Scientology Outside of the Church Podcast
Did you know Scientology the Subject and The Church of Scientology are two completely different things? Find out why and what the difference is and how it can help you. Topics range from Independent Scientology, solving life's problems, past lives, secret government, metaphysical, Para-Scientology, UFOS/UAPS, ghost hunting, spirituality, and a lot more! Come check us out!
Scientology Outside of the Church Podcast
SE11EP13 - Independent Scientology: Nothing is Perfect
What does it mean when we say "nothing is perfect"? Is that actually suggesting that everything is perfect exactly as it is? In this mind-expanding exploration, we dive deep into the nature of perfection itself—discovering that it might not be what you think.
Our conversation reveals how perfection functions more as a flow state than a fixed destination. Through the lens of Independent Scientology principles, we examine how your postulates (decisions or intentions) create your personal game of life. When you're aligned with your purpose, even challenging situations become "perfect" within the context of what you've decided to create.
Drawing fascinating parallels between spiritual concepts and music theory, we uncover how harmony, rhythm, and resonance shape our experience of perfection. Like musicians practicing with a metronome until they no longer hear it (because they're perfectly in sync), we achieve perfection in life when we become so aligned with our purpose that we no longer notice the mechanics of what we're doing.
The most surprising revelation? The significance of 120 beats per minute—the standard tempo for most popular music, from Beyoncé to Fleetwood Mac, which happens to match the optimal heart rate for burning calories and what's considered the "gold standard" for happiness. This suggests an optimal "randomity" or rhythm to life that resonates with us on both physical and spiritual levels.
By understanding how "happiness consists of bringing alignment into hitherto resisting randomity," you can learn to harmonize the discordant elements of your life and create your own symphony of perfect postulates. You are the conductor of your own perfection—isn't it time you picked up the baton?
Join us in the final days of our half-off bridge package special. Contact us at 816-355-4606 or visit ao-gp.org to begin your journey toward creating your perfect harmony.
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All right and welcome to another Scientology Outside of the Church podcast brought to you by the Advanced Org of the Great Plains and the what's? The other website, the collegeofindependentscientologycom AO-GPorg is the website for AOGP. This is season 11, episode 13. And the topic for today is nothing is perfect. I'm very interested to see where this goes, because we never know where it's going to go and it just ebbs and flows and goes into eddies and then comes back out and then there's a waterfall and at the end I'm like wow, that went really well right, so nothing is perfect is, is nothing is perfect, actually saying everything's perfect as it is, because once everything's perfect, then you have nothing well that that would be a complete as isness if everything was perfect, because it would be a complete truth.
Speaker 1:So, as we were saying in the podcast two days ago about, in order to control somebody, you have to lie to them, and for anything to persist, there is a lie behind it.
Speaker 2:What is perfection is what you're saying because even in a case like that, then the situation is perfect for what it is. Yeah.
Speaker 1:Is that true, Quentin?
Speaker 3:Well, yeah, I kind of take the position that there's different definitions of the word perfect, right? And so one of them could be like without flaws, right? So if you say something is perfect, it means without flaws. The other is something that's completely suitable or suited for a given task. And so when we look at, when we look at life, when we look at this, when we look at this life as it's unfolding, if, if something is suited for the given task, then that would be a perfect fit, that would be a perfect. You know, if I want to screw a screw into the wall, you know a screwdriver, a Phillips head screwdriver, might be the perfect tool for that. Or I could just use a caterpillar you know what I mean. Like that would be the perfect tool for that.
Speaker 1:Well, let's look at this as the emanation point A. Thetan has no matter energy, space or time, but can create it per the Scientology of the Dynastic Axioms per the Scientology.
Speaker 2:Because they're in the Gaiusians.
Speaker 1:So a thetan could be said to be without, because the only thing that persists in the physical universe is something that has an alteration to it. A thetan persists but is not part of the physical universe. So that would mean to me and this is my quote interpretation of it that a thetan is as close to perfection as you can get, despite all of the things that they're carrying with them and mocking up. But probably the ultimate perfection is the postulate, or postulates of the thetantan, because that is what is true for them at that time. Mm-hmm.
Speaker 2:Wow, Does perfection have a sliding scale? Because I'm just thinking about this in my mind and I think to myself all right, you pick an apple from a tree and it's perfect, but then, as the apple starts rotting, then it turns into something else which is perfect for a new environment. It'll decompose, It'll create nutrient. It becomes a different kind of perfection in a different scenario.
