#73 Shamanic Technique Stage 4 - The Energy Changes - Accumulate [Stage 4 #11]

Welcome to episode 11 of our deep dive into the energy changes of stage 4 shamanic technique. This week - Accumulate (䷈)

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Episode Transcript

(00:06):
Welcome to the Woven Energy Podcast onReal Practical Shamanism with me, Joseph Sakora
and Damon Smith. We're here,as always talked about shamanism from the ground
up. So we are going todive back into stage four of shamanic technique
today and we're going to have alook at accumulate, which is number nine

(00:26):
in the traditional order. Damon,what do you mean by the traditional order?
Is it the eaching order or isit is it our order on the
podcast? Let's say fill us inplease. So The Jing is a very
interesting book. I think we've talkedabout this a lot, haven't we.
So toy shaman energy changes are energychanges. There is no order. What

(00:47):
there is is pairings the fatatu tatsuin Japanese, the column ahai in Chinese.
Let'sically they are of changes that worktogether as one. So, for
instance, the last change that wetalked about, we were talking about the

(01:14):
environment preparing lessons if you like,you want to think of it in terms
of like a scud or university forthe shaman in advance of the shaman appearing,
and that change has a two inone change that goes with it,
which we're referring to in Ama baloesquetechnology as accumulate. Those are definite pairing.

(01:41):
That's definitely a real thing in thereal world. But in the Book
of Changes itself, it was grabbedby confusions historically a long time ago,
and it's had a lot of Iknow, I did some work. There's
that one called the Western White TigerAging that had cut a lot of the
confusion junk out of but it's stillgot It's impossible to cut it all out.

(02:05):
It'd end up with virtually nothing,you know. And the truth is
that that book, that book couldbe reconstructed from scratch by somebody who understood
shamanism quite well. You could reconstructthat book without ever having heard of it.
You could do that as long asyou understand the duality that exists within

(02:27):
nature and the microcosm and the macrocosmand how that works, and the upper
realm in the middle world, andthe lower realm, the branches, trunk
and roots of the world tree.If you understand those things, you could
reconstruct the eating if you'd never heardof it. But the one thing that
you wouldn't be able to construct isthe order that everything's in. You know,

(02:50):
confusions are big on order, andthese things have been these changes in
the Book of Changes have been givennumbers, and they appear in a certain
order in the Book of Changes.That's the thing you couldn't reconstruct because that
comes from people. It doesn't comefrom nature. Does that make some kind
of sense? That makes sense?You've actually you've got two books on this
onn't you over the years. You'vegot your Arma Bella book in the Western

(03:12):
White Tiger. Are they still available? I have no idea, because I
think it was great. Your Armabellobook that you wrote, that wealth that
you compiled, shall we say,that was available on Amazon first stupid price
not long ago. It was likeit was, it was very expensive,
So I think it must be that'ssomebody who had bought it up and then

(03:36):
was trying to resell it, youknow. But I really don't know.
If one of them is currently available, it will be the Western by Tiger,
which is a more traditional version.It's got the Chinese in and all
that kind of stuff. The oneyou're talking about is the one with the
awesome cover, isn't it. Yeah, stands out on the bookshelf, which

(03:59):
was and that particular symbol that wecame up with Farmabella. It is a
very attractive looking thing, but itwas that was still a bit in terms
of what we're talking about. Itwas a way to show a hexagram,
yeah, in a different kind ofway to how the tradition is shown by
the confusions that was you know so, and and also give the sense of

(04:23):
one thing changing into another, whichthe traditional book doesn't talks about a lot
but doesn't give any visual any visualrepresentation of So that was why that it
turned out quite well. Didn't that. It's just also that came up with
that symbol, But it turned outquite well, and I do like it.
I expect that book. So Ithink that one was available both in

(04:46):
hardback and soft back, and theWest Make Tiger is soft back only,
I think, and that, butthat one's got all the traditional Chinese in
it and stuff, I mean,the Chinese characters and stuff for them.
If so, is there away forsomeone if somebody is listening to this podcast
and the fancy grabbing hold of thatbook, is there a way for them
to do so reliably? Can theycontact you? No that I don't have

(05:11):
a copy met so contact and readyis a really bad idea. I'm just
I'll just get on Amazon up andsee if it's still available for sale.
We've talked about it a few timeswhen we talk about the trigrams, and
I find it a very useful referenceguide, especially when we talk about the
you know, we go in depthinto these hextagrams here on this on this
podcast in terms of the stage fourtechnique. Having that book is a great

(05:38):
resource. So that one, theWest White taget Eaging, is available on
Amazon sixteen ninety nine is quite That'sa bit steep for me. It's a
very bad. Yeah, And thatwas the little one that was published in
twenty fifteen. That's the last onethat I did, so I'm a Bella
one was before that. But youknow, me with these books, I

(05:59):
mean I put them together and thenpeople ask me about them. But like
like as if I've got a copymyself or something, you know, and
my my sing e book, Ihaven't had a copy for that far.
I think twenty years or something.I don't I think it's twenty years ago.
I wrote that nearly, No,it will be twenty years ago,
so I think it might be longerthan that. Yeah, might might be

(06:21):
so, And people keep talking aboutit, but I don't have a copy,
I don't know what and I canremember vaguely what'sn't it okay? So
I think it might be prudent tojust point out that this is going to
be one of those down the rabbitHole episodes where if you're not up to
speed with techniques or stages one toone to three by going over those episodes,

(06:46):
then this may not make a wholelot of sense. So again,
just reiterate this podcast is definitely astart from scratch and kind of go through
it affair. So with that inmind, damon, let's let's go down
the rabbit hole. So I don'tknow what it means, but that's sort
of a is that like a LewisCarroll reference? Possibly it's one of those

(07:09):
phrases that I don't quite really knowwhat it means, but it's in the
back of my mind to sound knowledgeable. It makes me uncomfortable that phrase because
it suggests like imagination and stuff.You know, you know what I'm like
with imagination, consider myself told off. That's fine, mate. The so

(07:31):
the change that we discussed last time. Also, even if you're not new
to this podcast, it might beworth reviewing that one before we start talking
about this one. So the ideaof accumulate. Maybe we're also going to
talk on talk about some level fivewe did. There was slight introduction to

(07:53):
level five, didn't we over theChristmas? Yes, So what's this accumulate
change of out? When you're practicingas a shaman, you have a sat
of technique that you'd learn. Soif you think of how the building the
shamanic pagoda goes, you start offlearning to become an empty vessel from nature.

