One of the most unusual of times is that in which computers exist and games are tolerated, which happens all too seldom, what with the wide variety of repressive governments in place all over the galaxy, but at least for the moment, we can make Orbs and you’re allowed to download and install them, although for how long that will be is anybody’s guess.
Of course, “approved” games will always be available, but you won’t want to play them, and besides, my “games” are not really games at all — they merely rely on a gaming engine to deliver them and make them useful to you.
I’ll explain how they work.
Firstly, keep in mind the two top Laws of Magic, which also happen to correspond to two important laws of quantum physics, namely:
- That which has been in contact with something else is always in contact unless the contact is consciously and intentionally broken.
- That which is like something else is that something else.
Those two magical laws, the Law of Contact and the Law of Contagion are your most basic quantum tools — tools which enable you to reach behind the facade of the physical universe.
But why in the world would you want to do that?
You’re probably very happy with your life and with the way things are going in the outside world, but just in case you’re just a bit worried about nuclear wars (yes, they happen in pairs) and Biological Warfare Induced Pandemics and the usual string of earthquakes, volcanoes and meteorite strikes, you might just want to delve a little into the world of StarGates, Portals and Gateways and yes, they’re all different, with very different functions and very different results.
To begin with, in order to utilize any of those portal effects, you need three things in hand:
- A real reason to move yourself into a different space.
- An easy and effective method by which to move around from space to space.
- A way to determine where you’re going.
All of these things are available in the Age of Electronics, in which we can throw the whole thing into a quantum scenario on the scale of electronic gaming, which is actually fairly large as quantum effects go.
We’re handling photons and shading them at the edges, so it’s a new kind of physics that we’re working with here — quantum world physics, which we can control down to the nth degree with our .ini file and our OPHYSON devices.
Sure, it’s a little complicated to program in, and it requires a bit of experiential experience personally experienced in order to work in the .ini file, but it comes with time and patience.
Patience is not waiting patiently for something to happen. Patience has no time limit, no expectation of reward, no end point in sight, just endless patience. That’s the only kind of patience that actually works.
If you tend to tap your fingers while waiting for patience to come, you’re out of luck.
One thing for sure that you can plug into an Orb, and that’s a magical effect. There’s no limit to the type or kind or scale of magical effect you can weave into the map, but there are some rules you need to follow.
First of all, the NAME of the person, place or thing is the controller. You need to name the target, especially if you’re traveling from world to world.
But how to control the journey?
You merely run the Orbs in sequence as given. Each step along the way triggers an actual quantum event that corresponds to what you’re seeing on the screen, in Real Time.
Real Time doesn’t elapse. It just is.
Frankly, you can have in be whatever time you like. If you want a different time, change the clock. No sense waiting around for the time to crawl on by its own self.
Most folks will never try using a “video game” as a magical tool, because the headspace has it burned in that games are frivolous toys and to be ignored in the larger sense.
Visualization is the key to magic. If you can visualize something accurately, you can “reach” it and work with it.
Visualization takes years to master in the ordinary way, but using the video game format, it’s easy to create absolutely any world you’d care to visit.
Sure, it’s “only happening on the computer screen”, right?
Actually, no. It’s happening for reals as it’s happening on your screen. The screen only reflects the reality.
You can be sure that somewhere, a LOT of somewheres, your screen reality is actually happening, and that working it on your plane has the profound effect of linking up with the reality that is real.
In short, the linkage between the game space and the real space creates the identity, meaning that they are one and the same thing, at least experientially, although not entirely.
We’re still a few months or years away from feeling sensations tied into the gaming environment, but it’s definitely on the way, the demand for sensation is always there.
As you move in the space on your screen, you control your movements in the “original” or “real” space, sometimes many such spaces, in a wide variety of alternate realities generated from a choice-point.
Some high-energy choice-points tend to generate a LOT of alternates, but mostly you’ll find anywhere from two to five paths leading out of a choice-point in time/space.
Other choices register quite differently, especially on the Causal Plane, not a place to meddle without knowledge, that’s for sure.
Changing things just to change them doesn’t bode well.
Each Orb has within it the necessary magical devices and chantings or mantras to make the space fully operational and in sync with the target space, through simple harmonic resonance, achieved by a combination of items, marked spaces, and actions taken.
In the Orbs you will find a very specific selection of magical tools, such as powders, candles, oils, incenses, books, scrolls, crystals and much, much more, to assist you in traversing the spaces and passing membranes and other boundaries.
You are in a very real sense actually traveling in those spaces, and the magical tools provided in each Orb will actually trigger the same effect in “real” space.
Thus you will see an almost impossible shift in the general shape of things to come, as you learn to handle the quantum spaces. It’s about “lag” and “frequency drift” and “nulling”.