Speaker 1:Right. It supplies nutrients for the seed for the new plant to grow, plant to grow despite the environment. It's, it's, it's as perfect as it can be, depending on the alkalinity or uh acidity of the soil that it's in, etc. Etc. And if you look at the environment, yeah, yeah, you look at a thetan. It is. It is aiming for perfection at that time, as to what a postulate is to achieve a certain task, it's a decision about something. Now, lrh says absolutes are unobtainable. Is perfection an absolute or not?
Speaker 3:Well, I actually like what he was just saying, that it is more of a, of a, a changing um perception. Because if, if, like you said, as a, as a, as a thetan, you are as close to perfection you relax, you're already perfect. There's a book called Relax, you're Already Perfect and you, as a being, are as close to perfection as there is right. And yet, with your computations and with the way you kind of go through life and any kind of things that happen to you, those things, you're still trying to be perfect, you're still wanting to be right, you're still getting it right as you understand it, and all of this you know, and all of this unfoldment. And so I think that, yeah, I think that perfection is not necessarily an absolute, obtainable, but it is always happening as you understand it, based on where you are in consciousness right.
Speaker 1:So if you're, you're playing a game, which this is this, this podcast is almost to me, uh, an extension at part two of the last one about the lies that you're, you're, you're being, that you're operating off of as far as assumptions and expectations. So, if you're playing a game, whatever the game is, that game is perfect based off of the assumptions and expectations that you have made, with the postulates, based off of the information you've had. And if you're playing that game, that game is perfect based off of what you've decided at that point.
Speaker 2:You think you got everything. That's uncomfortable. Yeah, Even if it's uncomfortable it's still perfect, right?
Speaker 1:What game is uncomfortable? What game is let me put that a different way what game would be fun if there wasn't some barrier to the purpose that you were trying to achieve? Because if the game didn't make you uncomfortable, you wouldn't have a barrier. What do you mean? So there is some uncomfortability, but that is the perfection of what it is that you've decided to put into existence, because that's the game you've decided to play based off of the information that you have. But the greater game is is that you've decided to play this game with players and or yourself, and that's the perfection of it. Is that? Well, even though I don't know that I'm being lied to, it's perfect because here I am playing that game. Which a game is perfect? To the degree that there are freedoms, boundaries and purposes.
Speaker 3:Mm-hmm.
Speaker 1:So absolutes are unobtainable in the physical universe. But for the thetan themselves it's as close to perfection as it's going to get.
Speaker 3:Otherwise you wouldn't be playing the game yeah, you, you would keep on, you would, you would fall into it. It becomes a trap actually. Yeah, that makes sense. It becomes a trap because, as the game becomes less and less perfect, it becomes more and more of a trap. To you, right? And then you get, and you get, stuck in it. How many times have we been in a situation where it's like, oh my god, this is such a perfect, oh my god, this is perfect, I love this.
Speaker 2:And then, and then it starts to become a trap boom and you're like, wow, like could we almost, could we almost? Say then perfection is is more of a flow, that that feeling of flow when things are working in a certain way, would that be huge?
Speaker 1:I would say so Because your postulates are as perfect as they can be, because nothing occurs in the physical universe without your postulates. So isn't that as close to perfection as you're going to get? Because whether you want to play that game or not, you are a willing participant in that game.
Speaker 2:Yeah, and, depending on your point of view, if you do have some kind of adversary, you can still maintain your perfection while handling that as well. Right, because you're already in the perfect game, even if it is challenging. Yeah, but not all challenges have to be painful. They just have to be something that requires a way to win.
Speaker 1:Yeah, Because if the boundaries are too great, you will repostulate something else or un-mock that game. And we talked about this in a podcast a couple of weeks ago. You can reform the game and un-mock the postulate. That's how auditing works. So you're creating perfection and then you go hmm, maybe this isn't the game that I want to play. I'm going to have to un-mock that postulate, which is pretty easy because considerations are senior to the physical universe for the Scientology axioms. So you consider that you're no longer going to play that game. And that podcast was brought up.
Speaker 1:Artie's, the one that came up with the kernel for that podcast, is okay, this is the game that I'm playing. But I no longer want to play this game. So you have to unwind it, which is change your considerations and go. I no longer want to play it. I'm going to put something in place and then you end, cycle on, start, change, stop, which is create, survive, persist, destroy, and then you go from one perfection to the other. So that leads us to act. Two in this podcast is what does perfection consist of for me and I'm not saying that in the context of games but what kind of perfection are you striving for? And why.
