Tufti the Priestess

by Vadim Zeland

  The yet-to-be-realised future drags you from the sequence of the present when you take hold of that future and try to affect it. The impending reality, though written in the Eternity archive, is always multi-variant and has not been totally defi ned or composed by anyone — nobody owns it yet. When someone turns up, who will compose a variant of it, then that future surrenders to their instruction. And if that someone is you, it becomes yours.

  Do you want reality to be yours? So, take it, and compose it as you wish. This is a fundamentally new approach to your reactions, behaviour, and existence. The difference is that your attention will no longer get stuck in the current frame but strive ahead instead. Observance is replaced by advance, and passive waiting by agency. You no longer string along with reality as if on a leash, but direct it, driving it forward.

  But before your desired reality can become the physical reality of your daily life, you, my head-choppers, must get yourself a reprogramming. I can’t do this for you. You may not get it perfect, straight away. You will only be able to create what agrees with your everyday, routine experience. Until you finally believe that you are capable of composing reality, it will slip away from you unyielding.

  The only way of recasting the mould is the same way it was created in the first place — through daily, mundane practice. Track the impending frame, track yourself, compose reality. If you do as I tell you, reality will do as you tell it.

  It is best to carry out regular, multiple repetitions until it be-comes a habit, otherwise you won’t learn anything. And if you don’t learn, I will remove your houses and turn you into even more horrible creatures — slugs. I am Tufti, your Owner, and I do with you what I wish.

  Transformation

  Here-here, my wet-eared crook-shanks! That’s it, come out of your houses, gather round, and let’s recall the previous lesson.

  The method of awakening and illumination detaches you from the script.

  You are mannequins, stepped down from the window going about your business.

  You are still in the film, but at the same time, you have dropped out of the sequence.

  Having detached yourself from the film roll, you can create your own film.

  Controlling the frame movement for simple events is your training and reprogramming.

  It is also your transformation. You will gradually transform from snails to fireflies. When you illuminate the frame, you radiate an inner light, and the desired events fly to you like moths to a light.

  Luminescent creatures, looking forward — that is how the Creator conceived of you. And so you once were before you got stuck in the motion illusion.

  Much has been lost, but some things can be restored. Do you want to be a firefly? Then, lively-lively track the impending frame, track yourself, compose your reality. Those around you, those who are still snails will extend their horns towards you and move closer out of curiosity.

  You won’t always make it work at first. You may understand that you are capable of composing reality, but in the depths of your consciousness, you will still have doubts. This means that the reprogramming is not yet complete. This is why training is essential, to shift you into active gear, to get you used to looking ahead rather than down at your feet, and finally — no, not to kill you (though my hands are already itching to) — but to convince you that you really can compose your own reality incredibly and breathtakingly.

  There is just one little thing. You must try without making an effort, my assiduous ones. Illuminating the frame successfully requires concentration, not effort. Can you concentrate for a couple of minutes? Well, just for a minute then? That’s all that is required of you. Follow the illumination method in a calm, relaxed manner. You are not permitted to tense up. Not an option!

  Why? Because in making an effort, you will trigger your inner intention centre. Whereas reality as we have already learned, is directed from the outer centre.

  What do you usually do when you try your upmost? You try and fight the physical reality that is already in place. So, what will you do in relation to the reality that is yet to become manifest? Exactly the same. It’s a habit you have. You are all eager to change things to your liking, the way you want them to be.

  But you won’t succeed in changing anything that is already physically manifest, of for that matter, anything that isn’t yet manifest. How can you change a film that has already been shot? You can only choose the future, like a reel of film from an archive. Do you see the difference? Calmly and relaxed.

  Note, that if your muscles become tense whilst you are illuminating the frame, this means that your petty intention is activated. You must work solely with the outer centre — the plait. It is not something that you should exert or wield.

  The plait is activated easily and effortlessly. Remembering and sensing it, calmly concentrating on it is enough. Next, without losing the sensation of the plait, focus on the frame composition. Visualise the picture you desire with ease, without trying too hard. Your muscles should be relaxed. You don’t need them for this; they have nothing to do with it. Quiet concentration on the plait and the frame. That’s what we need.

  Your task is not to force reality to obey you but to allow it to come to you of its own accord. Don’t force it. The principle is not to grab hold of reality but to illuminate it with the outer centre — the plait. You are simultaneously the film projector and the viewer. You project the frame from behind and watch the film playing out in front as if neither had anything to do with you.

  The outer centre (you must have noticed) is both yours and not yours at the same time. You mustn’t put pressure on the plait. Just activate it and then send out a current of thoughts from the plait, not from the front but from behind. Not from the stubborn, stupid, out of habit forehead, but from the plait, you see? You are simply illuminating the frame; It materialises itself. That part is nothing to do with you! That’s it, that’s it!

