not remem+er anyth*n(1 Sooner or 3ater) you &*33 +e(*n to remem+er 'ometh*n() e4en *f *t *' ;u't a hunch or a fee3*n(1 Wr*te do&n e4ery 'n*ppet d*3*(ent3y) and after a &h*3e) you &*33 +e(*n to remem+er your dream' *n more deta*31 %a*nta*n*n( a dream ;ourna3 &*33 a3'o *ncrea'e the 3*/e3*hood that you &*33 &a/e up &*th ener(y 'en'at*on') &h*ch &*33 (*4e you the opportun*ty to pro;ect *mmed*ate3y) &*thout any 3en(thy preparat*on1 It &*33 a3'o ma/e you a much 3*(hter '3eeper) and a' 'uch) *t *' e'pec*a33y he3pfu3 for deep '3eeper') &ho are (enera33y at a d*'ad4anta(e *n th*' area1 Another +enef*t of ma*nta*n*n( a dream ;ourna3 *' that *t &*33 he3p you to de4e3op the '/*33' needed to ha4e an O"E1 !or e,amp3e) *f your (oa3 for the n*(ht ha' +een to ha4e an O"E) e,pect that *ntent to +3eed *nto your dream 3*fe1 If the'e dream' do not a3ready happen natura33y) you can a3'o pro4o/e them +y te33*n( your'e3f to &or/ *n the dream 'tate to&ard ha4*n( an O"E1 Common theme' *n your dream' may *nc3ude f3y*n() h*(h'peed runn*n() and e4en runn*n( *n '3o& mot*on1 A3ternat*4e3y) you m*(ht f*nd your'e3f attempt*n( to perform a3mo't *mpo''*+3e ta'/' and act*on' *n your dream' that &ou3d re7u*re 'ome 'ort of 'upernatura3 ta3ent to comp3ete 'ucce''fu33y1 A33 of the'e repre'ent '*tuat*on' *n &h*ch your m*nd *' com*n( to term' &*th the mo+*3*ty of con'c*ou'ne'') &h*ch &*33 ha4e a po'*t*4e effect on your o4era33 a+*3*ty to pro;ect1 A dream ;ourna3 may a3'o produce 3uc*d e,per*ence' *n*t*ated from the dream 'tate1 It *' not a' e,ot*c a' *n*t*at*n( an O"E from the &a/*n( 'tate) +ut *t *' an ent*re3y 3e(*t*mate 3aunch pad1 If you u'e th*' approach) ho&e4er) de4e3op*n( 'ome na4*(at*ona3 '/*33' &*33 pro+a+3y need to +e your f*r't order of +u'*ne''1 A' far a' the purpo'efu3 *nduct*on of the'e e,per*ence') I am happy to refer to other &r*t*n(' *n th*' area) 'uch a' Stephen Lar(e "er(e8' c3a''*c +oo/ Luc*d #ream*n(1 B
He$i+S6nc Hem*Sync *' a proce'' de4e3oped +y the %onroe In't*tute to *nduce a 'tate of 'ynchron*c*ty +et&een the t&o hem*'phere' of the +ra*n throu(h the u'e of aud*o techno3o(y1 Spec*f*ca33y) *t ut*3*
MATERIAISTIC ACCO#NTS OF THE OBE BY FREDERICK AARDEMA
E,cerpt from EXPLORATIONS IN CONSCIOUSNESS: A NEW APPROACH TO OUT O! "O#$ EXPERIENCES
Copyr*(ht B2B +y !reder*c/ Aardema A33 r*(ht' re'er4ed) *nc3ud*n( the r*(ht to reproduce th*' &or/ *n any form &hat'oe4er) &*thout perm*''*on *n &r*t*n( from the author or pu+3*'her1
The OBE '( ' ucid D&e'$
%ater*a3*'t*c account' pro4*de a more 'o+er*n( account of the O"E than tho'e propo'ed +y my't*ca3 and popu3ar contemporary approache'1 !or e,amp3e) one of the more &e33/no&n 'c*ent*f*c theor*e' propo'ed +y the neurophy'*o3o(*'t Stephen La"er(e c3a*m' that the O"E *' a 3uc*d dream1 2)B) In other &ord') you are not rea33y out of +ody dur*n( the e,per*ence1 Rather) e4eryth*n( you perce*4e dur*n( an O"E *' no more than a dream en4*ronmenta rep3*ca recreated from your memory and your o&n e,pectat*on'1 It ho3d' no o+;ect*4e rea3*ty &hat'oe4er1 The term 3uc*d dream or*(*nate' from !reder*/ Dan Eeden) &ho def*ned *t a' a dream dur*n( &h*ch menta3 c3ar*ty *' 4ery '*m*3ar to that of &a/*n( con'c*ou'ne''1 Stephen La"er(e e,panded on the'e o+'er4at*on' +y d*fferent*at*n( +et&een t&o form' of 3uc*d dream*n( accord*n( to the part*cu3ar &ay each *' *nduced1 The f*r't type of 3uc*d dream*n( he refer' to a' a #reamInduced Luc*d #ream -#IL#.1 #ur*n( a #IL#) you u'ua33y not*ce 'ome /*nd of odd*ty or *mpo''*+3e e4ent *n the dream) &h*ch rem*nd' you of the fact that you are dream*n(1 A' a re'u3t) you &*33 +e comp3ete3y a&a/e and a3ert *n'*de of the dream) 'eem*n(3y 3ocated e3'e&here than *n your phy'*ca3 +ody) much 3*/e dur*n( an O"E1 %oreo4er) *t *' a3'o c3a*med that 3uc*d dream*n( can occur 'tra*(ht from the &a/*n( 'tate) or &hat *' a3'o referred to a' a Wa/eInduced Luc*d #ream -WIL#.1 #ur*n( a WIL#) you actua33y +e(*n to dream 'tra*(ht from the &a/*n( 'tate &h*3e rema*n*n( 3uc*d *n the proce''1 $ou may e4en e,per*ence f3oat*n( 'en'at*on') fee3*n( your'e3f 'eparat*n( from the phy'*ca3 +ody *n the proce'') e4entua33y mo4*n( around *n your o&n +edroomthe dream en4*ronment1 Not 'urpr*'*n(3y) a WIL# *' a3mo't *mpo''*+3e to d*fferent*ate from the O"E1 One of the ar(ument' 'eem*n(3y *n fa4or of the >dream hypothe'*'> *' that tho'e &ho e,per*ence O"E' tend to e,per*ence the more typ*ca3 #IL# a' &e331 )K !or e,amp3e) La"er(e report' that on3y M of h*' e,per*ence' &ere &a/e*nduced) &h*3e ?B re'u3ted from +ecom*n( 3uc*d &*th*n a dream1 L*/e&*'e) #ona3d #eJrac*a report' that of h*' e,per*ence' &ere &a/e*nduced) &h*3e @ &ere *nduced from &*th*n a dream1 A count of my o&n ;ourna3 *n one part*cu3ar3y act*4e year -@B *n tota3. 'ho&ed M of my e,per*ence' to +e &a/e*nduced) &h*3e 2@ &ere dream*nduced e,per*ence'1 So &h*3e there appear' to +e a (reat dea3 of 4ar*ance *n the'e num+er' +et&een *nd*4*dua3') they do *nd*cate that the O"E and 3uc*d dream' tend to cooccur1 Another ar(ument *' that many peop3e are una+3e to d*'t*n(u*'h +et&een 3uc*d dream' and O"E1 The en4*ronment' encountered *n e*ther 'tate can +e 4*rtua33y *dent*ca3) and a h*(h 3e4e3 of menta3 c3ar*ty may character*
dream*n( dur*n( an O"E1 In an o4er4*e&) Su'an "3ac/more d*'cu''e' 'e4era3 ca'e' of adept' &ho 'u+;ected them'e34e' to p'ychophy'*o3o(*ca3 mea'urement' &h*3e *n the outof+ody 'tate1 ? In a33 of the'e ca'e') the O"E d*d not occur dur*n( RE% '3eep) a' mea'ured &*th an e3ectroencepha3o(raph -EEJ.) an o+;ect*4e *nd*cator of dream*n(1 The EEJ re4ea3ed a 4ar*ety of comp3e, pattern') +ut noth*n( that cou3d ea'*3y +e c3a''*f*ed a' dream*n(1 In fact) *n 'ome *n'tance') the EEJ e4en 'ho&ed an a3ert and a&a/e m*nd12 Scott Ro(o conc3ude': >F&h*3e La"er(e *' correct *n po*nt*n( out the many '*m*3ar*t*e' +et&een O"E' and 3uc*d dream*n() o+;ect*4e EEJ cr*ter*a 'u((e't that the'e re'em+3ance' are pure3y 'uperf*c*a3 or art*factua31> 22 The f*nd*n( that the O"E *' not a''oc*ated &*th a d*'t*nct p'ychophy'*o3o(*ca3 prof*3e doe' not +ode &e33 for the hypothe'*' that the O"E *' a 3uc*d dream1 Of cour'e) one cou3d ma/e the po*nt that not a33 dream' occur *n RE% '3eep1 Ho&e4er) th*' &*den' the 'cope of dream*n( to 'uch an e,tent that the >dream*n( hypothe'*'> no 3on(er ha' any e,p3anatory po&er1 In fact) for the ar(ument to rema*n coherent) any def*n*t*on of dream*n( &ou3d ha4e to *nc3ude &a/*n( 3*fe a' &e331 Let me a3'o re*terate that the O"E *' f*r't and foremo't an e,per*ence1 It *' def*ned a' an e,per*ence *n &h*ch one f*nd' one'e3f *n a 3ocat*on that *' *ncon(ruent &*th the 3ocat*on of the phy'*ca3 +ody1 #ream' fa33 &*th*n the 'cope of that def*n*t*on1 So rather than de'*(nat*n( O"E' a' dream') *t *' far more accurate to refer to dream' a' a form of O"E1 Th*' m*(ht up'et tho'e &ho &*'h to ma/e a c3earer d*'t*nct*on +et&een dream' and O"E') a' &e33 a' tho'e &ho are un&*33*n( to con'*der dream' a' O"E') +ut *t *' the on3y coherent conceptua3*