Speaker 3:What is perfection? Well, that would be truth, that would be that time, place, form and event, that would be everything that is needed for it to be, to as is, to have an is-ness to it. Time, place, okay, I know exactly what, who, why, all the form, all the stuff that kind of goes into that scene, and when you have it, it vanishes, it as is. It becomes this expression of perfection, and now it no longer can just stick there in your space, longer can just stick there in your space, so you can have the experience. Oh, this is so good. You can have the experience without the aberration. You can have the experience of life, the things that happen in life, the stuff that is life.
Speaker 3:But once you fully can perceive it and see it as is, once you can fully have okay, I now know exactly what that was, that happened there, and da-da-da-da, it now just has to boom, has to go out of your space into the nothingness from which it came, and then you can say, oh well, that was a thing, that was an experience. But now I can move on, now I can have something different, I can mock up something else. It's beautiful. Perfection really is the goal of you as a being, you want everything to. You want the truth of all, you want the truth of everything. We want the truth. That is, and once we get the truth and we fully know it, the truth makes you free.
Speaker 1:Isn't that beautiful? And freedom is part of the definition of gains, freedoms, boundaries. That is purpose. Yeah, and purposes. So you look at this planet and you go this is the perfect prison planet. You go, this is the perfect prison planet. It is perfection in the way that it contains beings and keeps them playing these perfect games of aberration. I think we see that from day to day and LRH looked at this and went well, it is a perfect game. But is that the game that these beings really want to play, or should they put their perfection elsewhere?
Speaker 3:Is it that what happened at the Matrix, where the architect was like oh yeah, the first iteration was too perfect, you guys wouldn't accept it?
Speaker 2:Right, right, maybe yeah.
Speaker 1:So the perfection had to have some flaws in order to make.
Speaker 3:It had to have some alter. Is this in order to make it work? Right, to make it persist, right, which?
Speaker 1:is it persist Right, which is, you know, it's a moderation of the boundaries in order to make it, because if something is too good to be true, what does a thetan do?
Speaker 3:Oh, yeah, they reduce it up Right.
Speaker 2:Right, yeah, they reduce it up. Right, and you know that's the day-to-day explanation that everybody says well, if it sounds like it's too good to be true, then it is true, which means you can't have it.
Speaker 3:You've already defated yourself before you've even started. In the Dianetics Axioms I think it's Axiom 190. Let me see here Axiom 190. Happiness when is it? I just saw it. Happiness consists of the act of bringing alignment into hitherto resisting plus or minus randomity. And so happiness actually is when you can bring alignment into this hitherto resisting plus or minus randomity. So you've got all this randomity, all this crazy stuff going on in one's world, whatever that looks like. And to be able to bring alignment into that, before it was resisting alignment, before I couldn't get it together, I couldn't figure this thing out, I couldn't put it all in and make it work and to be able to do that finally, oh, does a Thetan feel accomplished? Do you feel happy? And so happiness consists of the act of bringing alignment into hitherto resisting plus or minus randomity.
Speaker 2:Isn't that something? I think that's where I was coming from with the flow side of things as well, because imagine, you've got like scattered Lego pieces everywhere and then you put them all into alignment and you create something and you're like yeah, that's what I've created.
Speaker 1:Right, because a thetan puts order into disorder. That's what a thetan does.
Speaker 1:Yeah that's what it does. All you do in the physical universe through your perfect postulates is you're moving messed around, and that's the shallowest way I can put it. But you're moving it around, you're reforming it like a chemist does in putting chemical compounds together in order to create a desired result in the physical universe. So now that you have something else whether it's a recipe for a meal, whether it is digging a hole in the backyard so that you can put a pool in and putting the pool in, or it is growing your body and changing that body to the degree that now you can move Mest yourself. Move the body around. Now you can assimilate information by taking that information and applying it into the physical universe, to further move Mest around through the postulates of this or the perfection of how and what game you want to play. But you have to move messed around in the physical universe in order to achieve that, to attain happiness. And happiness is to the degree that your ethics are in and you are on purpose of the perfection of your postulate, which is almost redundant. But it has to be said that your perfect postulates are whatever perfection is, is whatever you're living right now. That's what you agree to, that's what you accept. Because you put it there, you wouldn't be there in the first place. Yeah, that's right. So that's right.