(08:16):
That's level one, as we referto it. It's chillisity to become
empty, to get rid of yourideas, your judgments, your assumptions,
all that kind of stuff. Everythingyou think you know and a's just the
general gunk and the spiritual gunk,mental gunk that arises through your life in

(08:37):
a society like ours. Is tolearn to get rid of that stuff,
albeit temporarily. And then you comeon to level two, which is about
in that state, being able toobserve self without affecting self, which is
quite a skill. This is whatwe referred to as amscar, the ability

(09:01):
to observe in a very light weightway the changes that are going on in
your body. You're breathing, yourpulse, your heart rate, all that
kind of stuff that the muscular changeis going on in your body, and
also warmth, temperature, all thatkind of stuff, sensation, sensory information

(09:22):
to be able to absorb all ofthat stuff and observe it in a holistic
sense. But Chikotte, we talkedabout this for both challicity and amscat to
absorb all of that information that thatsense in a holistic sense. That's the
eagle phrase, isn't it the eyesof it? H Yeah, just the

(09:43):
way an eagle looks out over theterrain when it's hunting high open the sky.
It's not focused in on one particularbit of the ground. It's taking
it all in. But if anythingchanges, if anything moves within that picture
tapestry, yeah, step on it. So it's a broad and unfocused focus

(10:05):
to describe it, there's a sharpnessto it, although it's unfocused. That's
probably the best way to put it. And then level so stage two is
a deep, a deep, deepawareness of what of what's happening inside your
own body. Uh, yes,well inside your own body to start off

(10:26):
with, because shamanism doesn't limit itselfto your own body. But the thing
is with a shaman is ultimately aimingto become an undifferentiated part of nature.
That's the path of the shaman,and to understand it in a holistic sense.
That's a physical way, and aspiritual way and a mental with the
last one being the danger zone.What goes on inside nature, what goes

(10:50):
on under the covers in terms ofthe energy changes that nature is composed of.
The cross of becoming a shaman issupport at every stage by energy.
The vessel, the energetic vessel thatyou're going to use for your shamantic practice

(11:11):
is actually built at level one.That's cullisity. Physical cilisity is all about
building an energetic vessel that will containthe energy of your shamanic technique. Level
two is about sensing that energy,all the different energies that go on in
association with your body, the closestpart of nature being your body. But
we're definitely not going to limit itto that, and there is Amscot technique

(11:33):
that goes beyond the body. Sofor instance, the technique we call earth
breathing, that's actually an Amscot techniqueto a certain extent, and that definitely
goes outside of your body. Butwhen you're learning, that's the first thing.
The closest part of nature to meis my body. So that's a
good place to start learning. Canyou put a bookmark in that and we'll
do an episode on earth breathing.I remember bringing this up years ago and

(11:56):
you said, and you said no, because it's a it's actually a very
advanced technique or something, as faras I think it is. So I
think we could do it now though, you know, yeah, because when
I when I when we said thatwe were nowhere near level four? Were
we? But now some of ourpeople, some of our lovely patrons,
Hi, guys, thank you forus so much. I went to level

(12:18):
four some of the people practicing whatwe were talking about on the podcast doing
very well with it. And I'veseen firsthand, I mean I've met up
with some I've seen the first timehow well some of them are doing with
it. That's amazing. And Ithink now we can start addressing subjects like
that. Although it's still a bitadvanced for our at but I think nowhere
near us more advanced than to wherewe're at than where we were then.

(12:41):
That's probably the best way of playit. Well as far as I got,
it was kind of like, thisis why I wanted to talk to
you about it, because it relatedquite strongly to my chulicity practice. So
in the woods, I would entera state of telicity and I would the
whole it's kind of fabric of thewhat I could see, the ground and

(13:05):
everything started sort of weaving. Itwas weird. Whether that was imaginary or
not, I don't know, butit was definitely well, this is why
it's like the earth was breathing,shall we say? So? Yeah,
something tells me it's a lot morecomplicated than that. Not necessarily more complicated
than that, but you really haveto be on top of the imagination trap

(13:28):
if you're going to do techniques likethat, that's probably the best way to
put it. Yeah, So yeah, on another one, on another one.
Then the next thing is as shamand we employ techniques. What are
the purpose of these techniques. Thepurpose of these techniques is to force us
to what I've described previously as headbutt nature. Is to take nature full

(13:48):
in the face. I mean I'mtalking about metaphorically physically. Uh there.
Any shamanic technique is nothing but amethod for forcing you to confront nature in
a very raw and immediate way,and preferably good techniques, the ones that
keep the whole imagination thing out ofthe picture. And that's where you start.

(14:11):
At level three, you start learningyour technique. Now, you know,
we've discussed many times. My favoritetechnique is spurred dance. We're currently
working on the woven energy cost thewoven energie spurt dance costs, so that
will be available at some point inthe future, hopefully not the distant future,
because I'm just about ready to stopgetting this thing together now. I've

(14:33):
been doing a lot of prep interms of the equipment because I'm going to
be recording out of doors and howto cord the audio and all that kind
of stuff, and that's we're doingwell. And we've also tested it with
a bunch of patrons, thanks everso much, guys. So so it's
just about ready to start putting togetherthat thing good. But whatever it is,
whether it's spurt dance or not,this is the level a drum technique

(14:56):
or stick technique or you know,whatever it is. You know, homie,
look what they call it, Mongolianthoats singing or what whatever the what
they call it in English. Theuse of sound inside the body to form
vibrations, very similar to the useof the drum. Whatever technique is you're

(15:18):
applying to your shamanism, level threeis you learning that technique picking it up.
How well do you have to learnit? Where you have to learn
it to the point where you cando it while maintaineous state of chellisity.
You have to be spontaneous. Soif you're using multiple techniques, you need
to be able to switch between themspontaneously without thinking about it. You need

(15:39):
to be able to execute the techniqueseffortlessly without thinking about it. And so
level three is quite a long road. Incidentally, in Mythraism they called level
three. I think they're named afterthe melez the soldiers, and you can
imagine soldiers marketing a long way alongalong road. It's where you put in

(16:02):
the effort. In for instance,freemasonry, that would be like the fellow
craft the person who's put in thehours. He's not an apprentice anymore.
He's put in long hours and heknows his trade and he can ply his
trade and you know, cut thatstone to build those cathedrals. This is
like the level three type of standardyou've got to get to you've got to

(16:25):
be able to do what you cando without thinking about it. Because this
is really important, because going tolevel four is utterly pointless unless you can
be an empty vessel at level four, because at level four we're starting to
form the weave. We're starting toplay. So if you think of the
universe as a big dance of energy, big energy pattern, a woven energy
pattern, if you like, that'sbeen changing since the beginning of the universe