The OBE '( 'n Illu(ion L*/e Stephen La"er(e) other' ha4e attempted to 3*n/ the O"E &*th +ra*n act*4*ty) +ut &*thout d*rect reference to dream*n(1 !or e,amp3e) %*chae3 Per'*n(er found that ma(net*c 't*mu3at*on app3*ed to the r*(ht tempora3 3o+e of the +ra*n m*(ht produce re3*(*ou' and outof+ody3*/e 'en'at*on'1 2 In a '*m*3ar 'tudy) O3af "3an/e and co33ea(ue' found that 't*mu3at*n( certa*n part' of the +ra*n 3ed to an O"E *n an ep*3ep'y pat*ent1 2 The'e *nc3uded fa33*n( 'en'at*on') 'en'at*on' of '*n/*n( *nto the +ed) and 4*e&*n( one'e3f from a+o4e) 'eparate from the phy'*ca3 +ody1 The'e e,per*ence' are note&orthy) and they 'tron(3y 'u((e't an a''oc*at*on +et&een +ra*n act*4*ty and the O"E1 Ho&e4er) the ma*n pro+3em &*th many neurophy'*o3o(*ca3 account' *' that they a3'o often ta/e the defau3t po'*t*on that con'c*ou'ne'' *' a product of the +ra*n1 Therefore) the'e 'tud*e' often conc3ude that the O"E cannot +e anyth*n( other than an *33u'*on or ha33uc*nat*on1 "ut 'hou3d &e a''ume that con'c*ou'ne'' *' produced +y the +ra*n) and therefore f*,ated *n the +ody
C3ear3y) the +ra*n *' re3ated to outof+ody act*4*ty *n 'ome &ay1 Th*' *' reco(n*
Note: Th*' *' an update from the or*(*na3 e,cerpt 3ocated HERE1
WHAT8S IN A NA%E Outof"ody E,per*ence' and Luc*d #ream' I 'omet*me' (et 7ue't*on' a+out my c3a*m that a 3uc*d dream -L#. and the Out of "ody E,per*ence -O"E. are not 'ynonymou' term'1 2 It 'eem' a 3ot of peop3e ta/e *t a' a matteroffact that O"E' are a /*nd of 3uc*d dream) and that th*' po'*t*on *' 'upported +y the 'c*ent*f*c e4*dence1 A' I ha4e out3*ned *n E,p3orat*on' *n Con'c*ou'ne'' ) the oppo'*te *' the ca'e1 C3ear3y) the e,per*ence' 'hare a 3ot of '*m*3ar*t*e') +ut *t ma/e' far more 'en'e to con'*der the L# a' a form of O"E) rather than the other &ay around1 When I po*nt them to the data and e4*dence) e'pec*a33y the thorou(h re4*e& of the e4*dence +y
Su'an "3ac/more *n her +oo/ $eyond the $ody) I am often confronted &*th *ncredu3*ty1 B U'ua33y) the rea'on*n( *' 'ometh*n( a3on( the 3*ne' of >"3ac/more +e3*e4e' the O"E *' not rea3) and therefore 'he th*n/' *t8' a 3uc*d dream1> A'*de from the fact that the term >rea3> *' pro+3emat*c here) a' far a' I /no&) 'he doe' not fee3 the O"E can +e e7uated &*th a 3uc*d dream1 Ho&e4er) *n the e4ent I ha4e m*'repre'ented her po'*t*on) I thou(ht) &hy not a'/ her "e3o& *' her an'&er: %As for &$'s, ( thought we had established a very long time ago that they are not dreams )here is a very strong correlation between lucid dreaming and &$'s *ie the same people tend to have both+ but from many different kinds of evidence we can see that they happen in different physiological states ucid dreams happen during -'. sleep *well established by direct signaling from !s as well as other evidence+ &$'s can take place in many different states including hypnagogic, wide awake and afraid or stressed in some way, near death, and in many other circumstances !s do not happen in any of these /o there is no doubt that &$'s are not a kind of lucid dream # or, ( would say, any kind of dream% # /usan $lackmore, personal communication, February 2, 201" I th*n/ that 'ett3e' that1 A(a*n) I con'*der L#' 4a3*d e,per*ence') +ut '( ' %o&$ o% OBE ) rather than the other &ay around1 #ream*n( *' a mode of con'c*ou'ne'' that the per'on can adopt *n the outof+ody 'tate1 Ho& often that occur') &e do not rea33y /no&1 So far) the p'ychophy'*o3o(*ca3 e4*dence from tho'e &ho *dent*fy them'e34e' a' pract*c*n( O"E' pro4*de' no *nd*cat*on that *t occur' at a331 I 3ea4e open the po''*+*3*ty that dream*n( occur' more often than the e4*dence 'u((e't' 'o far) e'pec*a33y *n the 3ater 'ta(e' of an O"E1 It may not matter a (reat dea3) '*nce noone rea33y /no&' &hat dream*n( mean' to +e(*n &*th1 It doe'n8t ta/e anyth*n( a&ay from the e,per*ence e4en *f an O"E cooccur' &*th RE%) or any other p'ychophy'*o3o(*ca3 'tate a''oc*ated &*th dream*n(1 Ho&e4er) the 'tatement that the O"E *' a 3uc*d dream *' *ncorrect my op*n*on1
!reder*c/ Aardema) Ph# %arch) B2 21 Aardema) !1 B2B. E,p3orat*on' *n con'c*ou'ne'': A ne& approach to outof+ody e,per*ence'1 %ontrea3: %ount Roya3 Pu+3*'h*n(1 B1 "3ac/more) S1 01 -2??B.1 "eyond the +ody: An *n4e't*(at*on of out of +ody e,per*ence'1 Ch*ca(o: Academy Ch*ca(o Pu+3*'her') p1 2B22B
Focus 10 .ind Awake$ody Asleep *' an art*c3e I &rote a 'ome t*me a(o u'*n( a more med*tat*4e approach to reach the 'tate of m*nd a&a/eG+ody a'3eep1 It *' 't*33 re3e4ant) +ut *f you &ant to ha4e an O"E a' 'oon a' po''*+3e) then you may +e more 'ucce''fu3 &*th the DIJIL %ETHO# 1
FOC#S ,7: MIND A"AKE8BODY ASEE! BY FREDERICK AARDEMA
Ve&(ion -9, http:GG&&&1e,p3orat*on'*ncon'c*ou'ne''1comGfocu'21htm3
Co)6&ight Notice Copyr*(ht BKB2B) e,p3orat*on'*ncon'c*ou'ne''1com1 A33 r*(ht' re'er4ed1 Perm*''*on for non commerc*a3 u'e *' here+y (ranted) pro4*ded that th*' f*3e *' d*'tr*+uted *ntact &*th reference to the author1 uotat*on' mu't +e proper3y c*ted1
The conce)t o% )h'(ing !or tho'e unfam*3*ar &*th the focu' 3e4e3' a 3*tt3e +ac/(round *' *n order1 The 'tory (oe' +ac/ to Ro+ert A1 %onroe) &ho +e(an to e,per*ence *n4o3untary Out of "ody E,per*ence' -O"E. *n 2?@1 The'e ear3y e,per*ence' ha4e +een documented *n h*' f*r't +oo/ >0ourney' out of the +ody> -%onroe) [email protected] It &a' a3'o dur*n( th*' t*me that %onroe d*'co4ered that 'ound pattern' cou3d *nduce certa*n 'tate' of con'c*ou'ne'') &h*ch e4entua33y 3ed to the creat*on of the %onroe In't*tute and patented 'ound techno3o(y ca33ed Hem*Sync1 Wh*3e the ear3y e,per*ence' of %onroe &ere often character*7u*c/'&*tch>) &h*ch a33o&ed h*m to mo4e from one >3ocat*on> to another *n an *n'tant +y 'tretch*n( or reach*n( out &*th h*' con'c*ou'ne''1 E4entua33y) th*' 3ed %onroe to con'*der the >'econd +ody> to +e no more than >3oca3 traff*c>mere ha+*t due to the phy'*ca3 e,per*ence -At&ater) B2.1 Thu') the *mp3*c*t ph*3o'oph*ca3 +ac/(round +eh*nd 8pha'*n(8 *' that there *' no 'uch th*n( a' >3ea4*n( the +ody>) '*nce con'c*ou'ne'' *' ne4er rea33y 8*n the +ody8 to +e(*n &*th1 Rather) a33 e,per*ence' &h*ch con't*tute th*n(' 'uch a' >trance>) >hypno'*'>) >a3tered 'tate'>) >med*tat*on>) >O"E'>) and >a'tra3 pro;ect*on'> are '*mp3y 4ar*at*on' on the 'ame theme &here con'c*ou'ne'' *' focu'ed *n d*fferent &ay' and *n d*fferent de(ree' a&ay from the phy'*ca31 The term pha'*n( *' a metaphor der*4ed from phy'*c') &h*ch conceptua3*focu' 3e4e3'>1 The f*r't of the'e *' focu' 2 the 'tate of m*nd a&a/eG+ody a'3eep1 Ach*e4*n( the focu' 2 'tate *' fac*3*tated +y tape' or C#8') &h*ch ut*3*