Speaker 1:Plus or minus randomity is said either way. If there's too much or too little, it puts a thing to sleep. So you're looking for the optimum randomity that allows you to play that game and you go okay, this is, this is too fast or this is too slow. I need to alter my postulates or change the game that I'm playing to the perfect randomity for you. That's that's how you see people getting overwhelmed.
Speaker 1:Is there's too much randomity or too much? Yeah, but that randomity is is the motion of the mess that you have put out there as your postulate. And, like he says, you know, the one thing is being there and communicating, but the only other way you can be wrong is under or overestimation of effort in the game the perfect game that you're playing, and you go wait a minute. This isn't my definition of perfection. I need to repostulate this and unmark the prior postulate in order to get the amount of randomity that I want that I can handle, and the more auditing you get, the more randomity you can accept, the less randomity you can accept and and grant yourself being this for what it is that you created as perfection at that point in time on the time track in the physical universe.
Speaker 3:You know, I think this is really interesting because basically what I just come to understand about what we're saying is that the reason why auditing works is because auditing allows us to go back and to clear up or realign maybe it's probably a better word to say to realign that plus or minus randomity in our life, in our minds, in our experiences, and we go back and we realign that.
Speaker 3:So, and the earlier, the further we go back, the earlier areas once they're realigned, the later areas, the ones closer to present time, can realign even faster.
Speaker 3:And so if you got a present time problem right, you go in and you kind of do what you gotta do right now in the physical universe to deal with your present time problem. But when you get in session, when you get some auditing and you go back and you line up, you go back and you line up, realign that plus or minus randomity on your time track, the present time problems in your current situation, your current life, actually clear up. Your relationship with your parents gets better, your relationship with your parents gets better, your relationship with your boo gets better, your life gets better, your health gets better. The things in your present life, present time problems, start to actually clear up, because you were able to sit down and we were able to go back to earlier incidents that you needed to realign that plus or minus randomity. Find the perfection as itity, find the perfection, as it were, find your happiness, find that thing that makes it make sense for everything that you are at this point in your life as a being and you say, oh shit, that's me.
Speaker 2:That's me. I did that, I mocked that up, I figured that out, I made that happen. Okay, damn, I'm powerful. Yeah, funny, many, many years ago I was learning. I was getting some lessons for the bass guitar this is probably maybe 20 years ago, maybe even longer, and I was giving myself such a hard time because I was really struggling at some of the techniques.
Speaker 2:And my music teacher said this to me. He said don't worry about the perfection, strive for awesomeness. And after hearing that it got me thinking about perfection quite a lot, because we could put ourselves into so much pressure, aiming for the most perfect result, the most comfortable result when we're striving for things. And so I kind of realized, with that statement awesomeness versus perfection. I thought, well, if I aim for awesomeness, perfection is bound to happen, and it's not until perfection has happened that you can actually realize it was perfect. So the recognition and recognizing that perfection happened is post the event, it's not actually during the event. And so you don't recognize perfection until you've achieved your goal to completion and then in the cycle, start, change, stop, destroy. It's the destroy part that has the perfection attached to it.
Speaker 1:Yeah, because you have an idea for perfection, but getting the physical universe to respond is quite another. You know, like with musical chops and everything like that, because when I went to Jamie Font's music school, the first thing we did was make the metronome disappear by clapping our hands. Yes, from 40 is perfection. Yeah, from 40 is actual perfection 40 beats per minute to 240 beats per minute with your hands and every varying degree in between.
Speaker 2:But here's the funny thing, because when you can start hearing the metronome again now you're out of perfection. And the funny thing is it's not until you recognize that you can't hear the metronome. Then you fall out of perfection. And so you've got to let go of all that stuff, remain in the flow of it to have the perfection, because the moment you recognize things are perfect, all of a sudden you can hear that metronome.
Speaker 1:Right, it's crazy. Jamie had a letter from LRH on his wall in his office down in the valley on Ventura Boulevard, above Red Lobster and Subway and Subway. And the letter from LRH said congratulations on creating a bridge for musicianship. Very, very well done.
Speaker 1:And it hit me that my drum teacher, tom Mandola he was the husband in the first married couple film that the church produced and he was my drum teacher. And he kept telling me stop thinking with the tech, because you're altering it by using it as a via. And I said, well, what we're doing here is we're as-is-ing the metronome, we're mocking it up on top of itself to go away. And that is what the perfection is. He says, yeah, but you're making it too complicated. And once he told me that and I took that out and I just did it, I achieved perfection.
