Tufti the Priestess

by Vadim Zeland

  In a genuine condition, your thought forms are transformed into thought markers:

  # Every day, I get closer to achieving my goal. #

  # Really, I do everything brilliantly. My professionalism is

  growing. #

  # I really am getting physically fitter. #

  # I really am become a more charming and attractive

  person. #

  Thought markers are confirmation of the fact that shifts can take place.

  1. Carry out all three actions, separately or simultaneously.

  2. Observe carefully and avidly grasp any confirmation of your success.

  3. As soon as you see a sign of success, activate the plait and consolidate the shift with a thought marker.

  Thought forms trigger a new reality; thought markers adjust the design.

  Integrated Action-stroll Method

  1. Composing a new reality and yourself within it.

  2. Pretend that you already live in that reality and that you are already that new self.

  3. And, of course, act, create that new self, fan the Creator’s Spark.

  This is what we talked about earlier; it is what you are capable of doing inside the film: propel the forthcoming frame, propel yourself, propel yourself from within. Take it all seriously, practice consistently and for a relatively long period of time — always. Then, one film roll at a time, one reflection at a time, your mannequin and your life will begin to change. You will see change, of that there is no doubt.

  Review of basic principles

  The dream space is not a product of your imagination. It is real and exists in the form of a film archive, where everything that was, is and ever might be is stored. When you are seeing a dream, you are viewing one of these film rolls.

  Physical reality is not that which never was, nor that which never will be, but rather that which happens, once and now. Physical reality exists for a single moment, like a frame in a film roll, which moves from the past into the future.

  Reality is multi-layered, like an onion. Only two layers are familiar to you: physical reality, in which you live, and the dream space, which you dream about every night. Sleeping and waking are roughly the same thing, only they take place in different dimensions. Drifting off and waking up, you shift from one dimension into the other. Sleep and the awakening that follows sleep are similar in context to things like life and death. Life is sleeping, death is awakening and not the other way around.

  Your life, more precisely, your essence — your soul — also moves from one incarnation to another. You do not remember your previous incarnations. This is because every incarnation a separate life of your soul, or a separate dream if you like. The presence of the body is not essential to the life of the soul. The soul in the body is just one of the forms in which the soul can exist. The body is a kind of bio-suit.

  Movement and transformation are the fundamental qualities or reality and life. The frame moves along the film roll. The caterpillar transforms into a butterfly. The butterfly lays its larvae, which in turn are transformed into caterpillars to become butterflies again.

  Inner screen When you are lost in thought, your attention is wholly immersed in the inner screen. You may be oblivious to what is going on around you and do things on auto-pilot.

  Outer screen When your attention is busy with something external, you forget yourself and you do things automatically without having to think about it.

  Attention Your attention is always focused either within or outside of yourself but very rarely in between. And so you are constantly sleeping. Your attention is used to being glued to one screen or the other, without pausing in the middle. The result of this is that you have stopped taking any control of your attention; it does not obey you, but drifts randomly about, you are constantly dropping into a non-conscious state.

  Sleep Sleep is a subconscious state in which your attention is immersed either in the outer or the inner screen. In this state, you are helpless and have no control over yourself or indeed anything that is happening around you. Sleep is your anabiotic state.

  Dreaming is what you see either in the dream space or in the space of physical reality. Reality and dreaming are essentially the same thing. For you are also dreaming reality. Reality is a dream, and dreaming is reality.

  Awakening In order to wake up either in a dream or in waking life, you must pull your attention away from the external or internal screen and shift it to your awareness centre. See the ‘Awakening method’.

  The awareness centre is an observation point from which you can see where your attention is directed in any given moment and what it is focusing on. At the same time, you see what you are doing and what is going on around you.

  Awareness Wake up and ask yourself: where am I, what am I doing, what is my attention immersed in? In the moment you ask yourself the question, you awaken and arrive at the awareness point. This is me, and this is my reality. I am aware. I see myself and I see my reality.

  A stroll through a dream (asleep or in waking life) Enter the awareness point, having said to yourself: I see myself and I see reality. Tell yourself: today I will take a stroll through a waking dream. And then go for a stroll anywhere, to work or to school, in this state of clarity. When you are immersed in either one of the screens, you aren’t there; you aren’t in control of yourself or the situation. In a condition of clarity, you are free, and from this moment your dream, whether it be whilst sleeping or in waking life, becomes lucid. You are in control of yourself, and most importantly, acquire the capacity to control the situation.