!ocu' 2: State of no t*me !ocu' B2: The ed(e of t*meG'pace &here *t *' po''*+3e to contact other ener(y 'y'tem'1 It *' *mportant to rea3* a'tra3 p3ane'>.1 Thu') The Jate&ay E,per*ence *' meant a' a p3atform from &h*ch to e,p3ore further on your o&n1 !or more *nformat*on) I 'u((e't you 4*'*t the &e+'*te at the %onroe In't*tute at &&&1monroe*n't*tute1or(1
!u&)o(e o% the cu&&ent )')e& So &hat *' the purpo'e of th*' paper Wh*3e e,p3or*n( the focu' 2 'tate I found there &a' 'urpr*'*n(3y 3*tt3e *nformat*on a' to &hat th*' 'tate enta*3'1 #o a 'earch on the Internet and you &on8t (et much further than >+ody a'3eepGm*nd a&a/e> to de'cr*+e th*' 'tate1 Th*' *' *n *t'e3f not a +ad th*n() and the %onroe In't*tute *' not *n f a4or of 'harp3y de3*neat*n( the focu' 3e4e3' +y 'tat*n( *n deta*3 &hat *') and e'pec*a33y &hat *' not po''*+3e *n a part*cu3ar focu' 'tate1 Rather) the me''a(e of the %onroe In't*tute *' that they &ou3d encoura(e you to tru't your proce'' a' you pro(re'' throu(h the focu' 3e4e3'1 Ho&e4er) I do th*n/ that 'ome /no&3ed(e and *dea' a' to &hat focu' 2 enta*3' can +e of he3p for 'ome peop3e *f that *nformat*on *' pre'ented 'uch a &ay that *t &*33 fac*3*tate the per'on to tru't the*r e,per*ence rather than dou+t *t1 A3'o) to ha4e 'ome *dea of &hat to e,pect can he3p ea'e 'ome fear') and *n 'ome ca'e') put an *nd*4*dua3 *n the proper frame of m*nd a' to ho& to approach the focu' 'tate'1 La't3y) there are tho'e for &hom the hem*'ync tape' ha4e had no effect1 Th*' *' not uncommon) and I hope that any 3ac/ of 'ucce'' &*th the tape' &*33 at 3ea't *n part +e rect*f*ed 'ome&hat &*th th*' paper1 To *33u'trate the'e po*nt') and part of the rea'on of &hy I &a' *n'p*red to &r*te th*' paper) the fo33o&*n( 7uote from a per'on on the no& defunct T%I4oya(er' ma*3*n( 3*'t -!rom Le4a) 2??M) p1 2K.: %(3m starting to feel like these tapes work for 44445 of the population and (3m that 015 who stand outside watching the rollercoaster go by and seeing how much fun the people on it are having6so why am ( posting7 ( guess it is to ask if there are any other people on the list who have had similar e8periencesfrustrations, and how do they solve them, or at least worked around them7 Also what does Focus 10 F'' like7 (t3s described as %.ind Awake$ody Asleep3, but what does this .'A97 !oes the body feel numb, do you feel A9:);(9< at all, is it something like when you sleep on your arm and can3t move it afterwards due to lack of circulation, does it feel the way it feels when you are asleep, or what7 9ewbies, old#timers, your comments would be appreciated% !red A3+recht The fo33o&*n( 'ect*on' &*33 focu' on the ear3y man*fe'tat*on' of the (o*n( 8out of pha'e8 cond*t*on -or focu' 2. +a'ed on my o&n and other'8 e,per*ence' &*th th*' 'tate1 Ho&e4er) de'p*te my +e't *ntent*on') there can +e 3*tt3e dou+t that th*' report *' +*a'ed1 I don8t 'ee a &ay around *t1 E4eryone8' e,per*ence *' un*7ue) and a3thou(h I ha4e f ocu'ed on common man*fe'tat*on' of focu' 2) I &*33 3*/e3y ha4e o4erempha'*
J*4en the a+o4e) I do th*n/ another 3*tt3e d*'c3a*mer *' *n order +efore cont*nu*n( to read1 That *') too much focu' on /no&3ed(e e'pec*a33y >'econdhand> /no&3ed(e can 'e4ere3y hamper one8' effort' &h*3e pract*c*n( trance 'tate' or ach*e4*n( 'pec*f*c focu' 'tate'1 It tend' to act*4ate the >3eft +ra*n>) and often 7ue't*on' &*33 ar*'e 'uch a' >Am I there yet= What am I fee3*n( no& What &*33 happen ne,t> In (enera3) th*' type of 83eft +ra*n8 act*4*ty *nterfere' &*th ach*e4*n( a pha'e 'h*ft a&ay from the phy'*ca31 So after read*n( th*' art*c3e (o on your o&n merry &ay9
Getting the&e Any att*tude of >(ett*n( there> *' a 'er*ou' *mped*ment to e'ta+3*'h*n( an out of pha'e re3at*on'h*p -Jate&ay manua3) 2?M.1 Th*' ho3d' true +oth for reach*n( focu' 2) a' &e33 a' /*c/ 'tart*n( non phy'*ca3 percept*on' *n th*' 'tate1 Th*' po*nt *' &e33 *33u'trated +y the fo33o&*n( po't on T%I4oya(er' -!rom Le4a) 2??M= p1 2KM 2K?.: %6it took this e8perience to make me see something )hat something was that when ( was doing tapes and had things happen before it was when ( was not %trying% ( knew that then because when ( had that shift occur ( was definitely not trying to do anything ( was =ust doing a tape to be doing a tape ( had no e8pectations whatsoever at the time and %bang%, ( got something most pleasantly surprising After that e8perience, ( thought back and reali>ed that all those other things also happened when ( was not trying ( =ust took some time to connect not trying with results /ince that time ( have never tried or had e8pectations, but that can trap you too ( found myself trying not to have e8pectations, and since ( was trying, ( was held at bay again /o it3s sort of hit and miss% %*chae3 Sm*th I th*n/ *t8' *mportant to rea3*(ett*n( there> 'tem' from our phy'*ca3 e,per*ence *n 'pace and t*me1 Ho&e4er) for con'c*ou'ne'') there *' no 'uch th*n( a' there and here1 $ou may 'ay: >That8' a33 4ery n*ce and ph*3o'oph*ca3) +ut pract*ca33y 'pea/*n() I am try*n( to (et from one 'tate to another) and therefore) I ha4e to (et there1> "ut ho& do you e,pect to >(et there> $ou certa*n3y can8t &a3/ there1 So *f you fo33o& that 3*ne of rea'on*n( &hat e,act3y &*33 you do to (et there Th*' *' e,act3y the pro+3em &*th 'uper*mpo'*n( the 3*m*tat*on' of 'pace and t*me on con'c*ou'ne'' the *dea that you ha4e to do 'ometh*n(1 !act of the matter *') the 3e'' you do) the ea'*er you &*33 (o >p3ace'>1 Of cour'e) at 'ome po*nt or another you &ou3d &ant to 'et an *ntent1 $ou don8t nece''ar*3y &ant to +e 'teer3e''3y f3oat*n( on a un*4er'a3 'ea of con'c*ou'ne''1 "ut *n (enera3) after you ha4e 'et your (oa3 or *ntent) the 3e'' you do after *t) the ea'*er *t &*33 +e >to (et there>1 So don8t (et too cau(ht up *n any >method> or >techn*7ue>1 Rather) *f anyth*n( de'cr*+e' a 'ucce''fu3 pro(re''*on throu(h 4ar*ou' a3tered 'tate' of con'c*ou'ne'') *' that con'c*ou'ne''