(16:47):
and continues to change into the future, but has a continuity within it,
and that's will come back, becausethat's important for the change we're talking about
today. There's a continuity within it. There's a sort of alpha and omega.
There's Shamans exist as the shamans Mickeysaid, you know, throughout all
time, throughout all ages, notjust in the here and now. I

(17:10):
mean individual shaman is part of thefuture and part of the past simultaneously.
There's that thread running through everything.And so you use the techniques a level
three to create what we've referred toas a vessel, which is effectively an
energy weave, but it's the vesselitself doesn't come out of the energy weave

(17:32):
that you create necessarily It comes outof the interaction between your weave and then
weave of nature, then the weavethat's going on in your environment. So
if you're like your creator, ifyou want to think about the macrocosm and
microcosm in terms of the eging,you are creating the weave of the microcosm.
Nature is creating the weave the macrocosm, and you're you're weaving these two

(17:52):
things together in a synergistic way,in a way that's highly adaptive. But
the one that has the lead inthe dance, you know, it's like
partner dance. So this is whywe want to get to. The one
that has the lead in the danceis nature, not your Your weave is
there to color the dance, toexplore the weave of nature. But you

(18:14):
know, if you want to think, you go into a this is an
analogy. If you go into adance class, you might have been practicing
the dance. So maybe I've beenpracticing the dance since nineteen eighty five.
It's a few years now, butthat's nothing compared to the you know,
multiple billions of years that nature hasbeen practicing the dance. So I let

(18:36):
nature take the lead that's the idea. So level three it's really about being
able to create learn the techniques thatyou need to create your weave. Level
four is about, first of all, being able to create and sustain that
weave. We've talked about this,We've already covered changes for that, the

(18:56):
being able to sustain a thread throughoutthat weave. This is the Alphaonomica thing
from beginning to end. But nowwhat we're trying to do at level four
also is incorporate changes that reflect thechanges that go on within nature. So
we're trying to learn to, effortlesslyin a state of chellisity, incorporate many,

(19:18):
preferably or a few as a minimum, of the almost myriad infinite,
commonly cournering anti patterns that occur innature into our weave that we're creating.
We're not necessarily at level four linkingthem directly to nature, though by the

(19:38):
time you practicing level for a technique, you should have started developing some of
that kind of ability. But weare trying to. If you're like,
in the macrocosm, emulate the weavethe dance of the macrocosm, So in
the microcosm, our weave emulates insome small way the weave within the macrocosm

(20:00):
of nature throughout the universe. Andthat's what we're trying to do at level
for us get a sense of thisenergy so that we can start the sense
again. This is why amscar isimportant. We can start the sense where
that weave crosses over the energy ofthe energy weave of the natural world,

(20:22):
and those crossing points they are whatbecome the vessel. You don't force them.
In fact, if you try toforce them to come, they'll go
away. It works that way around. But through your long and hard practice
of level four technique, that startsto happen, and then those points gradually
become brighter and brighter. I don'tmean physically brighter, but in a in

(20:45):
a sort of spiritual sense, ina in a perceptive sense, they become
brighter and brighter within your amscar andyour own stuff that's coming out of your
own thing that starts to fade intothe background. And it's the collective weave
of those crossover points that gradually becomethe whole thing that is the vessel.

(21:06):
And that's where we start to sliponto the vessel. That's level five.
That's where we're getting at level five. Does that make some kind of sense?
It makes perfect sense. So whenwe talk about these energy changes that
we've done a fair few episodes onnow and there's plenty more to come.
These level for energy changes, theseare all ways within the level four technique

(21:27):
to enrich your dance and yeah,and to mirror what goes on in nature
without necessarily blending fully with it.Do you follow what I mean? So
we are we are creating the capabilityto blend fully with it. They like
techniques, they're like little sort oflike in a rational way. When we

(21:48):
talk about it's like a collection oftechniques you can employ two. Yeah.
So that's why I like the subtitleof Mercy Eliot Adair's book are Techniques of
Ecstasy. I thought the term ecstasynow has completely different meaning because of the
whole nineties thing. But the originalmeaning of that ecstatic to come out of

(22:11):
yourself, to go into to gointo a mode where your mundane reality has
been replaced by solid the solid realityof nature and shamness. Most techniques that
put you in a position where you'rekind of forced to do that. Here's

(22:32):
a question. I think I mighthave asked you this, but I can't
remember, but the difference between theeight core energy changes and these sixty four
energy changes that we're talking about now, is it the case that the eight
energy changes are more sort of zoomedout the more I hate to use the
term blunt instruments rather than the sixtyfour hexagrams, which are more sharp instruments.

(22:56):
No, what it is is thatin the changes never exist in isolation.
Do you know I've tried so manytimes, I've tried how to think
about it again for this course,those changes that we're talking about that we
use his arm of Ballance words forlike squall and jag and those sort of

(23:17):
things. Eight trigrams as opposed tothis sixty four. It's the main changes,
and I would count it as tenlike Miki did, But anyway they
can. For whatever reason the Chinesedecided it was it the the two and
one pairings of those things work bothat the microcosm and the macrocosms. So

(23:41):
you've got a two and one pairingin the microcosm and two and one pairing
in the macrocosm. So if youwant to think of the three lines that
the Chinese represented them with three linesin the microcosm, three lines in the
macrocosm, each for the you know, the roots of the world tree,
the trunk of the world tree,and the branches and leaves the world tree.
Those lines one set of three inthe microcosm, one set of three

(24:02):
in the macrocosm. Every change actuallyhas a context, and this is why
it's so hard to simply isolate,as as we've tried so many times to
do those fundamental changes, because thenin reality, they never exist in isolation.
And that's what the sixty four pluschanges are about, is the combination

(24:26):
of a change that's going on inthe macrocosm together with the change that's going
on on the microcosm. But ofcourse you can have multiple combinations going on
simultaneously, so it's not not evenas simple as that. And isn't that
what makes the life of a shamanso fascinating. It's something that you don't
have enough years in your life,even if you live for a really long

(24:48):
life, there's nowhere near enough youworres near life to get on top of
all of it. So they're likewords, and the thing about you know,
like that the energy changes are likethe words, but yet you can
put those words into any order liketo create infinite possibilities, well in a
loose sense, as in, yeah, yeah, yeah, but do you
remember that two different changes can goon simultaneously, which doesn't tend to happen