  Film characters — that’s you. As asleep, as in waking life, you are in a film and you are carried by the flow of the script. Your mind is not your own, because your attention is not your own. On your stroll, you ought to have noticed that your own attention was constantly drifting away either to the outer or the inner screen. When you are aware, unlike the other characters around you who are asleep, you see yourself, you see reality, and can consciously control your will, which you couldn’t previously. This is your first step towards a new level of self-control and control of your own reality.

  Script You are led by a certain outer script, which weaves you into a film, in which you are one of the characters.

  Dream characters How are dream characters different to living people (film characters)? They have no self-awareness — they are not aware of themselves as individual personalities. They have no willpower — they are not free in their actions; they are controlled by the script. They have no soul. They are simply templates, mannequins. They cannot say ‘I am me’. They have no self.

  You, or rather, your Self, is the same thing as your attention. Your attention cannot stay in the awareness centre for very long. You have to develop the new habit of bringing your attention back to the centre. Use your attention to track your attention, yourself that is.

  Dreams (both whilst sleeping and in waking life) can be either lucid or non-lucid. In a non-lucid dream, you are dotty and helpless, like a rabbit. But all you have to do is start controlling the focus of your attention and you come to life in a movie, gaining the ability to behave at will, exactly as you see fit.

  Triggers You do not have to try and hold your attention in the awareness centre continuously. Meaning and value are to be found in something else, namely your ability to respond to what is going on around you. You need to acquire the opposite habit — not to fall into a dream but to wake up when something happens around you. Any event, even a slight waft of air in your space, should make you alert — this is an awakening signal.

  Likewise, any action you take should be a reminder to check where your attention is focused. Example triggers:

  Outer — as soon as something happens, you wake up.

  Inner — before you do anything, wake up.

  Eternity archive Same thing goes for the d
reaming space, which exists in the form of a film roll archive, where everything is stored that ever was, will be and could be. Only the illuminated frame, a momentary impression of physical reality, is truly real. Everything else is virtual, including the past and the future. And all this is stored in the Eternity archive.

  Compose reality To compose reality means to determine the direction in which the frame will move and the film roll that will be played. You have the opportunity to do this, but you don’t make the most of it, just as you don’t use your attention control function. You have to compose your desired reality in advance, rather than battling with your current circumstances. Instead, you try and change the given reality of the current frame. Reality is only ‘reality’ by virtue of the fact that it has already happened. You cannot change anything that has already happened. But this is exactly what you try to do, in as much as everything that surrounds you consists of that which has already happened.

  Propel the frame As you know, changing the past is impossible. You may as well forget about the present too as that also has already happened and it isn’t what you would choose. What you do have is the chance to create your own future and choose a film roll, along which the next frame will move.

  Intention Intention accounts for your actions. In order to-start anything, you have to first intend it. When you are doing something, intention is implemented via action. Similarly to attention, which has two screens, intention has two centres, an inner and an outer centre.

  The inner centre accounts for all your everyday functioning and is located in the frontal part of the skull — this is your petty intention. When you concentrate, you frown. When you intend to do something, you tense your muscles. Your muscles enable you to take basic forms of action in the current frame.

  You hardly use the outer centre at all. Yet this is what moves the future frame. You can see where the outer centre is located in an instant, right now.

  The intention plait This is an energy chakra, and similarly to a normal plait — you cannot see it, but you can feel it like you would a phantom limb, which is no longer there, but you still feel as if it was. Rather than hanging down, it sticks out at an angle from the spine.

  The outer intention centre is at the end of the plait. This place it between the shoulders, only not right against the spine but a little away from it. You should be able to find the spot intuitively. The exact distance away from the spine is not important. Just focus your attention on this area and you will feel it.

  The principle of the outer intention centre works is really very simple. You shift your attention to the end of the plait and visualise a picture of any event that you would like to attract into your life. Doing this you illuminate this future frame, and it becomes manifest in physical reality.

  See chapter ‘Plait with flow’.

  How to work with the plait First: wake up and shift to the awareness point. As usual, say to yourself: I see myself and I see reality.

  Second: activate the plait. Feel it. There it is; as soon as you focus your attention on it, the plait lifts away from the spine and is activated.

  Third: still focusing your attention on the plait, imagine a picture of the future you want. Compose the picture of your reality in thoughts, words, and on the screen — as best as you can.

  This is how you illuminate the future frame and it manifests into physical reality.

  The illusion of action It only appears to you, that you are in control of your actions. It is a very plausible thought but still an illusion. What is illusory is not only what you think you see, but also, what you think you do. You cannot tell that this is an illusion because you are constantly immersed in it.

  What do you think, do the fictional characters of films and computer games understand that they are in a film and that you are watching them? No. Are the mannequins in your dreams aware, that you are dreaming them? No. And so now I ask you: do you know who you are?