+ecome' *ncrea'*n( f3e,*+3e and recept*4e to a3ternate form' of rea3*ty or(an*there> yet1 $ou '*mp3y can8t +u33y your'e3f *nto another 'tate1 Rather) cu3t*4ate a certa*n 'en'e of me33o&ne'' to&ard' the &ho3e pha'*n( approach1 Often) *f you f*nd your'e3f ha4*n( d*ff*cu3ty th*' *' +ecau'e of not d*'t*n(u*'h*n( +et&een te33*n( your'e3f to re3a, -&h*ch can (o on ad *nf*n*tum. and +e*n( *t1 That *' not 'ome e'oter*c *dea) +ut 7u*te a pract*ca3 and 3*tera3 one1 So ;u't re3a, and you &*33 f*nd a33 th*n(' f3o& from there1
!&eli$in'&6 con(ide&'tion( conce&ning %ocu( ,7 The &ho3e +enef*t of pha'*n( a' oppo'ed to the c3a''*c O"E 3*e' *n the concept of reduced 'en'ory a&arene'') and +e*n( a+3e to rema*n *n 'uch a 'tate comforta+3y and &*thout fear1 So *n order to +enef*t from 'uch an approach) one ha' to 'tart out &*th a +a'e3*ne of 'ort') and +ecome fu33y comforta+3e &*th *t1 So &hat *' th*' +a'e3*ne a+out The +a'e3*ne *' +e*n( a+3e to +e *n a 'tate of reduced 'en'ory percept*on) &*thout any e,ce''*4e (oa3' and am+*t*on'1 It *' a+out +e*n( a+3e to 'tay *n th*' 3e4e3 of a&arene'' of focu' 2 for a pro3on(ed per*od) 3earn*n( to reco(n*
different, beyond ever e8panding limits -!ar 0ourney') 2?M. So &hat *' focu' 2 A' 'a*d +efore) *t ha' +een ca33ed +ody a'3eepGm*nd a&a/e1 Ho&e4er) th*' term *' a 'er*ou' m*'nomer1 %onroe (*4e' h*' mo't e3a+orate de'cr*pt*on -&h*ch *'n8t much. *n U3t*mate 0ourney' -p1 B@M.: Focus 10 A simplistic definition is mind awake and alert, body asleep )he mind is slightly out of phase with normal physical wakefulness (t is a stage where all five physical senses seem detuned or reduced in strength, and it is the beginning of ob=ective perception of perception in *.+ field energy O+4*ou'3y) th*' *dea of reduced 'en'ory percept*on *' far more accurate &ay to def*ne focu' 2 than the *dea of the +ody +e*n( tota33y a'3eep1 After a33) ho& &ou3d you +e a+3e to hear %onroe8' 4er+a3 me''a(e' &hen your +ody *' tru3y a'3eep &h*3e u'*n( h*' tape' So *n fact) the ear3y 'ta(e' of focu' 2 dea3' &*th a reduct*on *n 'en'ory *nput) &h*ch are not d*'tr*+uted e7ua33y o4er d*fferent 'en'ory moda3*t*e'1 No&) th*' *' not that hard to reach1 It &here the 'en'e' of touch -the cutaneou' 'en'e'. 'eem muted) the percept*on of your +ody 'eem' to +e *n ha'ee *ma(e'> to +e *n focu' 21 The /ey *' to not*ce th*' decrea'e *n 'en'ory reduct*on) and (et fu33y comforta+3e &*th *t1 No& and then) *n term' of %onroe8' metaphor) ta/e your t*me to 3oo/ to the c3ear*n( -your +ody.) &h*ch may 'eem 'ort of far a&ay) +ut *t8' 't*33 there1 $ou can of cour'e 'h*ft attent*on *n focu' 2) and 'tart (o*n( more *n&ard -at &h*ch t*me you are attent*ona33y una&are of your +ody.) +ut the /ey *' the muted 'en'ory percept*on *f you do pay attent*on1 Th*' muted 'en'ory percept*on of the cutaneou' 'en'e' ha' to +e d*'t*n(u*'hed from num+ne'' of the +ody due to +ad c*rcu3at*on1 Wh*3e the 'en'at*on' are '*m*3ar) *t *' ea'y to te33 the d*fference1 Wh*3e *n focu' 2) '*mp3y touch or mo4e the f*n(er' of your hand) and you &*33 fee3 your 'en'e of touch 7u*c/3y return*n(1 In contra't) *f the num+ne'' &a' due to +ad c*rcu3at*on) *t &*33 ta/e around K 'econd' of 't*mu3at*n( the ner4e' for your 'en'e of touch to +ecome fu33y operat*ona31 No&) 'ome peop3e do not a(ree &*th th*' def*n*t*on1 They ho3d that to +e rea33y *n focu' 2 *mp3*e' not fee3*n( the +ody a33 to(ether) &h*3e fee3*n( 'u'pended *n a 4o*d &*th ;u't +3ac/ne'' *n front of one8' eye'1 I &ou3d a(ree &*th that po'*t*on &ere *t not that a muted 'en'e of touch) a' oppo'ed to tota3 a+'ence of the'e 'en'e') often appear' to co*nc*de &*th other character*'t*c' focu' 21 I 'uppo'e a &ay to '*de'tep the *''ue *' to '*mp3y accept that pha'*n( occur' on a cont*nuum) and that e4en &*th*n a part*cu3ar focu' 3e4e3) a33 th*n(' are a matter of de(ree1 So rather) than adopt*n( a cate(or*ca3 def*n*t*on of that you e*ther are or are not *n focu' 2) 3et8' ;u't 'ay that focu' 2 can +e e,per*enced *n 4ary*n( de(ree' of depth1 W*th that *''ue out of the &ay 3et8' 3oo/ at 'ome of the pre3*m*nary mar/er' of focu' 2 that often co*nc*de &*th the ear3*er ment*oned muted 'en'e of touch1
On the th&e(hold The fo33o&*n( mar/er' are tho'e) &h*ch you can e,pect to come acro'' 7u*te ear3y on *n your pract*ce1 Perhap') the 3ea't con4o3uted approach to /no&*n( that you are *n focu' 2 *' that your a&arene'' fee3' d*fferent1 There *' a d*'t*nct d*fference &*th norma3 a&arene'' that appear' to re4o34e around an *ncrea'ed 'en'e of coherence and +a3ance1 Th*' 'tate &a' &e33de'cr*+ed *n the fo33o&*n( account1 ( find that in focus 10, ( am not only rela8ed physically, but am also emotionally calm @ind of like when you3ve =ust woken from a really peaceful dream and your still in that serene rela8ed state of mind /o any disturbances ( easily brush off or make use of *one time ( had a fly bu>>ing around me like a =umbo =et and ( made use of the sound and shifted my perception to flying around my room+ ( waver in and out of awareness uite a bit in focus 10, ( figure this is caused by that annoying lifelong habit ( have of going to sleepB ( have also had the e8perience of feeling like (3m still awake and thinking that ( haven3t been successful, only to find that in fact (3ve been in F10 all along Sp*ra3 Another account that appear' to touch the deep 'en'e of menta3 and phy'*ca3 re3a,at*on *' the fo33o&*n(: Focus 10 is one of the most profound states of physical tranuility that ( have ever entered (t becomes remarkably easy to achieve )he sheer concept of training your body to be deeply asleep while your mind is simultaneously awake and alert is a brilliant stroke which seems to have ma=or healing implications as well as providing a launch pad or c3*c/*n( *n> or >p3u((*n( *n> *nto th*' 'tate) &h*ch pro4*de' 7u*te a contra't &*th any dream3*/e) du33) or e4en norma3 'tate of a&arene'' preced*n( the 'h*ft *nto focu' 21 The 'h*ft may +e e,per*enced e*ther con'c*ou'3y or one 'udden3y >&a/e' up> from a dream3*/e or du33 'tate1 Somet*me' the 'h*ft may +e accompan*ed +y *ma(e' or 'en'at*on' repre'ent*n( th*' 'udden 'h*ft *n a&arene'' *f you &ere *n a dream3*/e 'tate +efore enter*n( focu' 21 I am r em*nded of an *nc*dence &here I had 'pend the &ho3e day &ater*n( the (arden) &h*ch re7u*red me to often pu33 the ho'e to mo4e from one area *n the (arden to another1 A' I &a' do*n( a focu' 2 e,erc*'e that e4en*n() and 'tarted to 'h*ft *nto focu' 2 from a du33) dream3*/e 'tate of m*nd) th*' &a' accompan*ed +y a 'udden *ma(e &here I f*nd my'e3f ;er/*n( hard on the &ater ho'e to mo4e to a d*fferent area1 At the 'ame
t*me) I fe3t my a&arene'' a3*(n*n( *t'e3f &*th the focu' 2 'tate1 Con'c*ou'ne'' &a' cr*'p and c3ear from that po*nt on1 I8d 3*/e to empha'*