(25:10):
with words. You tend not tosay two words at the same time or
five words at the same time,you say them one after the other.
Does that make sense. Let's changethat analogy to musical notes. Then yeah,
yeah, it's more like musical notes, which is exactly how Miki described
it. She called it good thedivine music, and she actually used music
to teach this stuff. If Iwas good at music, as you,

(25:32):
I could probably use music to tryand help people understand the stuff. But
I'm not mad. Music is mylittle corner of the world where I try
to spread Sharvidism. Yeah, yeah, that's right. So my thing is
dance, and you know, someday, you know, I think that's not
a bad I'd be not a badthing for you to do is to try
and you know, explain this stuffthat we're explaining in terms of you know,

(25:56):
typically we're using spot dance examples,so we do quite a bit of
drum as well. We explain thisstuff in terms of spread dance. But
you you, the onus is onyou from the Wolve nenty fraternity made to
to explain this stuff in terms ofmusic at some point in the future,
because that's definitely possible. I've adoptedwhat you do. You you you've taught

(26:18):
this stuff for years, but you'venever called it shamanism. It's like,
you know, when I first metyou, it was all, yeah,
you were teaching this stuff for ages, and this is kind of what what
I try to learn. The lessonyou had already learned, the lesson that
people have run a mile when youtell the meism. Yeah, so yeah,
I just slip it in. SoI just whenever I write the emails

(26:41):
on my courses, I just slipit in. But I don't call what
I did with it's what I didwith martial lands for years. Same thing.
Anyway, we'd best get on toaccumulate. Yes, So in this
context where remember what we're trying todo here at level four and this obviously
each level supports the next, soit's also has to do with level five,

(27:03):
but let's just talk about it.At level four, we're trying to
introduce changes into our weave that we'recreating through salespun down to our music or
whatever it is. We're trying tointroduce changes that mirror changes that are going
in in nature. That's what we'retrying to do. And on the recent
episode about the language what are wewe gave a lot of examples of that.

(27:26):
But here in terms of the specificchange, what are the two changes
going on, well, in termsof the amabella names of the two changes
that go on within the combined twoin one change sorry, within the combined
microcossom microcosm. Change in the microcosm, it's what we call jag. It's
all out of yangs so Yang inthe roots of the tree, Yang in

(27:51):
the trunk of the tree, andYang in the branches and leaves the tree.
As you know, Yang is apositive active so again this is how
it contrasts to the last one thatwe did. Yang is a positive support
of active thing. So it providesthe part through activeness. Mickey described it

(28:14):
as like a pit prop, youknow, one of those props that holds
up the holds up the roof ofthe mine. And so here we're unlike
the previous change where we are goingout and taking in as an empty vessel.
The lesson that nature is handing tous. Here, we're a bit
more active in what's going on.We are accumulating. We're active in this

(28:38):
accumulation and in the in the macrocosm, we have squall, which is yin
in the roots of the tree.It's yeen in the strategy. It's really
yeen in that mental kind of logicalkind of that that kind of realm.
It's in there, but it's Yangeverybody else. It's physical, and it's

(28:59):
it's yang in the spiritual realm aswell. So this is the two and
one pairing of what we're talking aboutlast time, with the lessons of nature
having already prepared been prepared for us. This is the other side of that
coin. This is where we arecollecting, gathering and adapting to all of

(29:26):
the lessons that we're learning through thatprocess. This is but this is a
bigger wider picture than you might firstthink. You might first think that I
do a particular shamanic technique. Igo from a shamanic ramble and something,
you know, some bit of swampplant trying to suck me down. And
I learned one thing from that,and I put that in my little gathering

(29:48):
pocket. And then something else happenssome of the time, and I put
that in my little gathering pocket,I'll put that in my basket. But
it's not really like that. Whatit is is all of shamanic technique about
energy changes, and the thing thatwe're accumulating is energy changes, and so
the really important part of this changeis about the alpha and ogmega thing that

(30:12):
was talking about. So, justin very simplistic terms, when you do
your dance and say you're mixing togethera number of different techniques, we picked
out ten for the Woven Energy SpreadDance Cost Part one. So you're mixing
together ten different techniques, flowing freelybetween one and another in a state of
ulicity, experiencing all the different energypatterns that are built into there. You're

(30:37):
collecting not just the learning from doingthat and the learning from each of those
techniques and the learning from each ofthose energy patterns, but you're also collecting
the weave in the past and theweave in the future. So actually these
things extend throughout your life. Ultimately, you're collecting the whole weave of your
life as you dance through it asa shaman. But the accumulation is of

(31:04):
the energy weave itself in a nontemporal sense, from the very beginning to
the very end, throughout all time. But in the beginning as a beginner,
I say, a beginning your levelat four, you're not a beginner.
Let's say as an intermediate. Youare just to begin with focused on

(31:26):
the dance. I mean, thisparticular dance and what you have hopefully developed
a sense of as this thread thatwe talked about in some of the other
changes, this thread that extends throughoutthe dance, and what you will see
with that, this thread of energythat runs throughout the whole dance. I
mean it loops around and wells anddoes spirals and all kinds of weird and
wonderful things. But what you willsee with that is the part where you're

(31:51):
riding on the bow wave of thedance. The bow wave of the weave
is not the only thing. Thereis past to that weave, and it
extends backwards, and there's a futureto that weave, and this stands forward.
Now you can see the past tothe weave. If you take a
torch and you do spurred dance inthe night and you have some sort of
long exposure photography going on, youcan actually physically see the weave. You

(32:15):
got torch in each hand. Itlook awesome. You know, you can
actually physically see the weave of yourdance for the past bit. But also
there's that future bit. And thatdoesn't mean the future bit doesn't mean that
you're planning out what the rest ofyour dance is, because that wouldn't be
spurred dance, that would be regulardance. But as the spurit texts you,

(32:36):
as nature pushes you in different directions, you start to get a sense
of where that's going. Obviously,Niche has given you that sense of where
that's going. In with more andmore practice, that sense gets stronger and
stronger. And this is the realthing about Shaman's being able to predict the
future. It's not that they lookinto a crystal ball and they say,

(32:57):
you know, on the fifteenth ofMarch, you will immediately a mysterious stranger.
It's not like that. But theyget a sense for where energy changes
are leading. And if you practiceenough, you can get that sense to
the point where you've got a goodgrasp on changes that are going to happen
before they happen. And so whathappens is if you imagine there's a big

