by Vadim Zeland
Propel yourself To propel yourself means to be self-aware and deliberately control your motives and your actions. Within the frame, you will move normally, using your arms, legs, and physical strength. But you propel reality completely differently, with your attention, intention, and meta-power.
Imitating action The point of imitation lies in the fact that you do not have the right to disrupt the established order of things. The established order has it that you participate in the action whilst submitting to the lines of the script. There is not a single character that can bail out of the film roll or do whatever they like within the film. The script is not the product of someone’s subjective will. It is an objective reality and there’s no avoiding the fact.
Objective reality is such that you are doomed to exist within it, like characters in a film. You cannot avoid the action. But you can imitate it. You can fool reality.
You continue to play your role as before, as it is written into the script; you carry out your daily tasks. But unlike the other characters, being in a state of awareness, you get something more — the opportunity to replace the current film roll.
You stroll through the film as a character that has come to life but is pretending to be lifeless, and change the film roll as you see fit. No-one suspects anything — neither the script, nor the other characters.
Presence in the film Your presence in the film is above all, the presence of your awareness, your ‘Self’. Your presence as a living, self-aware, conscious individual in full possession of your faculties in an immutable film. Although the film turns dynamically, it is predetermined, like the behaviour of all its characters.
Your presence in the film singles you out as one awakened among those who are asleep. You are conscious of your separateness and are aware of what is happening. Your behaviour within the film is also predetermined by the script. However, your presence gives you the opportunity to change the film roll — to skip from one to another.
In order to become present, you must come alive, give yourself a good shake and work out where your attention is placed: in the central awareness point or one of the two screens.
You are not in control of the script Composing reality is not about controlling the script but choosing the film roll. Your task is to hold your attention on the frame that is coming next. The script is none of your business. If you try to compose it or resist it, the script will pull you into its trap. Trying to influence the course of events, you make the mistake of taking the reality of the current frame in a deadly grip. The harder you grip, the tighter it grabs you by the tail, that is, by the plait.
It is not for you to know, what script will bring you to your goal. But the point is that you don’t need to know. You are working in a film projector mode. When the goal frame is illuminated by your projector, the course of events itself turns to where you need it to be. The script works for your goal if you set it.
Advantage You always insist on everything going according to your plan, and in so doing, you obstruct the implementation of the plan. By expressing dislike, you involuntarily and unconsciously compose a worse reality for yourself.
To avoid mangling your reality, and instead, turning it into a wonderful world in all regards, you need to implement one simple principle: seek the advantage in everything. Literally, seek and draw out the advantage in any annoying situation, and in any event that causes you to respond even a little bit negatively. Set yourself the goal of seeking out the advantage in life.
The Law has it: if you allow yourself to be guided by the principle of advantage, life will throw fewer and fewer events your way that are damaging. See ‘Advantage method’.
Allowing The paradoxical principle: compose not the script but the goal frame. Your job is to know the ‘result’ you want to achieve and compose the corresponding picture of that reality, in thoughts, words, and images using the plait. Then the script will lead you and show you the ‘how’.
Tracking the advantage is one trigger for awakening. Any event you experience should be something that causes you to be alert serving as a wake-up call, rather than sending you off to sleep. Your task is to wake up, see reality and compose reality.
Previously, as soon as anything challenging happened, you’d ‘A-a-a!’, wave your arms about, and stamp your feet!
Now: as soon as something challenging happens, you exclaim (quietly to yourself, or aloud) ‘Advantage!’
Beyond that, you allow the universe to do something nice for you, to help you, or to bring you a step closer to your goal.
The script directs you Why are you constantly forgetting about your attention? Is it down to absent-mindedness? No. It is because you are being directed by the script. You think you are acting independently and that you know what’s what, but this is an illusion. The illusion of action, let me remind you, consists in the fact, that reality takes hold of you to the extent that you do not notice the illusion and don’t realise that you are bound characters in some kind of game.
The paradox is that unlike the heroes in the film, you are endowed with the quality of self-awareness. However, you become self-aware, only in the moment that you ask yourself this question. The rest of the time, your consciousness sleeps and relinquishes itself to the external script.
Propel yourself Imagine that you are a character in a film. The film roll is turning and you cannot change the plot, but nothing is to stop you from changing yourself. Do not listen to people who tell you that you must never change. To a certain degree, they are right, you must never lose a sense of your core, your originality, your uniqueness.
You have to change, without changing your Self. Working on self-improvement doesn’t mean compromising your true self. Nature originally created you perfect, warts and all, like everyone else. But lack of development leads to degradation. It is a natural law. You should be aware, that you need to work on yourself, develop yourself physically and spiritually unless you want to turn into shrivelled slugs.