The &e'l de'l: A dee) %ocu( ,7 A deeper focu' 2 repre'ent' a further pha'e 'h*ft a&ay from the phy'*ca3) &h*ch +a'*ca33y *n4o34e' a more pronounced reduct*on *n the cutaneou' 'en'e'1 $ou &*33 /no& you are &e33 on your &ay to&ard' a deeper focu' 2 &hen the po'*t*on of your 3*m+' *' not ent*re3y c3ear to you1 !or e,amp3e) you may ha4e the fee3*n( that your arm *' +ent rather than 'tra*(ht a3on( your +ody -*f that *' * t' actua3 po'*t*on.1 I &ou3dn8t *mmed*ate3y a''ume here that you are part*a33y >out of +ody>1 Rather) I &ou3d con'*der *t a '*de effect of the reduct*on *n the cutaneou' 'en'e' creat*n( 4ar*ou' *33u'*on' a' to the e,act po'*t*on of your 3*m+'1 Suff*ce to 'ay) that once the'e 'en'at*on' occur you are c3o'e to a fu33f3ed(ed focu' 21 Ho&e4er) once a(a*n) *t8' a matter of /eep*n( your a&arene'' f3e,*+3e and recept*4e for matter' to pro(re'' further: !*,at*n( your a&arene'' on a part*cu3ar o+;ect -3*/e your +ody. *' not (o*n( to do much1 A&arene'' need' the freedom to mo4e to +e a+3e to (o any&here1 Jo*n( *n&ard *' an e,ce33ent &ay to e'ta+3*'h*n( that freedom1 So don8t /eep your a&arene'' cont*nuou'3y f*,ated *n any one part*cu3ar 'pot -&hether the +3ac/ne'' *n front of your eye' or your +ody.) +ut 'tart to mo4e *nto the >e,pan'e of your m*nd> *n a freef3oat*n( type of &ay1 If at any po*nt 8+od*3y8 4*+rat*on' or other ener(et*c 'en'at*on' occur &h*ch re7u*re your attent*on) you can a3&ay' return to that >+od*3y po*nt of 4*e&>1
A' the cutaneou' 'en'e' retreat more and more) you may 7u*te 'udden3y 'tart to fee3 you that you on3y e,*'t *n your >head>1 If there &ere any pro+3em' &*th o+'e''*4e '&a33o&*n( or +e*n( una+3e to no 3on(er attend to your +reath*n( then th*' 'hou3d no 3on(er po'e a pro+3em *n th*' deeper focu' 21 At th*' po*nt) your +ody *' tru3y a'3eep *n term' of *t' 'en'e of touch1 The 3e''ened 'en'e of +e*n( *n the +ody tend' to +r*n( a3on( a fee3*n( of >+e*n( *n the head> and a' 'uch) 'omet*me' the >head 'pace> may fee3 'ome&hat en3ar(ed1 $ou can 't*33 focu' on your 'pat*a3 po'*t*on and &hate4er rema*n' of the 'en'at*on of your +ody) +ut do not 'tay f*,ated on *t1 Th*' a&arene'' of a3mo't 'o3e3y e,*'t*n( >*n the head> &*th 3*tt3e a&arene'' of the +ody can 7u*te 'udden3y come o4er you1 If you are a&are of mo4*n( *nto focu' 2 fu33y and comp3ete3y) the'e tran'*t*on' *nto d*fferent 'ta(e' of con'c*ou'ne'' are often character*
menta3 facu3t*e' m*''*n(1 The'e &*33 +e more pre'ent &*th cont*nued pract*ce) and e4entua33y you &*33 'tart to 'en'e +e*n( on the thre'ho3d of focu' 2B a more e,panded 'tate of a&arene''1 No&) the'e '*(npo't' of a deep focu' 2 pro4*de a (ood p3atform e,p3or*n( *n d*fferent d*rect*on') +ut *n the focu' 2 'tate a' d*'cu''ed 'o far the 4*'ua3 'en'e' are 't*33 4ery much act*4e -e4en thou(h your eye' are c3o'ed.) and th*' +r*n(' u' to 4*'ua3 percept*on *n focu' 21
Vi(u'l )e&ce)tion( in %ocu( ,7 So far) I ha4e focu'ed on 7u*te 8norma38 'en'at*on' *n focu' 21 That *' +ecau'e) e'pec*a33y *n the ear3y 'ta(e') *t *' perfect3y po''*+3e to +e *n focu' 2 &*thout e,per*enc*n( any e,traord*nary 4*'ua3 'en'at*on'1 A3thou(h *t may not a3&ay' +e ea'y to ha4e 4*'ua3 percept*on') *t *' certa*n3y po''*+3e to ha4e them) and much ea'*er *n focu' 2 than from a C2 'tate of m*nd1 I &ou3d ho&e4er 'u((e't to 'tart dea3*n( more &*th 4*'ua3 *ma(ery once you can ho3d a deep focu' 2) '*nce the r*'/ of fa33*n( a'3eep *' 7u*te h*(h other&*'e -and the *ma(e' are more 3*/e dream4*(nette' rather than anyth*n( e3'e.1 A3'o) you8re 3*/e3y to m*'' the focu' 2 'tate -more or 3e'' 3ocated +et&een the &a/*n( 'tate and non3uc*d m*n*dream'. a33to(ether +y pa''*n( throu(h *t 'o 7u*c/3y you &on8t e4en not*ce1 W*th*n a deep focu' 2 'tate a '3*(ht pha'e 'h*ft may +e fe3t that *' e4er 'o 'u+t3e a' you 'tart to a3*(n your'e3f &*th 4*'ua3 percept*on'1 Ha4e you e4er +een to''*n( and ro33*n( *n +ed try*n( to (et to '3eep &hen 'udden3y a33 the menta3 chatter and ed(*ne'' 'eem' to come to a 'udden ho3d and &here *t 'udden3y 'eem' 4ery ea'y to perce*4e 4*'ua3 *ma(e' &*thout 3o'*n( a3ertne'' That 'en'e of ea'e of perce*4*n( 4*'ua3 *ma(ery *' the 'u+t3e pha'e 'h*ft &*th*n a deep focu' 2 that I8m ta3/*n( a+out1 $ou &*33 3*/e3y encounter the'e *ma(e' 7u*te natura33y &hen you re3a, your a&arene'' a +*t *n a deep focu' 21 Rather than 'tar*n( *nto the +3ac/ne'' *n front of your eye' fu33y a&are) ;u't re3a, your a&arene'' *n a fu<+u*3d> the *ma(e1 Rather) you try to >'ee> a fa4or*te *ma(e for on3y a 4ery +r*ef per*od of t*me a' *f *t come' out of no&here1 #o not try to ho3d *t1 If *t8' 4a(ue -3*/e for e,amp3e 'ee*n( a ha3fformed *ma(e of a 3a/e 'urrounded +y mounta*n'. then you do not try to ma/e *t more 4*4*d1 Jet on &*th the ne,t one1 Sooner or 3ater) *f you 't*c/ to th*' proce'' you &*33 rea33y perce*4e a 4er'*on of your fa4or*te *ma(e1 One that rea33y d*d come out of no&here9 E,pect to +e 'urpr*'ed &*th the deta*3 and +eauty of the'e *ma(e'1 They may +e 'nap'hot' at f*r't) +ut once you ha4e 'een) for e,amp3e a tree) that or*(*nate' not from your m*nd) +ut from e3'e&here) th*' e,erc*'e &*33 +ecome tremendou'3y fun and e,c*t*n(1
In your pract*ce there may +e a yoyo effect1 $ou may 'h*ft *nto 'em*3uc*d*ty &here a 4a(ue *ma(e appear') and a' 'oon a' you 'tart to not*ce) you833 'h*ft +ac/ to &here you 'tarted fee3*n( fu33y 3uc*d once a(a*n1 Ho&e4er) at one po*nt you &*33 'tart to e,per*ence 'e4era3 th*n('1 !*r't) *t &*33 +ecome ea'*er and ea'*er for you to re3a, your a&arene'' to the e,tent that you e,per*ence 4*'ua3 *ma(e'1 Second3y) you &*33 f*nd that you833 +ecome *ncrea'*n(3y 3uc*d dur*n( the e,per*ence of the'e *ma(e'1 Not a' 3uc*d a' you m*(ht 3*/e) +ut you &*33 /no& you8re (ett*n( 'ome&here &hen you 'tart to e,per*ence 'ome 3e4e3 of 'ynchron*c*ty +et&een your *ntent) thou(ht' and emot*on' on the one hand) and the 4*'ua3 'cene' on the other hand1 That *' the 'cene' &*33 'tart to natura33y fo33o& your thou(ht pattern') emot*on') and concern'1 Often) part*cu3ar 7ue't*on' that are on your m*nd &*33 f*nd them'e34e' an'&ered *n the 4*'ua3 'cene' *n front of you1 Increa'*n(3y) you833 +e a+3e to 'ee the 4*'ua3 *ma(e' for 3on(er per*od') &h*3e at the 'ame ma*nta*n*n( a 'tron(er 'en'e of 'e3f &h*3e 'ee*n( them1 $ou may a3'o f*nd your'e3f 'h*ft*n( *n and out the 4*'ua3 *ma(ery more ea'*3y and more 7u*c/3y1 Of cour'e) the'e 4*'ua3 *ma(e' occur on3y &h*3e re3a,*n( your a&arene'' and &*thout do*n( anyth*n( *n part*cu3ar to >(et> them1 So *f your