(33:19):
curly weave of the other. Iknow, sometimes it's splits and stuff and
being overly simplistic and rejoins and allthat kind of stuff. The weave,
the complex weave of the dance,if you imagine as a as a new
intermediate you're you're running along that ifyou imagine that weave is just like a
metal thread, and you're shining atorch on one bit of the metal as
you run along, as you dothe dance, the torch is just shining

(33:40):
on the current bit of the metalyou're doing. You know, if you
play that game Guitar Hero, Yeah, that you're shining just the bit that
the notes that you've got to playnow, not not the ones in feature,
not the ones past. But whathappens is you get good at this
stuff, is you can pull thetorch away from the metal and take a
gradually brought a picture where the weaveof the dancer is going. Do you

(34:01):
follow? I mean, and itextends out. The weave that you're accumulating
extends out forwards and backwards. Andthis is a probably quite a bit more
advanced than anything we've talked about sofar. See, that's that's quite now.
Now now you've mentioned Guitar Hero,it's quite an interesting analogy because you've
got the notes that kind of streamdown the screen in the middle you're playing

(34:24):
those notes. But and so,but it's it's essentially just a pattern which
comes down and as you get goodat it, you can well, it
puts you in the moment, doesn'tit, and and so and so when
you when you're at in telicity andyou are I don't again I hate using
the term predicting the future. It'slike you can see those notes, those

(34:47):
notes before you have to play themcoming down the screen in Guitar Hero,
and the accumulation is the effect thatthey have upon you. Right in natural
terms, they have an effect onyou. And the thing is, if
it was a guitar Hero for nature, what it would be more like shamanism.
If those notes will all joined togethersomehow, maybe there's a ribbon between

(35:09):
them or something. And you sawthe ones that had all gone past as
well as your picture, and youknow, as it gradually zoomed out,
you got a wider and wider picture. And you know, in some ways
you see this with experienced drivers.Experienced drivers tend to look through the corners
where inexperienced drivers tend to have theirfocus around the car, immediately around the

(35:31):
car. And so this is thething. But the key thing is in
all these cases. In Guitar Hero, it's not you deciding what the notes
are, it's the game or whoeverprogrammed it. And in driving it's not
you deciding what the bends are,it's the road. So this is like,
both of those things are super simplisticcompared to spiritance. But that's the

(35:55):
general idea. Is this accumulation,and when you get good enough for it,
you then sort of start to seethe whole picture of the dance without
knowing what it you know, withoutdeciding what it's going to be. If
you zoom out enough, if youpull that torch back enough, it illuminates
the whole thread, the entire threadof the dance, the entire weave of

(36:16):
the dance. And that's what you'reaccumulating. That is the thing that you
put in your pocket. I don'tmean literally in your pocket, but it's
the sort of the thing that influencesyou in the Shamanac technique. And the
reason you need to be able todo that at level four is because unless
you can zoom out with your energyweave, you won't see the crossing points.

(36:40):
You won't be able to detect thecrossing points because the crossing points rarely
when your torch is zoomed right inon that metal thread, that's rarely where
the crossing point is. In termsof the crossing point with the weave of
nature, it's the more holistic picture. And so another analogy I can give
a bit. It's like surfing.Maybe while you're surfing a wave, but

(37:04):
you're on this temporal point in timewith at a certain point on the wave,
but the whole experience of the waveis what you followed. I mean,
the experience of the whole wave fromwhere it started building to where it
crashes on the beach. That's morelike the experience of the whole dance.
And that's what has the effect onyou. In terms of accumulate, you're
adapting to and this is one ofour inference words for accumulate, you're adapting

(37:30):
to the weave of that nature isimposing upon your weave, not imposing upon
it, but nature is influencing yourweave. It has to be because you're
not deciding what your weave is.Nature is and you're adapting to that influence,
collecting the weave that is jointly createdwith nature. And this is why

(37:52):
this one's hard to talk about itlevel for only because it's also level five
for sure a change. It's veryimportant and level collecting, gathering together the
influence of the weave that you havejointly created with nature, and then that
goes on to influence your further techniquein future and indeed your life in future,

(38:14):
and in my experience in richer lifein a big way. Now,
it's it's something that you learn alot through. But also there's another side
to this coin. We use someother influence words. We said restrain that
was one thing, or tame whatdoes that mean? What it means is

(38:34):
that human beings are not really invery good control of themselves. They don't
have very good mastery over their ownbodies. I mean very simple things.
We talked about this. Most peopleneed to use two fingers on their wrist
to get their pulse, you knownow to a sham. And that's laughable.
You know that they would need todo that, you know, but
it's like when you're a beginner,it's not laughable. It's so how on

(38:57):
earth, Am I supposed to knowmy pulse without taking my you know,
And it's like restraining, it's it'srestraining the tendency to do stuff that's not
conducive, to put to those crossoverpoints that not consducive to building a weave

(39:20):
with nature. You need to tameyourself. You need to tame your own
spirit. And this is you know, this is Punctualisity's part of this.
But there's sort of a deeper levelof this, which is sort of a
level four kind of level. Evenif you can maintain a statulicity, you
have to tame yourself to restrain yourselffrom doing things that are not conducive to

(39:45):
building a rich, interactive weed likereef like Tyrak Tayrak Tayrak would be a
classic example of that. You know, there's nothing to stop you doing Tyrak
Tayrak tach Tyraq happened from one footto the other in time with the beat.
There's nothing to stop you doing that. And you may well be in
the statulosity when you're doing it,but the thing is you're not accumulating very

(40:06):
much of that because the cutting iscutting not just your weave, it's cutting
Nature's weave. Too. In nature'sfinding it difficult to teach you in a
strobe light, you know what Imean. Nature would tends to want to
teach you in a much more bigpicture, holistic kind of way. That's
what nature is good at. Uh. Nature, it has a hard time

(40:28):
not it's not for want to tryand has a hard time teaching you staccato.
That's the what why we use theseinfluenced words. But we also used
retain, which is retaining the experienceof your dance when you when you finished
your dance, if you want tothink about sometimeses you never finish your dance.