  You cannot ask film characters this question. You can ask a mannequin, but there’s no point. You differ from the former and the latter in that you are at least capable of vaguely grasping the meaning of the question. And in that, you are capable of having self-awareness. But when are you self-aware? Only in the moment that you ask yourself this question. The rest of the time, where are you and who are you?

  Well, you are characters in a filmstrip of the life that is happening to you. Rather than living your life, life is happening to you. Neither the mannequin in your dream, nor the hero in a film are capable of perceiving the illusion of their actions, or rather, the illusion of action. So why should you assume that you are capable of doing so? How are you different to a dream mannequin if you live as if you were sleeping in waking life?

  Habit You are made snails (more precisely, characters) through the habit of not creating your own reality but waiting and hoping for something instead. Will it happen or not? Will it work out or not? This is a passive position. From this position, all you are capable of is probing reality and at the slightest thing, withdrawing your horns.

  The mould You have to switch into proactive mode. Rather than waiting and hoping, create the reality you want. The mould is an obstacle to this, because according to the mould, creating your own reality is impossible. The mould is your little house. New habits and perceptions are developed just as the old ones took root — through ongoing repetition. Only from now on, instead of staring at reality and following it, you will actively manage the movement of the frame — not the one in which you currently find yourself, but the one that is about to come up. See. ‘Frame illumination method’.

  Reprogramming It is your snail horns and house (habit and the mould) that keep you trapped in the current frame. In order to escape the trap, you must switch to proactive mode, not waiting and hoping, and compose the reality you want. This requires constant practice of how to manage the impending frame. Method: as soon as you find yourself waiting or expecting something, use intention; as soon as a problem arises, use instant plait activation and frame illumination. You need to compose not only the events, of which the outcome is unknown, but also events of which the outcome is already probable.

  Why do we need endless repetition? To embed a new programme into your snail mould. You will not believe that reality can submit to your will, until you experience it for yourself, moreover, repeatedly. Controlling frame movement in simple events is the most effective type of training, as a result of which you will...

  – Learn to wake up and control your attention.

  – Develop the plait, visualisation and intention.

  – Switch to proactive mode, and in the end, acquire the ability to free yourself from the predominant script and compose your own reality.

  Forthcoming reality although written in the Eternity archive, is always multi-variant and while it has not been ultimately claimed or composed by anyone, it does not belong to any one. If someone comes along and composes it, then it will submit to their composition. And if that someone is you, then it will be yours. But before reality can truly become yours, you have to reprogram yourself, i.e., develop new habits and perceptions via a process of multiple repetition.

  Transformation The Creator conceived you to be luminescent creatures, your gaze directed forward. And so you once were, before you became mired in the illusion of action. When you practice composing your own reality, you become gradually transformed from snails into fireflies. When you illuminate the frame, you emit an inner light, and the events you desire fly towards you, like moths to a flame. Others around you, who are still snails, will put their horns out towards you and crawl closer out of curiosity.

  Concentration Try without making an effort. To illuminate a frame successfully, concentration is important, not force. Can you concentrate, at least for a couple of minutes? Just a minute, then? That is all it requires of you. Follow the illumination method calmly and naturally. The reason for this is
that by applying effort, you trigger the inner intention centre. Reality is managed from the outer centre.

  Note that if whilst you are illuminating the frame, your muscles are tense, this means your petty intention is working. You have to work exclusively with outer intention — with the plait. This is not something that should be strained or wielded.

  Meta-power This is the flip side of force, its antipode. Normal force (willpower and physical strength) works from this side of the mirror reality, the material plane, while meta-power operates from the other side, the subtle plane.

  The reflection in the mirror reality is on this side, the material plane, while the subject is on the other side, the subtle plane.

  Physical reality is a reflection of the subject, the image, which is somewhere there, on the other side. And there, in the film archive, there are many variants of the future.

  So, now, judge for yourself: if the future is located on the other side of the reality mirror, is it possible to somehow have an impact on it using standard force, which only operates here on the side the mirror is facing? No.

  If your attention is focused on what is in front of the mirror,

  i.e. in the frame of manifestation, then you are completely captured by the script. If it is focused on the other side of the mirror, in the image frame, then you are free to move, both yourself, and future reality.

  You will gradually come to understand what meta-power is, as you come to feel it. I would not be able to explain to you what power was if you had never tasted it. The same goes for meta-power. You have to feel it and develop it. The plait is your meta-power tool. The frame illumination method is an exercise in developing meta-power and, at the same time, a means of composing the reality you want.