attent*ona3 focu' *n focu' 2 *' on the +3ac/ne'' *n front of your eye' or on the rema*n*n( 'en'ory 'en'at*on' *n your +ody) you are un3*/e3y to e,per*ence anyth*n(1 In'tead) you need to f or(et a+out e4eryth*n( phy'*ca3 for a &h*3e1 What are you rea33y do*n( here *n th*' proce'' What you are do*n( *' ta/*n( an act*4e approach and rea3 *ntere't to&ard' *nner act*4*ty that *' 'eem*n(3y unre3ated to your'e3f1 In other &ord') you are creat*n( a funct*ona3 un*t +et&een your &a/*n( m*nd and nonphy'*ca3 ener(*e'1 The *ma(e' may not +e 4ery *nformat*4e or u'efu3 at f*r't1 Ho&e4er) the funct*ona3 un*t +et&een your &a/*n( 'e3f and *nner act*4*ty *' 7u*te u'efu31 Th*' funct*ona3 un*t *' your pr*mary 'tart*n( po*nt1 Another &ay to conceptua3*'ynchron*c*ty)> or a 'yner(*'m +et&een thou(ht and act*on) +et&een *ma(*nat*on and rea3*ty) +et&een 'e3f and un*4er'e1 In focu' 2) the 'er*ou' and p3ayfu3 a'pect' of 'e3fd*'co4ery a3'o mer(e) effort and fun are no 3on(er *n conf3*ct1 $ou enter a f3o&1 "urden' +ecome 3*(ht1 So 'er*ou'3y) ha4e fun9> -Jate&ay manua3) 2?M.1 !or a &h*3e I &a' under the *mpre''*on that 'yner(y +et&een thou(ht and act*on &a' a h*(h3y e,a((erated character*'t*c of focu' 21 It 'eemed I &a' &ron( ho&e4er) '*nce th*' 'yner(y doe' +ecome more and more apparent &hen you 'tart to re3a, your a&arene'' *n focu' 2 rather than /eep*n( *t *n a f*,ated po'*t*on1 Jranted) th*' type of 'yner(y *' (enera33y -e'pec*a33y *n the +e(*nn*n( of pract*ce. not a' dramat*c *n focu' 2 a' *n other focu' 3e4e3'= *n part*cu3ar that of focu' B2 &here 'yner(y +et&een thou(ht and act*on *' ma;or character*'t*c of that 'tate1 Ho&e4er) *t *' &*'e to ma/e an ear3y 'tart &*th +u*3d*n( and pract*c*n( th*' 'yner(y *n focu' 2) &h*ch &*33 'er4e you &e33 *n 'u+'e7uent focu' 3e4e3'1 That *') +ecome u'ed to the *dea that 'tray thou(ht' may
'omet*me' re'u3t *n *mmed*ate percept*on' *n f ocu' 2) and '3o&3y 3earn to d*fferent*ate +et&een thou(ht and *ntent) 'o that you &*33 not +e '&ept a33 o4er the p3ace once you reach h*(her focu' 3e4e3'1 !ocu' 2 *' a (ood) and comforta+3e p3ace to 'tart1 Where do the'e *ma(e' come from It depend'1 If you ha4en8t 'et any part*cu3ar *ntent) then the *ma(e' of focu' 2 are u'ua33y a ref3ect*on of on(o*n( concern' and thou(ht'1 Th*' *' *n *t'e3f a h*(h3y *ntere't*n( phenomenon and much can +e 3earned from *t *f you rea3*3ocated>1 One 3a't a'pect of en(a(*n( your'e3f *n 4*'ua3 *ma(ery de'er4e' to +e ment*oned1 #o not +e 'urpr*'ed *f you f*nd your'e3f *n focu' 2B rather than the u'ua3 'en'at*on' of focu' 2 after ha4*n( (one deep *nto a 4*'ua3 e,per*ence1 In fact) &hen 'tart*n( to a3*(n your'e3f &*th nonphy'*ca3 4*'ua3 *ma(ery) *t *' not uncommon to e,per*ence 'ome m*3d 'tro+o'cop*c 3*(ht effect' or other 'en'at*on'1 The'e effect' are not 'urpr*'*n() '*nce *n my op*n*on focu' 2B *' a''oc*ated &*th the 'hutdo&n of the 4*'ua3 'en'ory moda3*ty -*n add*t*on the 'hutdo&n of tho'e 'en'ory moda3*t*e' character*'t*c of focu' 21 A' 'uch) the'e effect' are yet another repre'entat*on of a chan(e *n con'c*ou'ne'') &h*ch may occur &hen you (o *nto pro3on(ed per*od' of 4*e&*n( 4*'ua3 *ma(ery *n focu' 21 A3ternat*4e3y) you may f*nd your'e3f +ac/ *n +ac/ *n focu' 2 'tar*n( *nto the B# +3ac/ne'' *n front of you) yet d*'co4er*n( the focu' 2 'tate ha' deepened con'*dera+3y1 So the pract*ce of 4*'ua3 percept*on *n focu' 2 'er4e' 'e4era3 purpo'e'1 "eyond the fact that there *' a 3ot of (u*dance and an'&er' to your 7ue't*on' *n th*' 'tate) *t may 3ead you to mo4e further a&ay from the 4*'ua3 'en'e' and tap *nto focu' 2B1 Ho&e4er) /eep *n m*nd that th*' *' u'ua33y a rather acc*denta3 &ay of enter*n( focu' 2B1 E4entua33y) you &ou3d &ant to enter focu' 2B &*thout tr*c/') and 'mooth3y (3*de from a deep focu' 2 -&*thout the he3p of 4*'ua3 *ma(ery. *nto 2B +y mere *ntent1 O+4*ou'3y) there are a 3ot of other percept*on' +e'*de' the 4*'ua3 *n focu' 2 that are e7ua33y *mportant1
Othe& )e&ce)tion( in %ocu( ,7 "e'*de' 4*'ua3 *ma(e') the (ate&ay manua3 -2?M. ma/e' 'e4era3 +road d*'t*nct*on' +et&een the d*fferent type' of nonphy'*ca3 ener(*e' that may +e encountered *n focu' 21 The mo't common of the'e are /*ne'thet*c 'en'at*on'1 A' I ha4e ment*oned +efore) I con'*der mo't of the'e 'en'at*on' to +e the re'u3t of the reduct*on *n *nput f rom the cutaneou' 'en'e'1 I am am+*4a3ent a+out the
e,*'tence of an ener(y +ody +e*n( re'pon'*+3e for 'uch 'en'at*on') and I do not th*n/ ener(y &or/ *' u'efu31 The 3*n/ +et&een a 3o'' of the 'en'e of touch and >ener(y +ody 'en'at*on'> *' '*mp3y too o+4*ou' to *(nore1 !or e,amp3e) doe' *t not ma/e a 3ot of 'en'e that *n a deep focu' 2 you &*33 'omet*me' e,per*ence fa33*n( and r*'*n( 'en'at*on' *f the cutaneou' 'en'e' are no 3on(er there to f*rm3y put you *n one 'pot *n 'pace Any&ay') fee3 free to d*'a(ree1 At 3ea't &e can a33 a(ree on the 'en'at*on' *f not the *nterpretat*on1 The fo33o&*n( *' the de'cr*pt*on of /*ne'thet*c 'en'at*on' +y the %onroe In't*tute: %&ne method of perception is to feel differences kinesthetically *sensations that are, or seem to be, physical+ Day attention to your body and feel subtle sensations )hese sensations might feel like motion rising and falling, rocking, sliding and tipping :ou might feel %electric% sensations tingling or vibrations Derhaps you might feel twitches, pulsing, pressure, or changes in temperature% -Jate&ay %anua3) 2?M. I th*n/ that mo't peop3e &ho ha4e pract*ced O"E' are fam*3*ar &*th the'e 'en'at*on') or at 3ea't ha4e heard a+out numerou' t*me'1 Ho&e4er) *t *' &orth here to ment*on that the more >comp3ete> /*ne'thet*c 'en'at*on' tend to occur *n a deeper focu' 2) &h*3e *n a 3*(hter focu' 2) the'e 'en'at*on' tend to +e more 3oca3*'econd +ody> +ut rather a f*e3d that 'eem' to 'urround the phy'*ca3 +ody1 It *' a mo't pecu3*ar fee3*n( &here one 'eem' to +e f3oat*n( *n'*de a +*( +a33oon and one' >ed(e'> 'eem' to +e 3ocated around a feet a&ay from the actua3 +ody1 Th*' >+ody> en3ar(ement effect ha' +een reported 'e4era3 t*me' +y peop3e *n the '3eep*n( +ooth at the %onroe In't*tute -At&ater) B2.1 In my op*n*on) th*' phenomenon *' mere3y an *nd*rect 'ym+o3**ntu*t*4e percept*on'>1 The fo33o&*n(: EE