(40:49):
And that's like me. When whendo I start doing my spirit dance
and when do I stop? Well, often start doing it when I'm making
some toast or something you know,you know that's around. So it's it
just starts. I don't really decideto start. It just starts coming out.
And that's the retention. That's thatretainer of accumulate of my long experience,

(41:13):
long in my terms, not interms of the experience of the universe,
short in terms of that of havingretained the shamanic technique that I have,
that I love and that have beeninvolved in, not just retaining what
the shamanic technique is so that Iremember it, but participating in it and
so that the weave that comes outof the participation is a much bigger thing

(41:34):
than being just able to do thetechnique, which is more like level three
is about at level four, youneed to be able to accumulate. So
what I'm saying is this one isdefinitely one that's not a change that's not
on all the time, but youneed to learn it to be on all
the time during your shamanic technique,whatever that is. You need to develop
this skill at level four. Soit's not like all the time like persistent

(41:58):
yield, there's on all all thetime whether you like it or not,
but it is on all the time. It needs to be on all the
time and your technique or you won'tbe giving nature the best opportunity to teach
you. So that's the Let metry and get a little clearer on the
idea of the accumulate portion of it. So again back to the piano example.

(42:19):
So let's say I'm sorting with thepiano and I'm playing and I'm creating
music. Now there are times whenI will just you know, time doesn't
exist and I'll drift off and it'sall about the music. And then without
really thinking about it, a certainmelody or a certain chord will present itself
and I'll just play play it.And it's not like I've thought about that.

(42:44):
It's not like it's it's something thatI've planned. It just happens now.
So that's almost like the spirit danceand being in the moment and playing
with what nature gives me, Iguess. But then the accumulate portion is

(43:04):
then taking that on board, takingthat chord change, taking that melody inside
of me, and and what andthat's what. That's the only bit I'm
struggling with. So the melody andthe chord change start to break down a
bit, to break down a bit, so the accumulate what you're accumulating is

(43:25):
not that chord change. What you'reaccumulating is the weave of what that chord
change was a part, the holisticweave, so it would be the entire
piece of music if we're using thatanalogy of which that was a part,
you accumulate the whole effect of that, especially if you're doing it in a
shamanic state. I mean, Iknow this this music thing can be done

(43:46):
in a shamanic state, because I'veseen other people do it and so,
and that's what's great about creating apiano academy. If anybody hasn't experienced Joe's
awesome YouTube channel, thoroughly recommend it. It's a different way to do that
kind of thing. And the well, I think the way comb out it

(44:07):
is it's the very very basics ofthe shamanic technique. There's no way that
we're anywhere. You're lovel for withwhat I'm doing. It's not interesting.
It's not the individual change that you'reaccumulating. It's the holistic effect of all
of the changes within your dance,within the technique, whatever, within the
multiple techniques that you're doing. Andthis is why it's always desirable to use

(44:30):
lots of different techniques as a sham, as long as you're good enough at
them to weave them together into oneand to bring them together in a mutually
coherent whole, as long as you'rethat good and effit you need so you
you know, I can imagine ashamn who can only do one technique,
you know, but it doesn't seemvery good because nature is complex, Nature

(44:50):
is rich, and so the richeryou shamanic technique is the more you mirror
that in terms of the changes thatare going on. But if it was
to analogize it piece of music,the problem is it's not my expertise music,
so but tonachez to a piece ofmusic. If I'm generating a piece
of music in a state of jealousity, allowing nature to speak through me,

(45:13):
and to generate a piece of musicin a state of uloity based on a
bunch of different musical techniques that I'veinternalized the point where I can do them
without thinking about it, then it'sthe holistic effect of all of that and
the way that it interacts with mylife and the way that interacts with nature.
That's what I'm accumulating. The Ifeel like the shamanic impression of the

(45:36):
overall symphony. Oh that's a goodmusic word symphony. Yeah, the impression.
You know, I'm using this asan analogy. I don't know enough
about music to know whether it's agood one or not. But it's not
just what an individual instrument in theorchestra is doing. It's the overarching impression
of this free form music generated bythis huge orchestra, the divine music the

(46:00):
holistic effect of all of that uponme as a shaman. That's what I
am accumulating, which goes on toinfluence my subsequent technique, but then more
importantly builds a rich weave, asense of a rich weave, a sense
of the extension of the weave,so that I can start the sense where
Nature's weaver is crossing over my ownweave getting into level five. Does that

(46:24):
make sense? Yeah? Yeah.And if I can't get that holistic sense
of what's going on without thinking aboutit, this is the hard thing.
This is where I am Scar Chelsyand Amscar are so important because if you
think about it, the whole lotcomes crashing down. I'm sure you know
this. You know you probably that'sit. When you get that state of
flow with your music, as soonas you think about it, you're probably

(46:45):
not as creative as you were beforeyou were thinking about you know what I
mean? Uh No, I likethat. And it's like a dream as
well. You just forget it.It's just comes and goes, and that's
what you can't do. And that'swhat you can't do. You forget it.
Yeah. And if there's a bigproblem the human condition, the reason
you forget it is. It's notof the baseline, and you try and

(47:06):
remember it on the baseline, andthat's the wrong place to remember this stuff.
This stuff's probably remembered in inverted commerceon the top line and in the
mid line. You remember a bitabout it on the baseline. But because
it's a holistic thing, if youtake only the baseline, it's only a
tiny fraction of what you actually did. And I know that great musicians have

(47:30):
a lot of this sense. Youknow. One of my favorite films is
that movie Amadaeus. I know it'snot very true to life, and that
Mozart probably was a bit more primand proper than he's made out in that
film, but the general ability.I tell you a funny thing I saw
was an audience with Billy Joel,the famous American singer, and he said

(47:52):
he was forced to do piano lessonswhen he was a kid, but he
hated them. But what he didlearn was the ability to ran generate Mozart
so that when when his parents cameand checked up what he was doing,
he could bang out some what soundedto them like Mozart on the piano.
It meant that he's been learning allhis you know, the music he't learning,

(48:15):
but he was generally generating it spontaneously. Yeah. Incidentally, that's on
YouTube somewhere. It's just him anda piano and he just talks about his
life and plays various things. Veryimpressive, very skilled guy. Yeah you
don't get that impression about him fromthe Uptown Girl video, but actually super

(48:35):
he's a super skilled guy. Yeah, definitely. So, so that's the
general idea of accumulating. And asI said, it's compound is jag and
squall, jag and the micro cossom, squall the macrocossom. In terms of
trigrams, the lower trigram is JAGthree Yang lines, the upper trigram is
squall yin baseline yang midline, Yangtop line. And as we've said in

(48:59):
the last one two in one partneris prepare and not go over that again
because we already did it and thelast Level four episode anyway, So the
ah, the changes that typically fallout of this thing are quite interesting in

(49:22):
themselves. That again, it's quitehard without talking about too much Level five
stuff, it's quite hard to understandwhy. So I'm just what I'm just
going to do is try to givea few examples at level four and and
just we'll come back to it.But when I mean, when we do
these other these other changes. Yeah, So the first change, the most