The Creator’s Spark Much depends on your self-improvement. In each and every one of you there lies a tiny part of the Creator — the Creator’s Spark — so kindle it! It is the Spark, not of the Lord but of the Creator. To lord it over others is another kind of temptation. Which you must never give in to. Create your reality and yourself perfect. The Supreme Creator does not contradict this rule; he does not rule over you (what would be the point, you wouldn’t listen anyway), he creates, and you are capable of doing the same.
The dictates of Power Having the capacity for self-awareness, you ask the question ‘how?’ and design a whole strategy for achieving your goal based on your own ideas. Yes, in the moment that you ask yourself ‘how,’ your self-awareness is awakened, but it gets in your way because you’re not thinking about the goal but your own silly ideas of how to manifest it. Your imagined script contradicts the real one, but you insist on having your own way and spoil everything as a result. The scenario you have invented conflicts with the real one, but you spoil everything by insisting on having things your own way.
You need to observe yourself, observe your attention so that rather than sinking back into thoughts of your own plan, you follow the barely perceptible nudges from the script as if they were dictates of Power. You can sense these dictates of Power if you allow them to lead you, consciously and intentionally. If your thoughts are focused solely on the goal, the script will lead you to the goal itself.
Following Your mind should be focused on the end result, the goal frame, not the course of events or the behaviour (actions) of other people. You can’t resist the script even when you are fully present. All the changes that take place in your reality that occur according to your will, are the result of you switching to a different film roll. You can’t do anything about the script in the current film roll. Don’t resist the script, observe yourself and follow the flow of the film roll. Learn to feel the dictates of Power and to follow the dic
tates of Power. Follow in order to make the most of the Power and Wisdom of the script. See ‘The following method’.
Outer Power You are strolling live through a film when you are present with your attention, and move with intention. Move the frame, but not with your petty intention, move it with outer intention. Outer intention is referred to as such because it is not yours; it does not belong to you or submit to your will. Outer intention is a kind of Power, the engine that is powering reality. Its active component turns the film roll in the way it is destined to turn.
You have an access point to this power which is your outer centre, the plait. When you are asleep, Power takes you by the plait and leads you through the script as if you were a puppet. But when you are awake, fully present and take the plait ‘into your own hands’, meta-power, Power’s reactive component, is activated. This is what enables you to launch a different film roll, one that corresponds to the frame you are composing.
The reality mirror You always go at things head on, acting from a place of petty intention. When you want people to love, respect, and help you, to give you something, you tend to demand it directly like a child: ‘love me’, ‘respect me’, ‘help me’, ‘give me’.
From the outside, this is what the scene looks like: you are standing in front of a mirror, reaching out your hands and shouting “Give it to me!”, trying to pull the reflection closer. The reflection responds by doing the same. It does not give, it takes away. In reality, as in the mirror, you always get the reflection of all your mental attitudes and actions. As the message, so the response. Particularly, when you are expressing a negative response with all your heart. As a rule, reality gives a mirrorlike response. What you give out, is what you get back.
Composing the image The first thing you must do, in order to shoot your own film is to wake up, and become fully present. Imagine that you have come to life in a motion picture. Instead of watching the film, you are living in it. Feel it. Open your eyes and look around you as if for the first time. Look at everything afresh. You will notice that the colours are richer. Now, imagine yourself to be an objective outsider rather than a film character. You entered the film as an insider. Nobody else knows but you. Your body is inside the film, but your attention is outside it. Feel your separateness, your presence.
Second. Before you start wanting, expecting, and asking something of other people and reality, you must imagine that you are standing in front of a mirror and asking yourself the question: what must I do for the reflection to meet me half way? Obviously, you must take the first step. Instead of your usual manner of claiming the larger portion of the cake for yourself and harping on “give, give, give...”, you wake up and realise that the reality mirror is simply repeating your movements. And if you want to receive something, you must first give something similar. It doesn’t matter what exactly. Simply, replace your ‘give me’ with the opposite, ‘here, take’. And then, as if by magic, in the reflection, you will receive the very thing you wanted. What you give out is what you get back. This also propelling yourself from within. See ‘The image method’.
You can control reality, but you can’t control people If, when composing the goal frame, you try and forcibly make a certain individual dance to your tune, it probably won’t work or it will produce the opposite effect, because you’re breaking the rules twofold — you’re intruding into someone else’s script.
Only your personal reality is yours to play with. Therefore, only you should be the central figure in the goal frame as you imagine yourself in your dreams: you are the star on the stage, you are in the Director’s chair, you are sailing your own yacht. All the other figures in the frame should be in the background, as part of the set design.