  Why is it so important that it be ‘nothing to do with you’? I repeat again and again, my dears: it is so that the outer centre works, not the inner centre. The outer centre involves a completely different instrument. Your outer centre is closer to what is referred to as your higher self. The outer centre is what directs you.

  The tip of the plait is your hook, by which you can be led like a mannequin. When you have no self-awareness, you are led by the script or by puppeteers, who manipulate your consciousness. As soon as you regain self-awareness, your hook is again at your disposal and you can propel yourself freely.

  In your usual state of consciousness, you don’t propel yourself, just your hands and feet, trying to nudge everything that stands in front of you without taking into account the fact that they have you by the scruff from behind. That is how the motion illusion arises.

  And now, you have hold of the hook yourself and begin to move reality without applying any effort, ‘as if’ you weren’t doing anything. What’s happening then? The motion illusion is turned inside out. You aren’t being moved about, you are moving yourself. You are not doing anything to reality, reality is doing it of its own accord. That’s how it is, that’s how it is, my goody-goodies! The illusion is crumbling!

  Meta-power

  So how are you, my dears? Are you beginning to shine or do you continue to be wet? Quick, quick, transform!

  You were originally conceived to be luminescent creatures, looking ahead.

  Illuminating the frame successfully requires concentration, not effort.

  If the muscles are strained, the inner intention centre has been triggered.

  Follow the illumination method in a calm, relaxed manner.

  Principle: do not force reality; allow it to be.

  Allow reality to carry out your assignment. Don’t forget, you are just illuminating the frame; it materialises by itself. Very little is required of you: compose reality and stand aside, like
a third-party observer. Don’t interrupt or get in the way!

  It is customary for you to think that all you have to do is apply some effort and the future will yield, but this requires a different approach. Physical strength, like willpower, only works within the reality of the current frame. You can fight manifest reality with all your stupid strength as much as you like, but that won’t work with forthcoming reality; this requires something else.

  You, my little maniacs, must understand, just as I must explain, that there is a flip side to power — meta-power. It is, in a sense, the opposite of force, not weakness or apathy, but the power which acts from the other side of reality.

  For ease of understanding, take a look in a mirror. From the side where you are standing, everything is material and can be touched. On the other side, in the reflection, everything is intangible but equally as real. If there is an object, then there will be a reflection. Is the object real? Then the reflection must be real too. I am explaining this to you so that you will understand, that it is not only the things that can be touched that are real.

  The reality mirror is like a normal mirror, only it works the other way around: the image being reflected and the reflection itself change places. You can touch the reflection, but you can’t touch the image. The reflection is on the front side facing the mirror glass, and the image is on the other side. The frontal side is physical reality, while the other side is the dream space of the film roll archive.

  As you already know, physical reality is like a frame, which moves along a film roll, only the film roll is primary, and the film itself is secondary, and so physical reality is a reflection of the object, located somewhere there, on the other side. And there in the film reel archive there are multiple versions of the future.

  Judge for yourself: if the future is located on the other side of the reality mirror, can one somehow influence it with usual force, which only works here, on the front side of the miror? Not an option! You could bust a gut with effort, but it still wouldn’t work. Can you? Yes-yes-yes! You can, you can!

  So as not to explode and to have the future you want, you must act from the other side of the mirror in accordance with the reality mirror rules, not the ordinary rules. So, how do you get there, to the other side or the mirror glass?

  I have not mentioned it before, but you have in fact been there already. When in the process of waking up, you disengage from the script and practically fall into the world behind the glass. This cannot be seen overtly, and the reason it can’t be seen is that the surface of the reality mirror is not a surface or wall as such, so much as an intangible transitional boundary between the object and the reflection.

  Everything is the same on both sides, and they look identical, only on one side the image is material and on the other, it is not. On the frontal side of the mirror, there is your material mannequin, and on the other side, a virtual one. When you wake up, your attention passes through the mirror boundary into your virtual mannequin.

  It is your attention that moves, not your body, but this is sufficient, because you are your attention. Both bodies — virtual and material, each on either side of the mirror — move in unison. It’s a matter of where your attention is focused. If it is focused on the manifest frame, then you are totally engrossed in 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 impending reality.

  When I say ‘to propel yourself’ I mean it in the sense that you are self-aware and arbitrarily in control of your own motives and actions. Inside the frame, you move in the usual way, with your hands and feet using physical force. However, you move reality in a completely different way, with attention, intention, and meta-power.

  You will gradually come to understand what meta-power is when you start to sense it. I would not be able to explain to you what physical force is if you had never tried using it. The same goes for meta-power; you have to feel it and develop it. Your plait is your meta-power tool. The frame illumination method is an exercise for developing meta-power at the same time as being a way of composing the reality you desire.