Those are the important, the most vital, of magical tools at your disposal. All others can be improvised as needed, but these three items need to be LEARNED and MASTERED, not just read about and tossed aside with a polite nod.
If you understand that the name, the shape and the number of a thing determines its “address” and its “handle”, then you are ready for the Next Step in Harmonic Evolution.
In short, go ahead and download some of these Orbs and SEE FOR YOURSELF how they work.
Taking actions in this quantum space has the same effect as it would in the “real” world, and when you activate a magical tool in the quantum space, an equivalency is launched in the “real” world.
This “Alias” is used to connect two things together, the “Original” and the “Equivalency”.
I commonly use aliases to make a connection between a character and its actions, or between a character and its appearance, and more often, its functions.
The Old Cedar Bar Show with Margaret Randall happened over a quarter century ago, but I can rebuild the old bar just as it was and hang the show in there, if I want to recreate the show.
In this case, I reproduced the main pieces and the news coverage, plus some photos of the event, which featured all the surviving members of the Old Cedar Bar New York School of Art, plus many of the museum people who helped make that happen back in the day.
The Old Cedar Bar Show is just one of many such museum exhibits I’m able to put together today, and I’d be doing more of it, if there were a market for it, but it doesn’t exist. Everything is “swipe” with an iPhone, and that’s all the kids want is their cell phone and their tweets.
It’s a different world, a world in which a museum, whether brick-and-mortar or online, is unwanted and ignored.
In my Egyptian Hall, the relics that I’ve placed there are long gone from my collection, but the photos remain, from which I can make exhibits, just as I did long years ago in the brick-and-mortar museum that no longer exists, in a world where museums are part of a distant forgotten past.
The public has a good memory, but it’s short.
With some financial backing, I could mount an incredible display of artwork and artifact relics from anywhere and anywhen, and you could download it and experience it anywhere in the world where the internet is available and some places where it isn’t.
Thanks to Claude’s help, I’m about to acquire an incredibly detailed model of the Kremlin, with which I ought to be able to make some hilarious comedy Orb material — I’ve already cut the comedy soundbytes, a bunch of Trump jokes I made up a few days ago, then ran over to text-to-speech for a really comic effect.
So when you run an Orb, you manipulate certain items, carry things around, place things, drop things, move things, remove things and disappear still other things, all of which carry “bindings” to Real World things.
As Above, So Below. As Below, So Above.
That was the best Hermes Trismegistus was able to do. His name merely means “Thrice-Great Hermes”, clearly an alias or a pseudonym if I ever saw one.
It’s not yet recognized, but that rule applies equally well in the form, “As Within, So Without. As Without, So Within.
What happens in the game is accurately reflected in the Real World.
Back in the day, my friends Willem deKooning, Franz Kline and my acquaintance — I was scared silly of the huge bully — Jackson Pollock — alias “Jack the Dripper” to his circle of friends, a small group if ever there was one, used to paint REAL BIG.
Who the hell could afford that much canvas at one time? Each piece was typically anywhere from 15 to 20 feet wide and at least as tall — sailcloth was available in those sizes typically.
There were no walk-in art stores. None whatever.
You made your own stretcher bars, ground your own pigments, made your own brushes and prepped your own canvas.
My museum space with all its exhibits would cost in the hundreds of millions of dollars at today’s market and cost of labor and materials to build the housing structure and the individual cases and presentation kiosks.
So what’s the benefit of having it in brick-and-mortar?
Actually, none whatever. The biggest problem in museums today is not theft, as you’d suppose — it’s violence against the artworks.
You need a staff of guards and security people, plus people to run the gift shop, the maintenance of building and of exhibits, conservation procedures and all the business aspects of running a museum, including marketing and promotion — what good is an empty museum?
All that costs money and requires a LOT of people to run it. A virtual museum has none of those problems, and can be just as immersive and fascinating as the brick-and-mortar variety.
You need insurance for any brick-and-mortar venue, especially a museum, tons of it, for those multi-million dollar personal injury lawsuits that crop up in any public venue that is densely populated and has a stream of visitors.
Brick-and-Mortar Museums are very vulnerable.
Online or virtual museums don’t have any of those problems, although they have others just as compelling and just as challenging to deal with, not the least of which is where do the visitors come from, and how do they get there?
With a budget of a few hundred thousand dollars, I could build a museum that kids the world over would love to visit in virtual reality.
It would have “celebrity” value in the sense that I would make sure to put in exhibits that were exciting to kids TODAY, not what was exciting fifty or a hundred years ago.
It’s one thing to run through an Orb and quite another thing to construct one yourself. It’s an experience unmatched by any other experience on this or any other world.
It is called “The Godd Experience” and it kicks you right upstairs into God-Mode as you work, and it does so seamlessly and invisibly, drawing you further and further upward into the higher scales of reality as you work with the Orb.