(49:42):
likely change, is what we callpenetrate, which is about penetrating into something,
infiltrating into something. And you cansee how that change comes out of
this the very fact that you're experiencingever market as you take on more and
more technique, you're experiencing your weave. You're dancing your interaction with nature in

(50:04):
ever more rich and complex ways.You're generally infiltrating into or permeating into nature
through doing that, but you're alsopenetrating a sort of the underlying underlying principle
beat in Japanese make you call itthe underlying principle of nature, the deep
heart of nature. You're generally penetratinginto that, entering into it, and

(50:30):
entering into a bigger picture than yourself. And this is great that this is
the most likely change to fall outof this type of practice, that the
accumulated practice, because that makes accumulatea really great thing to be practicing.
This change, because that penetration intothe sort of underlying stuff of stuff,

(50:51):
what underlies the universe is exactly whatwe want to do as shamans, and
that's the most likely change. Andthat's why I've jumped to this one quite
early because that kind of gives youan idea of why we want to do
this, because this is what willget you onto level five from level four.
This fact that penetrate just almost naturallyeffortlessly falls out of accumulate. That's

(51:17):
why it's a good one to tonon sharply focus on in your level four
practice. The next most likely wantto fall out of it is one we
call collaborate, which is this wholeidea of holding in common, tying together.

(51:39):
And again that sense isn't it's thatit's the way in which the dance
is tied together. That this isreally important, that the the holistic sense
of the dancer, all the techniquesthat make up the dance and the changes
are going within the dance. Theydon't stand in isolation to each other.
They collaborate with each other. Theyare held in common. And it's that

(52:00):
kind of holding in common thing iswhat you actually are taking on and accumulate.
They are tied together, they connect, they dwell together. If you're
like, where did they dwell?They dwell within the wave of natchere.
So that's that's an ext most likelychange in our balot tims. We call
that collaborate. The next one isobvious. Yeah, it's totally obvious,

(52:23):
and it's it's rather than something thatfalls easily out of this, it's something
that's just almost like another two inone. I think we've said before that
the two in one pairings of thechanges, there are other special relationships between
different changes, and this is oneof these other special relationships that isn't a
two in one relationship, but itis a special relationship. And this is

(52:46):
mirroring the change that's going on inthe in the I mean, this change
that falls out of accumulate is mirroringwhat's going on with accumulate in the macrocosm
in a a sort of reversal tothe microcosm. So this is squal and
Gaya coming together. And this iswhat we call center. And basically this

(53:07):
means to become open in terms ofenergy in cullisity. We've become open in
terms of energy in physical we talkabout physicality a lot. This is a
higher level of cellisity, the centeringcenter. It's being in a chord with
nature it's getting rid of all thatjudgmentalness or that miasma out of your life.

(53:28):
And it's the thing, This centeringchange is the thing that gives rise
to cillisity. You probably notice thatthose of you that have been practicing cillisity
a lot, you start to noticethat when you start to develop that ability
to put it on much more easilythan you used to, you start to
get a bit as you go intoa statulisity. You know, it's hard

(53:52):
to start off with I must counterfive and make sure no other thoughts or
or I've thought of something, youknow, that kind of thing. You
know, once you get past allthat and you on a lot of practice
and you get the flavor of cellisity, the flavor, well, the flavor
of sinking into cullicity, and youjust take the flavor, I mean the
energetic flavor. That's something that youtake on. That's something that you accumulate,

(54:15):
and this like something that drops youinto cillisity. And it's that's this
change, this falls out of accumulate, this centering change. It is the
change that forms jellicity, I meancenter is a change that forms jualisity.
It removes the spiritual dust if youlike Mick used to the thing a shiki
harai. It means like take thedust and sweep it away. That's the

(54:37):
thing. And so this change centerthat falls out of accumulate is another really
important one against when these if youwant to be a decent, good chairman,
it's one of the things you canhave to learn to become very,
very familiar with. And when you'veasked me before about you know, me
going into cullisty and I used tofind that at nightmare when I very difficult

(55:00):
to do when I first started thisstuff, and now find it's so easy.
There's a sense of a flavor tothe start of that thinking that cellousy,
and that's why I find it easy. It's almost like the ignition,
you know, center is like theignition of jealousy, like turning the key
or something, you know. Sothat's another one that falls out of it

(55:21):
and into it in both directions.So another one that falls out of it
quite a lot is persist that wetalked about already. You can see why
the weave has to persist for youto accumulate the sense of the weave.
If the weave doesn't persist, thenit's not gonna you know what I mean,
it's not and we've done persist.It was the first one we did

(55:42):
go back to that episode, soI'm not dwell on it. And then
we talked about this. Another onethat falls out of it is what we're
called tame, and we said thatthis has a sense of this one has
a side or sense of taming orrestraining yourself as a shaman in terms of
your energetic patterns that you're making anothersense of that incident, this is going

(56:05):
back to accumulate, is what Iuse the Book of Changes for. I
don't want to miss anything out,you know, I don't need sixty four
changes to do some decent spirit dancethat there's no way I need that.
But I feel like I'm missing somethingif I haven't got them all in in
fact, if I haven't got modernsixty four you know. And it's like
animal spirit dance. I think wetalked about that as well, how difficult

(56:27):
it is to cut down the listof animals. I don't really want to.
What's the thing, and it's thisflavor of this taming of myself as
a shaman and my natural propensity tosimplify the energy changes when nature doesn't.
Nature does the exact opposite of that, and that's why our universe is so
wonderful. Can you imagine if naturewas into that, you know, nature

(56:47):
was in simplifying all the energy changes. What a dull universe we would be
living in, you know, Soyou simplify, It's not a negative thing.
It's just purely a technique you simplify. There's no simplify here. I
was just saying that if the oppositeof this is yeah, yeah, they're

(57:09):
the energies that are coming to you. No, no, not at all.
This is you taming yourself to notrestrain the energies that are coming to
you. Do you follow, becauseyour natural reaction is to stop them.
As a meresmatic human being, itmay be different if we were living in
gathering societies, but we're not.You know, feeling as I as I

(57:35):
get, as I get older,I find that more and more appealing.
Anyway, in mind, just togo off and become a hound the gatherer,
you know, be so cool.Anyway, Back to back to tame.
This, so this is a changeof tame that actually falls out of
accumulate, and this is you know, it's holding firm to what she's doing

(58:00):
as Paul said that he did.Paul did an article just on the blankety
blank bus. This is a trainingraising up yourself. It's like growing yourself.
It's like, you know, Iwant to be a shaman, so
I got to weekend course and theteach me how to be a shaman and
then am a sham. Well that'sif I come out like that, then

(58:22):
it's imagination trap. But if Igo and I don't feel like I am
a shaman, I don't think I'velearned very much, then again I might
be disappointed. But that doesn't meanI should give up. You have to
hold form. You have firm toyour to your course, to your shamanic
path. You don't know where thatpass going, and that's why it's difficult
to hold firm to it, totame yourself, not to just give up.