I 'udden3y +ecame part of a dream3*/e 4*'ua3 'cene &*th a 3ot of peop3e around me) and I rece*4ed the ISP: > $ou are ne4er a3one>1 It8' a n*ce me''a(e to (et -un3e'' you8re the parano*d type.1 !or tho'e *ntere'ted *n more *nformat*on *n th*' 'u+;ect I ad4*'e to ta/e note of the &ord >percept> *n %onroe8' +oo/') and you &*33 'ee ho& often the'e *ntu*t*4e percept*on' occur *n the O"E 'tate1 La't3y) there are the aud*tory percept*on'1 The'e 'en'at*on' are more character*'t*c of focu' 2B *n my e,per*ence1 U'ua33y) I do not f*nd the aud*tory 'en'e' to +e reduced to the e,tent that aud*tory that >nonphy'*ca3> aud*tory percept*on *' character*'t*c of focu' 21 Ho&e4er) de'p*te the (enera3 a+'ence of a con'*'tent reduct*on *n the aud*tory 'en'e' *n focu' 2) do e,pect aud*tory 'en'at*on' to occa'*ona33y occur *n th*' 'tate -u'ua33y a' part of 4*'ua3 'cene'.) and +ecome more prom*nent *n focu' 2B1 So to comp3ete th*' 'ect*on) here *' the de'cr*pt*on *n the (ate&ay manua3 of aud*tory percept*on': %An auditory perception may manifest as verbal messages, voices, or impressions of voices (t may also occur as sounds such as static, bu>>ing, pops and clicks, tones, or even music )hese perception have a delicacy, a uality difficult to convey in physical, waking consciousness% -Jate&ay manua3) 2?M.1
A )ee '&ound the co&ne&: Be6ond ,7 "efore conc3ud*n( th*' paper I th*n/ a 3*tt3e *nformat*on on f ocu' 2B and the other focu' 3e4e3' *' *n order) +ecau'e you may automat*ca33y 'tum+3e upon *t &h*3e pract*c*n( focu' 21 I th*n/ *t 'hou3d +e c3ear that the ma;or po'*t*on of the current paper *' that focu' 2 *n4o34e' a reduct*on *n 'en'ory *nput from cutaneou' 'en'e' &*th momentary reduct*on' *n 'en'ory *nput from the other 'en'e'1 Hence) *t 'hou3d come a' no 'urpr*'e that once the other 'en'e' 'tart to 'hut do&n another pha'e 'h*ft can +e e,pected e4en further remo4ed from the phy'*ca31 A further pha'e'h*ft u'ua33y *n4o34e' the phy'*ca3 +ody fa33*n( a'3eep acro'' all 'en'ory moda3*t*e'1 $our po'*t*on &*33 no 3on(er a' 'tron(3y determ*ned +y a 'pat*a34*'ua3 'y'tem that norma33y 3ocate' u' f*rm3y *n'*de of the phy'*ca3 +ody1 It *' here &here you are tru3y free from a33 phy'*ca3 3*m*tat*on') and a+3e to reach the outof+ody 'tate1 Let me ;u't 3ea4e you &*th the fo33o&*n( focu' 2B de'cr*pt*on' +y other' -Le4a) 2??M) p(1 2B.: Q .y head got bigger, seemed like there was a split in half, a floating sensation spacey gray fog, infinity high electricity less stringent Focus 10 more stringent smooth gentle lot larger, no limit head somewhat e8ploding, seeing symbols vastness, felt connected deep in my bones gray, felt larger in denseness whirling vorte8es movement intimate like a red flannel shirt QGoid mountain like sensation, elevated, able to go off into the periphery of more than one direction at a time, flatten, floating formless *body+, energetic6 fullness *mind+, emptiness *body+, have times when doing both together, enlightenment, there are space, groups of predominant light dense *solid mind+, full, e8periencing great amounts of knowingness or information *not specific information+, e8periencing a great presence *me+ freedom of mindspace light body flat, no
concrete sense, no body, ( was =ut there and everywhere absence of gravity, being able to move in space easily *doing acrobatics+, able to perceive things from aboveH
Conclu(ion Th*' paper ha' made a +road d*'t*nct*on +et&een a 3*(ht and deep focu' 2 'tate a' &e33 a' a d*'cu''*on of common percept*on' *n the'e 'tate'1 It appeared to me the +e't approach to accommodate the &*de 4ar*ety of e,per*ence' peop3e ha4e *n th*' 'tate1 A3'o) focu' 2 ha' +een *dent*f*ed a' a 'tate that *' mo't3y character*
Re%e&ence( At&ater) !1 H1 -B2.1 Capta*n of my 'h*p) ma'ter of my 'ou31 Char3otte'4*33e) Hampton Road'1 Le4a) P1 -2??M.1 Tra4e3*n( the *nter'tate of con'c*ou'ne'': A dr*4er8' *n'truct*on manua31 Lon(mont) Centra3 Pu+3*'h*n(1 %onroe) R1A1 [email protected] 0ourney' out of the +ody1 Ne& $or/) #ou+3eday1 %onroe1 R1A1 -2?M.1 !ar ;ourney'1 Ne& $or/) #ou+3eday1 %onroe) R1A1 -2??.1 U3t*mate ;ourney1 Ne& $or/) #ou+3eday1 The %onroe In't*tute -2?M.1 The Jate&ay %anua31
THE 4#ICK+S"ITCH METHOD BY FREDERICK AARDEMA E,cerpt from EXPLORATIONS IN CONSCIOUSNESS: A NEW APPROACH TO OUT O! "O#$ EXPERIENCES
Copyr*(ht B2B +y !reder*c/ Aardema A33 r*(ht' re'er4ed) *nc3ud*n( the r*(ht to reproduce th*' &or/ *n any form &hat'oe4er) &*thout
perm*''*on *n &r*t*n( from the author or pu+3*'her1
The uick#switch method of tran'portat*on throu(h the 4o*d &a' *n*t*a33y def*ned +y Ro+ert %onroe12 Wh*3e h*' ear3y e,per*ence' &ere 'tron(3y character*
!h'(ing In Dhasing in *' the proce'' +y &h*ch you connect to an outof+ody en4*ronment1 Th*' proce'' *' +e't *n*t*ated from the 4o*d) &h*ch therefore +e(*n' &*th 4ery 3*tt3e percept*on and *n comp3ete dar/ne''1 If you ha4e +ody a&arene'' *n'*de of the 4o*d) &h*ch *' typ*ca33y the ca'e fo33o&*n( a para'omat*c tran'*t*on) pha'*n( *n &*33 +e a 3*tt3e more d*ff*cu3t to accomp3*'h1 The pre'ence of a 'econd +ody &*33 tempt you to fly to a de't*nat*on rather than mere3y chan(*n( your attent*on1 E4en 'o) pha'*n( *nto an outof+ody en4*ronment from the 4o*d can a3'o +e accomp3*'hed &*th +ody a&arene''1 $ou &*33 ;u't ha4e to for(et a+out your phantom +ody a' you pha'e *nto the en4*ronment1 Th*' &*33 u'ua33y happen automat*ca33y1 eep *n m*nd that *ma(*nat*on *n com+*nat*on &*th out&ard en(a(ement to&ard the 4o*d *' a 4ery po&erfu3 too3 *n the na4*(at*on of con'c*ou'ne''1 $ou may +ecome part of an O"E en4*ronment *n the +3*n/ of an eye1 Ho&e4er) *t *' 't*33 &orth&h*3e to pract*ce '3o&*n( do&n the proce'' of pha'*n( *n to *ncrea'e your o4era33 3e4e3 of prof*c*ency *n the na4*(at*on of con'c*ou'ne''1 Th*' *' rather 3*/e 3earn*n( ho& to f3y a f*(hter ;et at near'ta33*n( 'peed1 The act*4*ty may 'eem at odd' &*th the purpo'e of a ;et) +ut +e*n( a+3e to do 'o ma/e' you a much +etter p*3ot1 The proce'' of pha'*n( *n 'tart' &*th mo4*n( 'ome of your attent*on away from the +3ac/ne'' 'urround*n( you1 !ocu' on your o&n thou(ht' and *nner 3*fe1 %ean&h*3e) ma*nta*n a re3a,ed out3oo/ to&ard the 4o*d a' *f &atch*n( *t out of the corner of your eye1 Ne,t) act*4e3y *ma(*ne your de't*nat*on) or 'tate your *ntent a' to &here you &*'h to (o) &h*3e '*mu3taneou'3y reach*n( out &*th part of your attent*on as if there *' 'ometh*n( +eh*nd the 4e*3 of dar/ne''1 It may ta/e 'ome pract*ce +efore you are a+3e to do +oth at the 'ame t*me) +ut *f proper3y app3*ed) 4a(ue form' and 'hape' &*33 +e(*n to appear *n the 4o*d1
