EIK - Session 3 Part 7
So, Alex King wrote a beautiful play, and he decided he was going to get around all of this. So what he did was, he said "I'm not going to try to find a backer or anything..." He took his own money and he hired the Depression was still pretty much on it was one of the good theaters in New York. He hired the theater for a night. And, on that evening, he also then sent out invitations to all the critics in New York, and many very distinguished people in New York, to come to his opening. They came in full dress and everything and it was a very gala occasion. Alex found that the he appeared on the stage and he said, he found that in hiring the theater he had also to hire the stage hands, so having hired and having had to pay the stage hands, he then had the stage hands kept two grand pianos, so he had one on this end of the stage, and one on this side, and from time to time he would have the stage hands come in and switch the pianos from one end to the other (giggles from the audience in studio where Bucky is speaking). So and all he used them for was to sit on he'd get up and sit on the piano and talk.
And Alex, then, described on the stage the first scene of his play, and who the characters were, and he pointed these places, and the play opened, he has his character, and he was reading his play, and this character was saying this, and that, and when that play was over it was really a fascinating play. It was just before World War II. It went on in Vienna and there were two young people who didn't want to get sucked into the war, and so they get themselves in they played crazy and got put into an insane asylum. But they played crazy one was Romeo and the other was Juliet, so they get to play Romeo and Juliet all through the war, and very well done. And they planned it in Viennese cafe.
At any rate, I saw people years and years after he got a rave report the play never went on and that was the end of it. But I've seen people, that's 1940 30 years ago people who saw it, and they can "see" every scene, "I can "see" that character and know exactly the way, this and that. I can see it much more vividly than if he had had actual scenery there."
So I'm really taking advantage of experience. I'm quite confident that I'm not really passing up a very important opportunity here in doing our video, to be always coming in with the right illustration. Because I think that I now have forced myself to be very disciplined with myself and to be very careful to always go back to your experience, that you find you've had one of those kinds of experiences so that together we can find the principles operating there and then we bring it into a special case use again of the principles.
Now, I'm coming back then again to Darwin and single cells and explanations of life, and discovering then that human beings have a number of chemical elements present that are not present in roses and oysters and so forth, and I said then that inasmuch as the Universe is inherently complex, eternally and a priori, I see no reason at all why we shouldn't have a complex human right away. In other words, I also find that you and I are not the chemistry which we use to make you and I visible in this particular biosphere, as a particular sensing organism that whatever is going on between you and I, is absolutely not that materialism single cell.
I'm now going to go through, as I said, all of this is opening for me to talk about your "Image-Ination." We are going to imagine going thru a moving picture run backwards. You've seen that, where the people un-dive out of the water onto the they get back onto the springboard.
I'm going to have you at breakfast, and we're running it backwards, and the food comes out of your mouth, back onto the plates and so forth, and the dishes go back into the kitchen, and the things leave the dishes and go onto the stove, and back off of the stove into packages, and the water runs back in the faucet and all that. And gradually all of these foods get back into the supermarket and from there backward into the country, and finally there is asparagus growing over here, and it's white, pineapple comes from over there and so forth. And then they come apart. The plants come apart, and they go back into the rain in the sky, and the other chemistries, so that some suddenly will soon come back as sunlight and we find, then, in no time at all you have come apart and part of you of today a few months ago was over the Himalayan mountains as air.
So, I see then, all of these constituents gradually coming together, until they finally get together in closest association, and all they do is get tied up in a number of knots, a whole lot of slip-knots. SO YOU AND I ARE A PATTERN INTEGRITY SLIDING ALONG ON ALL THESE STRANDS THAT CAME FROM ALL AROUND THE UNIVERSE COMING MOMENTARILY TOGETHER, AND THEN THEY ALL COME APART AGAIN and leave us, and they go out as that 1,000 tons of that process and become part of other organisms and so forth part of the scenery, and joining up with other trees whatever it might be. So I see that I was never anything but a beautiful design pattern integrity, and that I had been employing this equipment for my information sensing under the particular biological conditions of this particular planet. You should never have to think about other human beings on other planets as having exactly the same biological conditions the same biosphere. I would doubt if that, that doesn't even seem mildly necessary, because there is the designing capability to have a sensing organism of any kind, in any one of these areas and much of it will be invisible to our eyes today, because we have just a very limited, limited reporting business.
Now, I am then going to point out to you that, you've probably had this experience, because I've had it several times, where a very good friend of mine says, "I want you to meet my friend Joe, you'd just really love each other you're just the same kind of people," and they say it a number of times when you meet from year to year "I've got to get you and Joe together," and never do it, so I pick up the telephone to call up Joe, and your friend introduces you to Joe, and you talk to each other on the telephone a very nice personality. You really like Joe very much.
Then it happens that Joe and you are in the same kind of activity, and you find yourself at one University and he at another one and so forth, and you have various responsibilities. And you call up Joe because you need some information that Joe might have at his University, and sure enough he has it. At any rate, you find yourself as life goes on calling one another more and more, and finding each other extremely agreeable you like each other very much and they have this kind of information you're both interested in the same thing, so life goes on and on, and many of your friends are dying off, and Joe is the only friend you've got left but you've never seen Joe. You didn't want anybody to get in the way and bother you and your great friend Joe, so you have a special red telephone, and that's Joe. Other people call you on other telephones. So, for all you know, Joe is a red telephone (audience giggles again). And all of us are really beautiful, self resurfacing, self-rebuilding telephones, walking information processing phenomena, and we keep people get mixed up with the telephone calling me Bucky telephone.
So, now I find, so I now get to seeing inasmuch as we are just pattern integrities, and pattern integrities are conceptual they can be very high frequency, but we have all kind of high frequency phenomena.
Therefore I see no reason why I couldn't send you from here to there in the Universe by radio, by simply scanning your frequency. I see no reason why, if we're the game Universe, with all the permitted moves, with all the frequencies that can be employed with all the intertransformabilities, I would say, it would really be quite interesting to follow through on the game Universe, and see how it might come out.