Again, with a bit of funding, it would be very easy to make this experience something that would be commercially viable, but in the meantime, it serves the magical purposes very well indeed.
You can construct any space you like, the more inaccessible by ordinary means, the more likely you’ll want to make it in virtual quantum reality, so that means the GODD Engine & Editor, for sure.
Every artist knows how almost impossible it is to have enough shows per year to actually earn a living from their artwork, and most artists don’t.
In an environment where the National Public Radio funding is being chopped off, and theaters and opera houses are closing everywhere, there’s little chance you’ll be able to make a living from art, music, theater, dance, or crafts, but you can try.
One way to get the odds more in your favor is to create your own virtual venue and have shows there.
I have no problem making a new museum every month, with exciting new exhibits at each “Opening”.
There’s no limit to a virtual museum, but there are definite limits imposed by brick-and-mortar, limits that I wouldn’t like to experience again.
The Chenrig Shrine contains models made from some $3.5 Million worth of relics and artifacts, some dating back over 1,000 years. Many of the thangkas are literally priceless and have never been displayed anywhere before this.
Most of the items come from my “Golden Tiger” restaurant and gift shop that my students and I operated in San Francisco until 1922.
Boy, THOSE were the days!
Wilson’s 14 Points were on everyone’s lips, and it was already getting pretty clear that the League of Nations was not going to have much effect on later events, lest you think you have problems in the White House NOW!!!
You didn’t have to deal with some of the freakier Presidents that have passed through the White House on the way to Heaven or Hell, depending on how much havoc they wreaked.
Most of my Orbs are intended as SOLO events, but Multiplayer Mode is available in the Godd Engine, and there are lots of seats in the smaller shrine, many more in the much larger temple.
If you’re a Transit Guide or a Remote Viewer Trainer, you’ll appreciate the ease with which your students will master the basic skills necessary to run an Orb with great effect.
Can you imagine what the air-fare and hotel accommodations would set you back if you actually took off and went to some remote temple somewhere high up in the Himalayas?
Well, put away that backpack and canteen. You need only invoke the virtual space and you get the same result as the brick-and-mortar, with hardly any of the hassle and none of the expense.
That Persian carpet I use in my Orbs was for sale in my gallery back in the 80s, at around $35,000 and would be much more now, but in virtual, it cost me nothing but a little of my time to process the image, and a little time to place it in the Orb.
It’s your space, and you control it, which means you can load it up any way you like. I use actual objects for my spaces, which are 3D models made by Uncle Claude directly from my original artifacts and relics.
I would never put any of my Tibetan Altar Items up for sale, not ever, even under the most dire circumstances.
Many of them — the large majority of them — came from my monastery friends who, when they found one of my former incarnation items, brought it or sent it to me, and of course I did the same the other direction, and it happens a lot that you stumble across your own relics, or that someone lays them back on you after a few hundred or a few thousand years of local time — just a few minutes in Real Time, but time is SO damn subjective.
Not only can you pray for the President, you can telepathically direct Waves of Enlightenment in that direction, using my virtual White House to establish and maintain psychic and telepathic contact.
It’s as simple as ABD.
If enough people would actually DO it, you’d have an Enlightened President, and that would be something you could write home about, if they took letter there, which they don’t.
If you’ve got an internal problem that you can’t quite get at, can’t get a handle on it, why not project it into an Orb and handle it there?
That’s the intent and purpose of the Remedy Orbs. They help you get hold of things that are occult, hidden from you, within yourself but tantalizingly just out of reach, tucked away deep in the subconscious.
You can find a lot of goods and services on The Other Side in my Orbs. One thing I can guarantee, that you won’t find any of those things on This Side of The Veil.
There are only two ways you can experience the Afterlife and learn to deal with its sudden and sometimes explosive unexpected events that aren’t necessarily unexpected, if you’ve done your work during this lifetime.
One of those ways is to use one of my virtual Bardo Orbs. The other way is to die.
So between the two choices, “Die Before You Die” and “Die When You Die”, which do you suppose would do you the most good and give the most benefit to All Beings Everywhere?
There’s no way you could afford the items that come to you in virtual form in my Orbs, nor could you obtain them, because they are never placed on the market, not ever, not these things aren’t.
So the only way you could possibly obtain and use them is to get them in one of my magical Orbs, that contains items made from actual priceless relics and artifacts.
So I’ll be looking for you to download and USE these Orbs I’m making for you. One of my prime purposes for being here is to demonstrate how to improvise magical tools, such as the Orbs, comedy impressions and gags, theater pieces, dance, song, prose and poetry, it all works, not merely to communicate, but to convey actual magical force.
See You At The Top!!!