(58:45):
Uh. I listen to the ChemicalWedding Day two. I think it's
the first part on Heretics podcast wherewe talk about this. The shaman's past
not an easy one and there's lotsof reasons to give up, and you
know, like like nobody wants totalk to you about it. There's a
great reason not to hold firm andmeself. You know, you have to
stay you have to stay on thebus. And that's this taming and there's

(59:06):
more to it than this, butwe'll come back to it level five and
then the final one that for youknow, there's loads of changes that fall
out of these things, and ifyou've got the book that we've been talking
about, there's a ton of otherchanges that fall out of these things in
here as well. There's things calledthe Chinese called the outer sibling hexagrams and
the of accumulated, the inner siblinghexagrams of accumulate. Although we don't talk

(59:30):
about these things on the podcast,those things are in that book if you
if you're interested. But I thinktalking about you know, six changes that
fall out of every change, Ithink it's enough for a podcast level.
You know, it's endless one.But that's how the universe works. And

(59:50):
that's why the universe is so richand has so much variety in it and
it's so interesting. And like Isay, if it wasn't like this,
it would be it was any simpler, and it is, it would be
a much more boring place to live. I reckon the suicide rates would go
up first, you know, soit's good that it is the way that
it is. Albeit it's definitely alifelong challenge. But isn't that what you

(01:00:13):
want? You know, it's notRemember when I was a kid getting my
first black belt, you know,and I've made it now, I've got
the black belt, you know,and it means next to nothing. You
know, you put in an effort, you're still on the bus for a
few years. But compared to thechallenge of shamanism, you know, it's
like it's just like it's a differentorder of magnitude of a challenge compared to

(01:00:37):
even even to martial arts in general. It's a different order of magnitude of
the challenge, you think, adifferent aspects of the life of a hunter
gatherer. You have you need tosurvive, you need to you know,
and sometimes you may come into conflictwith other people who have to hunt animals
or that kind of stuff, themartial side of things. That's one side

(01:00:57):
of your life. But then you'vegot other sides to your life, do
you think, does you So that'slike things in conflict with each other,
but you've also got how about peoplecoming together in productive support of you know,
relationships which are what make human beingsis the most dominant species on this
planet. It's that productive stuff.It's not the fighty stuff, it's not

(01:01:19):
the conflict stuff. It's the workingtogether to build a better future that's worth
placed human beings in the position we'rein. That's a bigger area than the
fighting stuff. It's a more complicatedand more frustrating area than fight stuff.
And then there's a whole other areawhich is just you within yourself. You
call it what they call it selfactualization, which I think is really you

(01:01:40):
know, the people who are intothat, probably I don't know how much
you understand what it is're talking about, but that really speaks to to shamanism.
Shamanism is all about self actualization,but the way that shamanism does it
is totally different. It's not aboutmotivating yourself or getting someone else to motivate
you or anything like that, orgetting the certificates you want. It's about

(01:02:01):
dissolving into your parent, dissolving intooyea as we called it, dissolving into
nature. That's what it's about.You You self actualized by realizing what you
really are, which is just onepart of this enormous, beautiful dance of
energy that's gone on throughout all timethat creates time in the universe. That's
the that's the what a shaman wantsto do. And through that we get

(01:02:27):
this this final change. Through thatwe get this were called nourishment Miki referred
to as gigimotsu, this long termlearning that we're accumulating. It's the jimtsu.
That's the knowledge, the deep knowledgeof nature, that nature in parts
of us. If you like,you imagine nature as a teacher with a
blackboard in front of the class andwhere it sat in the class, messing

(01:02:49):
around at the back with our toshlteine, you know, and nature is
throwing the chalk at us and stufflike that. You know, that's that
nourishment that nature has given us,that stuff that we're learning from nature in
that kind of analogy, that's whatwe must have patients for. We must
wait for it because sometimes you can'tsolve something under your own steam. Sometimes

(01:03:10):
you have to have patience. It'llcome, It'll come. And you know,
I would love to learned the techniquethat I'm okay at spread dance technique.
I'd love to have learned that withina couple of years to start and
practicing it. I probably thought Iwould when I started out, you know,
I thought I would have been ableto apply this technique at a high

(01:03:30):
shamanic level. The more you learnthere to learn. Yeah, you're right,
I'm decades later, still waiting.But it's not just waiting without without
any reason. You get a lot, and actually you get the thing that
you want, but never in theway that you expect. You get it
in a completely different way as nature. Just like that. And if if,

(01:03:52):
if we didn't need nature to helpus, then there wouldn't be such
a thing in shamanism, you know. But thankfully we know a lot of
human beings. We think we do. We know quite a bit on the
baseline, but the other two lines, some of us are okaysh you know,
like who's saying boat and stuff atcertain aspects of the mid line.
On the top line, we're allvery, very weak. And one of

(01:04:15):
the big problems we've got with that, of course this is a heretics episode,
not not a woven ajie one,is that we conflict the baseline with
the top line, and hence allthe wars that are going on in the
world, religious wars and stuff.You know, we're just awful so so
yeah, that's my final say,my final thought for the day. Crack

(01:04:35):
anything anything more job No. Ithink that's good. That's been a crack.
That's been a good one. Cool, really interesting. I haven't decided.
I haven't decided what the next onewill be, but ill I will
go and commune with nature and we'llget some social team going and we'll find
out. Let Nature tell you,well, the next episode could beyond earth

(01:05:00):
breathing or whatever else, and thenthe next Stage four Techniquethy. I'd rather
do a couple more changes before wedo that, but I'll tell you what.
I'll pick some changes out. They'regoing to help understand earth breathing,
okay, but we might do ageneral because you know, with these level
four episodes probably a bit heavy.We all might do a general interest one
as well at some point in time. Brilliant. All right, eman,

(01:05:23):
that's been fantastic. Head to wolveno where is it Patreon dot com,
slash Woven Energy if you want tosupport us over on Patreon and get some
extra cool stuff. But as always, thanks for listening and we'll see you
in the next one. Thanks lootguys. The jsutt