  Next I will describe in more detail the rules and principles of the world beyond the mirror glass. You will suss it all out, eventually fathom it all. For now, don’t forget to carry out the method more often.

  Do you want to learn to compose your own reality? Perhaps, you don’t want to? How could you not want to? What’s this, a slave uprising? If that’s the case, there will be sacrifices and offerings made, and very happy ones! Look at me! I am Tufti, your priestess. You will tolerate my despotism just as I tolerate the fact that I have to spend my time with snails, frogs, and other amphibians? U-la-la!

  Imitating action

  So, my songsters and dancers, let’s carry on learning whose tune you are dancing to.

  Not only that which can be touched is real.

  Reality is a reverse mirror: here the reflection, there, the image.

  Physical reality is on the frontal side, whereas the film roll archive is on the reverse side.

  Physical force works in physical reality, meta-power works inside the mirror glass.

  On awakening, attention shifts to its virtual mannequin in the world inside the mirror.

  You must be a little confused by the notion of falling into some world beyond the mirror glass without even noticing it? And perhaps not just a little confused but quite a lot. Don’t worry, my trembling ones, you actually fall into the mirror world every night when you go asleep.

  When you awaken in waking life, when your attention stands at the awareness centre, you, or more specifically, your Self appears in the body of a virtual mannequin, on the other side of reality. In the moment that you become immersed in a dream, the same thing happens. The difference is that in waking, you have the reality on both sides of the mirror, the material and the virtual side. In a dream, reality and the mirror world are not concordant — the material world remains in place, whereas your attention flies far away into other worlds.

  Plus the difference is that in a dream you sink ever more deeply into the script, whereas when you awaken in waking life (I see myself and I see reality) you free yourself from it.

  Remember we talked about the fact that when you are not self-aware, the script pulls you along by the tip of your plait? So who or what pulls about your physical mannequin on this side when your hook is at your disposal and you are simultaneously in a virtual mannequin in the mirror world?

  You pull yourself about. You acquire the ability to move things freely, both yourself and impending reality precisely because you are in the mirror world, beyond the glass, on the same side as the image. Only the image can propel the reflection, and not the other way around, you see?

  Strictly speaking, the physical mannequin and material reality are not so much a reflection, as a materialisation of the image. One way or another, you can manage manifest reality (already occurred) from within the realisation frame, from in front of the mirror. However, the impending reality is still just an image. The image can only be propelled from within the frame of the image — from the other side, where the image is located. This requires shifting into the mirror world.

  Now the whole scenario should be clear to you. Here, in this manifest frame, we have to manage — there, we can direct. And now we come right to the notion of meta-power. I feed my hope of even the faintest glimmer of understanding from you, my feeble-minded ones.

  OK, OK, don’t complain, don’t cry, my little whip-smarts. What is the main difference between reality and the mirror world? Here, everything is material, there, it’s all virtual. As far as force is concerned, you won’t be able to apply it to an immaterial object or space, which is why here, what works is force, and there, what works is meta-power. From this side of the mirror: action, from the other side of the mirror glass: the motion illusion. So, what does this mean?
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  The whole point of imitation is that you don’t have the right to disrupt the established order of things. The order of things is such that you have to participate in the action and obey the script. Not a single character is permitted to jump out of the filmstrip or do whatever they please in the film. The script is not the result of any individual’s subjective will. It is objective reality, which is something you’re stuck with.

  Objective reality is such that you are doomed to exist within it, like characters in a filmstrip. You may not agree, you may complain, but there’s nothing you can do about it. You may even try to defy it, but nothing will come of it. Whatever is shot on the filmstrip is what will occur. It is impossible to avoid the action, but you can imitate it. You can deceive reality.

  Imagine that you have entered the awareness point and found yourself on the other side of the mirror glass. Everything around you looks just the same as it did before. You don’t feel as if you are observing events from somewhere beyond the glass. And yet, there you are. But now that you are there, you acquire the ability to compose reality and choose the film roll; not change the one you are in, not refuse to participate in the action but choose a different one, the one you want. Do you understand?

  As before, you will still continue to play the role prescribed for you in the script and to perform your daily functions, but, unlike the other characters, whilst you remain in a state of awareness, you will get something more — the ability to replace the current film roll. At the same time, you retain a certain perspective as if none of it were anything to do with you. The order of things has not been disrupted; you are neither spotted nor caught and everything has turned out the way you want.

  This is the imitation game. You wander round a motion-picture like a live character, making yourself out to be inert and you change the reel as you see fit. And nobody suspects anything, neither the script, nor the other characters.