$ou may) for e,amp3e) perce*4e 'ma33 patche' of (ray or perhap' 'e4era3 'trea/' of 3*(ht and co3or *nterm*,ed &*th the +3ac/ne'' of the 4o*d1 There m*(ht +e a 'en'e of mo4ement or emanat*on) a' *f there *' 'ome 'ort of act*4*ty +eh*nd the 4e*3 of dar/ne''1 Whate4er your percept*on' m*(ht +e) *n*t*a33y ma*nta*n a re3a,ed out3oo/ to&ard them1 Then) a' the'e percept*on' +e(*n to *ncrea'e *n comp3e,*ty) focu' more of your attent*on to&ard them unt*3 the movie#screen effect occur'1 The mo4*e'creen effect *' rather 3*/e '*tt*n( *n a mo4*e theater *n &h*ch you &atch the 'creen *n 3*4*n( co3or &*th dar/ne'' 'urround*n( you1 $ou are &atch*n( the 'creen from a d*'tance) &*th mo't of you rema*n*n( *n'*de of the 4o*d1 If you &ere to comp3ete3y focu' on the 'cenery) ho&e4er) you &ou3d for(et a+out the 4o*d 'urround*n( you) and you &ou3d +ecome part of the en4*ronment) '*m*3ar to the proce'' of +ecom*n( en(ro''ed *n a mo4*e1 The +enef*t of the mo4*e'creen effect *' that *t a33o&' you to pre4*e& outof+ody en4*ronment'1 If an en4*ronment *' not to your 3*/*n() you on3y ha4e to remo4e your attent*on from the mo4*e 'creen and return *t +ac/ to the 4o*d 'urround*n( you1 Con4er'e3y) *f the en4*ronment 'eem' *ntere't*n( and you &*'h to +ecome part of *t) a33 that *' re7u*red *' to a33o& your'e3f to +ecome capt*4ated +y *t1 In 'ome ca'e') there m*(ht +e a 'en'e of menta3 mo4ement +efore you +ecome part of the en4*ronment) +ut *n mo't *n'tance') *t &*33 happen 7u*te natura33y1 If you d*d not a3ready ha4e a +ody) you &*33 (enera33y ha4e one a' 'oon a' you are part of the en4*ronment1 En4*ronment' tend to *mpo'e +ody a&arene''1
Journal Entry, Sunday, February 8, 2004, 3:00 am
F ( decided to trigger some imagery in the void above me ( rela8ed my awareness while reaching out with my mind at the same time A scene popped up almost immediately )wo dogs were fighting, one of them uite viciously ( berated myself for not having reached out further (t seemed like some lower#level phenomenon playing itself out in front of me &ne of the dogs was my own /he was only a little pug uckily, she seemed to handle herself uite well against the much bigger, vicious dog /o far, ( had been observing all of this from a distance ( had no intention of putting myself in the middle of the fight and broke the connection before ( got immersed in it )he scenery promptly disappeared as ( turned my attention away from it ( was still lying in bed, staring up into the void, and decided to try to reach out a second time )his time, however, ( reached as far as ( could Almost immediately, my entire perceptual field was filled with an imposing scene A huge golden chariot surrounded by white light raced toward me (nside the chariot was a tall, larger#than#life individual ;e had long white hair and a wild white beard )he chariot came at me fast, and while ( was only observing, the white surroundings had already almost enveloped my position inside of the void (t would not take long for the chariot to reach my position and for me to become part of the environment ( decided to break the connection yet again ( did not want to end up under the chariot3s wheels )his time, ( found myself back in my real body
!h'(ing Out Dhasing out *' the proce'' +y &h*ch you disconnect from an outof+ody en4*ronment +ac/ *nto the 4o*dthat *') +y 3ea4*n( any en4*ronment &*thout return*n( +ac/ to the +ody and &*thout ha4*n( to 'tart the tran'*t*on proce'' a33 o4er a(a*n1 A' 'uch) pha'*n( out *' a pract*ce that ha' the potent*a3 to '*(n*f*cant3y e,tend the durat*on of your pro;ect*on'1 Pha'*n( out e''ent*a33y con'*'t' of pha'*n( *n) *n re4er'e1 So the f*r't 'tep *n4o34e' not +e*n( an act*4e part*c*pant *n the outof+ody en4*ronment1 $ou cea'e a33 *nteract*on &*th e4ent' occurr*n( *n the en4*ronment) &h*ch *' +e't accomp3*'hed +y f*nd*n( a 7u*et corner 'ome&here1 Ne,t) o+'er4e the 'cenery a' *f you &ere &atch*n( an un*mpre''*4e " mo4*e1 Th*' detached 'tance &*33 re'u3t *n a de'ta+*3*'pec*a3 effect'1> !or e,amp3e) *t *' not uncommon for the en4*ronment to 'tart to 'ha/e and trem+3e1 Then) once a cre'cendo *' reached) the en4*ronment d*'appear' from 4*e&1 A3ternat*4e3y) your ent*re perceptua3 f*e3d may 'hatter *nto 'eparate p*ece' a' *f *t &ere made of (3a''1 $et another effect *' a m*'a3*(nment of the en4*ronment &*th your 4*'ua3 f*e3d) &here*n on3y part of the en4*ronment rema*n' 4*'*+3e &h*3e the other ha' fa33en out of 4*e&1 Th*' *' '*m*3ar to the effect that u'ed to occur *n mo4*e theater' no& and a(a*n &hen the f*3m (ot m*'a3*(ned &*th the pro;ector trac/1
There are a' many 4ar*at*on' of pha'*n( out a' there are 'pec*a3 effect' *n mo4*e') and the manner *n &h*ch *t occur' *' not 4ery *mportant1 The pr*mary th*n( to remem+er a+out pha'*n( out *' to focu' your attent*on on any +3ac/ne'' that occur' a' a re'u3t of the en4*ronment +e(*nn*n( to +rea/ up1 %ean&h*3e) *t *' 4*ta3 that you a33o& the en4*ronment to d*''o34e natura33y) &*thout too much focu' on any of the remnant' of the perceptua3 en4*ronment1 Then) a' you d*4ert an *ncrea'*n( amount of attent*on to&ard the 4o*d) empty +3ac/ne'' &*33 '3o&3y f*33 up your f*e3d of 4*'*on unt*3 you are once a(a*n >*n +et&een> &or3d'1 Journal Entry, Monday, November 6, 2006, 4:30 am
F ( found myself sitting on a chair in a theater )here were many other attendees, most of them facing the podium up ahead Apparently, however, the %show% had not yet started )here were still a lot of people walking around, not yet having taken their seats ( then noticed someone trying to get my attention (t was my father running up to me ;e told me that the gathering was a special event organi>ed for our family#a celebration of some kind )his all seemed rather odd to me, which was good because ( regained some of the lucidity ( had lost earlier ( walked to the back of the theater, leaving my father and everyone else behind From the back, ( had a better view of the entire place &n the stage, someone was telling a story or perhaps reciting a poem ( was too far away from the podium to be able to hear anything ( uickly lost interest as ( remembered my original intent ( had to leave the dream and return to the void 9o sooner had ( reali>ed this when the entire dream environment began to dissolve, uite literally breaking up into shattered pieces of mirrored glass as the darkness of the void became evident in between the pieces (t was a spectacular effect For a moment, ( was captivated by the implications of a coherent dream unfolding in separate pieces ( could actually see dream fragments continuing to play out on the separate piecesB ( had no time to waste, however ( uickly focused my attention toward the blackness that appeared in between the pieces of glass, which then soon disappeared entirely from view ( once again found myself back in the void6
