albionspeak 2: the gates of dis (14.5)
SESSION 76: 2ND NIGHT, 11/2/02
A late start to the session, thanks to a wonderful dinner at Wild Ginger, followed by Basically Baroque (my box seats) at Benaroya Hall. It was a particularly exciting performance, including Bach’s first two Orchestral Suites and two Haydn symphonies. The final piece, the Farewell Symphony, proved the highlight, as it was reenacted complete with musicians blowing out real candles before quietly departing.
Our invocation: One section from [Scribe]’s “Andante with Variations.”
Vilansit w/[Guide] & Jane
12:10 AM (actually 11/3/01)
1. Q: [Guide], are you there?
A: I AM
I AWAIT ON [THE] LAKE
2. Q: Are you in the boat?
A: I AND JANE AND VILANSIT
Note that “and” is spelled out (not “&”).
Jane Facing Vilansit: An Illustration
3. Q: What is our exercise?
A: I WANT YOU TO SLOW DOWN & SENSE ONLY [THE] THREE OF US BEHIND YOU
U E
◊
V
[FLOWER]
4. Q: An asymmetrical arrangement?
A: [YES] IN [THE] SENSE THAT V & J ARE [NO]T TWINS TONIGHT
5. Q: Any further instructions?
A: IF YOU CAN IMAGINE J FACING V
6. Q: We begin now.
A: A FIBER IS FORMING
DO YOU FEEL IT?
7. Q: Vilansit, our traditional greeting: “Hail, many-colour’d messenger.”
A: I AM PLEASED WE ARE TOGE[THE]R
8. Q: Why is Jane facing you?
A: AS AN ILLUSTRATION OF ALIAH
9. Q: Please go on.
A: RECALL IT IS NOT ONLY [THE] POWER TO TRAVEL BUT ALSO
[THE] CAPACITY TO BE WITH ANO[THE]R
JOINED BUT [NO]T TWINNED
Still basking in the glow of the concert, we thought we’d ask Vilansit if there was some lesson from it to be learned, as there had been after our S.Div. day during the previous year’s sessions.
10. Q: Let us “tell you about our day.” We felt that the music allowed us to join (if only for a moment) with the composer.
A: [YES] WE MIGHT CALL THAT FACING
Clearly “facing” was to be a primary topic. We tried to relate this to our listening experience at Benaroya.
11. Q: It does not follow that the composer is facing us, just as, from [Guide]’s instruction, it does not follow that Vilansit is facing Jane.
A: [YES] EXACTLY ALIAH DOES NOT IMPLY COMPLEMENTARITY
12. Q: So Vilansit, for instance, might be facing off into the lake.
A: [YES] & YET JANE’S ALIAH REACHES HER AND…
13. ALIGNMENT OCCURS A…
14. A LINE THAT REQUIRES MORE THAN TWO POINTS
NOW TELL ME [THE] EXTRA REQUIREMEN[t]
15. Q: We have two guesses: Aliah (a form of energy). But, more pertinently to tonight’s illustration, the butterfly (the third person behind us in the boat).
A: A DAIMON AS ILLUSTRATION OR EXAMPLE OF A MIND OUTSIDE
OF TIME
[Guide]
16. Q: An act or moment of flight = a deployment of energy outside of time.
A: [YES] I DO THIS BY NATURE
YOU TWO LEARN IT AS A SKILL OR PRAXIS
17. Q: [Guide], does all flight require/involve daimonic aid?
A: IT WAS BELIEVED SO OF OLD HOWEVER IT IS NOT SO
18. Q ([Scribe]): I can call on you (as guide) to lead me to the forest. However, I do have the capacity to travel there by myself.
A: MY AID IS A CHOICE
19. Q: You have encouraged us to focus on the flower, not the butterfly.
A: IN OUR ILLUSTRATION I REPRESENT J’S ENERGY NOT [THE]
ENDPOINT OF HER VISIO[n]
Emotions & Auras
20. Q: Next question to anyone. In the illustration, Jane faces Vilansit. But we two at the prow are doing something different. We are sensing the persons behind us. What is our relationship to Jane?
A: IT IS FEELING WHAT YOU CANNOT SEE -
JANE
21. Q: That’s not alignment.
A: [NO] IT IS A DIFFERENT CAPACITY OF ANTENNAE
22. Q ([Scribe]): My guess is (though you use the word feeling) it would be wrong to equate this capacity with emotion.
A: [YES] & YET YOU MAY [NO]T USE [THE] CAPA[city]…
23. IF YOU HAVE [NO] SUPPLENESS IN YOUR EMOTIONS
We recalled last year’s curriculum in the lore of colours, a four-step process in gathering our “objects of the shrine,” objects of power which may later be employed as energy toward a task. The first step in the lore is beholding a distinct colour, often something that grabs us for no apparent reason. Could emotions grab us in the same way, as a cue or indicator?
24. Q: We hypothesize: Beholding involves an ocular cue. Sensing involves an emotional cue.
A: [YES] NOW WE ARE TYING [THE] THREADS
25. Q: Just as without work on simple seeing, there can be no beholding. So, without emotional suppleness, we can’t advance in sensing.
A: YOU NEED YOUR EMOTIONS BEFORE YOU OR YOU CAN[NO]T SENSE BEHIN[d you]
26. Q: Very simply, emotions must be faced. If nothing else, they are clues.
A: FACED BUT [NO]T FETISHIZED
IMAGES [NO]T IDOLS
27. Q: Emotions are not distractions, but neither are they endpoints. They are images of sensing.
A: [YES] THAT IS OUR TEACHING
§ VILANSIT
28. Q: Yes, Vilansit?
A: D - RECALL AURAS?
Of course I recalled our conversation from [the '96 sessions at Scribe's father's house], just prior to “Vilansit’s Story,” when Vilansit took much of the mystery out of auras by likening them to “sweat or hair.” But recently I hadn’t tried very hard to see much of anything. ---Except, just two days earlier, while kids were presenting mathematicians’ biographies in my Geometry class, one girl, [H--], seemed to glow. I saw her blue-white aura with no prompting. Significantly, [H--] stood exactly where many others (both before & after) gave their own presentations, though I saw no other auras. At the time I determined the event to be significant, but then (why?!) I promptly forgot about it. I hadn’t even mentioned it to [Scribe] until this moment. (Nor has [H--] particularly “glowed” since then.)
29. Q (Duncan): As a memory, largely. (One recent vivid exception two days ago.)
A: CONSIDER AURAS AS EMOTIONAL IMAGES
[THE]Y CAN IF PROPERLY USED LEAD TO…
30. GREATER SYMPATHY OR UNDERSTANDING OF ANOTHER
31. Q (Duncan): How do I interpret the most recent episode of seeing auras?
A: YOU ARE [NO]T YET READY TO INTERPRET
IT IS ANALOGOUS TO AN ORANGE BALL IN [THE] PATH
FOLLOW?
One ought to follow the orange ball, provided it speaks to you through beholding. (Cf: 01:68:Introduction)
32. Q: It follows that there is a “lore” here (a series of steps?) analogous to the lore of colours.
A: [YES] IT IS A [THE]ME FOR NIGHTS TO COME
I BID YOU GOOD NIGHT BOTH -
VILANSIT