Trying to carry out these techniques involving specific people is not right. All you can do is have a mirror-like relationship with them. If you want something specific from a certain person, go and see them and communicate with them within the current film, taking account of the fact that the film is mirror-like in nature.
Inner motivator You are led not only by an outer driver, i.e. the script, but also by a certain inner motivator which is the need for a sense of self-worth and the pursuit of self-realisation. If you want people to be well-disposed towards you, or you want something from them, set yourself the goal of underlining their importance and help them realise their own goals.
If you want to avoid making enemies, be very careful not to injure anyone else’s sense of worth. Creating advantage for others should become part of your philosophy of life. If you do this, you will have no difficulty with your own self-realisation. Moreover, your own realisation will be successful only when it starts to benefi t others. Conversely, if what you do is of no benefit to others, it won’t really help you much either.
Manipulating others It is possible to manipulate the consciousness of another character in the current frame. As you are already aware, you are led both by the external script and an inner driving force. The latter, however, to a far lesser degree. This driving force mainly determines the direction in which you move, but you are still set in motion by the script. However, the most greedy snails, either in accordance with their intentions or their script may try to alter the direction your course is taking to suit their own interests.
This is manipulation — trying to control someone else’s course in the film. This may be, for example, by deception, creating false values and goals, or by playing on the weaknesses and needs of others. Unlike the mirror principles that do not disturb your course, but rather assist it, manipulators will divert you from your course and use you. Whenever you feel that something is being imposed on you, ask yourself: who does this benefit and how?
Manipulating reality Reality has a dual nature. On the one hand, it is a film, and on the other hand, a three-dimensional mirror. Both are bound to confuse. The main illusion is that the true nature of reality is hidden. You can’t see the space of a film strip, and the mirror framework itself isn’t visible. But if you know this and you remember it, then the illusion will no longer have any power over you.
The illusion of the reality mirror is much more complex than a standard mirror. The space is not split in half, and there is no visible boundary between what is real and what is imaginary. You are, at the same time, both inside and outside of the mirror. The image and the mirror reflection are connected. So what does that give us? It means that the image you create can become a reflection, and the reflection can flow into the subject. In other words, you can turn a reflection into a subject pretending you have something you don’t, or that you are someone, you have not yet become.
For example, you want to have your own home. You wander round the shops looking at furniture and items to decorate the interior as if you already had a home. Or you might want to be wealthy. You look at expensive things, cars, yachts, spa resorts. Allow wealth into your life. Or you want to become a star in some area or another. Behave as if you were already a star; live that life, for now at least, in your imagination.
Gradually, the picture of reality will attune itself to your make-believe. Reality loves to create illusions, but can’t stand being fed them. It will find a way of turning the illusion you have created into reality.
Composing a reflection You are capable of composing both an image and a reflection. In the first case, the image appears as a reflection, whereas in the second, the opposite is true, the reflection appears as the image.
First (direct) process: what you put out is what you get back; what you give is what you receive, and who you really are is what you have.
Second (reverse) process: as the game, so the reality; what you imitate is what you get; who you pretend to be is who you will become.
Directly: the image appears as the reflection. Composing the image is your way of putting a message out to reality. What you put out is what you have.
Reversed: the reflection appears as the image. Your ma
ke-believe and imitation is your way of composing the reflection. Who you have pretended to be is, in reality, the person you have become.
All these manipulations with the mirror are what is being referred to when we talk about ‘propelling yourself from within’.
The first essential condition is that the game is taken very seriously.
The second essential condition is that the game should be consistent.
See chapter ‘The Reflection Method’.
The reason you do not like yourself The reason you don’t like yourself is that all the screens and printed covers illustrate the ideals of beauty, success, and happiness. You fall for these illusions obediently trying to fit yourself into someone else’s image, each time coming to the conclusion that you fall short of these standards. In actual fact, beauty, success, and happiness cannot be standardised; these things have a very individual cut. Yet, still, you prefer to believe in the illusion and try to keep up with it.
Don’t be jealous when you look at others; and don’t be discouraged when you look at yourself; become like fireflies: propel yourself and propel yourself from within. Don’t look at the reality in which you find yourself living as something that is beyond your control; instead, compose a new one yourself. Shift your forthcoming reality by using the plait, and shift your current reality by moving yourself with the image you visualise and the reflection.
This is what is getting you down As soon as you have caught yourself waiting for something, hoping for something, being anxious about something, or burdened by something, wake up and be self-aware: you are being led by the external script, not your own script; this is what is getting you down. You feel subconsciously that you are not free, that you are dependent on reality, that you are limited by circumstances like a character is limited by a plot. You may sense it, but you cannot do anything about it because you are not fully aware.