Speaker 1:I said it's impossible to do all of these particular steps, you know, from 40 beats per minute to 240 beats per minute. It's impossible to do that, you know. And I kind of felt like Luke Skywalker talking to Yoda, kind of a thing. But he said, no, it's not. I said Tom, and this was the funniest thing I ever heard. I said, tom, what is the point of doing 40 beats per minute. It is agonizing because the lower beats per minute are where you see the most efficacy of improving your ability to do the faster beats. And I said, tom, there isn't a song out there that's 40 beats per minute and without Comlag. Tom says to me Unchained Melody by the Righteous Brothers and I just felt like I hurt.
Speaker 2:Go ahead, yeah, go.
Speaker 2:I just had a realization, because we've got to learn the skills, yeah, and then you've got to apply the skills right.
Speaker 2:So if you've learned the skills around the metronome and you can still hear the metronome, you're still in the learning phase, you haven't quite applied it yet. And then when you apply the tech and you apply the skills, you're not in training anymore, whereas if you're still messing up, you still can't hit that 40 BPM, which is quite slow. You're still in training and it's not until you achieve that. Now you're applying the training. Once you're at that point, the training has been applied, and it's the same goes with the tech we're learning through independent Scientology. Like if you're still messing it up and you're still going over all the tech in your mind as you're trying to apply up and you're still going over all the tech in your mind as you're trying to apply it, you haven't quite applied it yet because it's still in your mind, but the moment your training disappears from your mind and you actually apply it as part of your life, now you're actually applying it, you're operating at it.
Speaker 1:Yeah, and we're talking.
Speaker 1:The reason why I brought this up is because you're looking at this plus and minus randomity, and it was so difficult to get that 40 beats per minute down to make it vanish, and as is because what you're doing and and Jamie talked about this in a reference in the course is it's that magic carpet ride that you have when you're playing with others and you have this freedom where everybody knows what the time is, because the time is being created by the beat, and so you get this suspension, as a musical trio or you know however many members of it is to where you have this freedom, because you're creating time, you're creating mess, you, you perform a piece of music or you know if you're just improvising, everybody knows where everybody's going to go before they even get there and they're creating it ahead of time and they're all on the same same wavelength and if there's a, there's a, a change in tempo, everybody knows it, and that's what a thetan is doing is they have this magic carpet ride of perfection, which the basis of it is rhythm.
Speaker 2:And if you're going against that rhythm, then things are out of whack. Because what's interesting when you're learning time with a metronome? The metronome is merciless. It doesn't care if you're in, if you're out, if you're on, it just doesn't care. Right, and it'll let you know if you're not on par with it, it's not in resonance with it, it'll let you know if you can hear it or not. Yeah, that's, that's a really good example yeah, and you know that's.
Speaker 1:That's where you see in jazz free time because you're creating the time or you're not creating the time. But the agreement is there there is no time because it is free time, because you have a complete and absolute comprehension of the fact that time is whatever we want to create it out to be, and that is messed based off of rhythm. Lrh talks about in the art series that rhythm. If it's unpredictable, if a person is listening to music and they're listening to jazz and they're used to whatever their music is, the reason why they like that kind of music is it's because it's predictable for them, and when it is not predictable and they cannot manifest it and keep track of it, they're made wrong and they don't want to listen to that music. The same holds true to life in the physical universe and being a thetan. If you can't predict, then perfection is out and you have yourself fooled as to what perfection really is. You're just believing the consideration that this is perfection because you have no free time.
Speaker 3:It's interesting.
Speaker 3:It's interesting, I was going to say that as you talk about this rhythm, you use the word rhythm.
Speaker 3:Ellery says in the axioms, dianetics, axiom number 14, he said Theta, working upon physical universe motion, must maintain a harmonious rate of motion, a harmonious rate of motion. And so, as a thetan, you must maintain a harmonious rate of motion in order to actually act upon the physical universe. Isn't that something Like you actually have to be in sync with your floor, with the wall, the car, the, whatever. You actually have to be at a harmonious rate of motion in order to even interact with that physical item, that physical mist, right? And so what ends up happening is is that if any part of you is so aberrated, so distorted, so messed up, so out of sync, right that you get out of sync with the physical rate of motion in your own life, sync with the physical rate of motion in your own life, boom. Car crashes, boom. Money messed up, boom. Life body going haywire, boom. Because theta, acting upon or working upon the physical universe motion, must maintain a harmonious rate of motion. You got to have the harmony in your life.
Speaker 1:Right. So what's happening?
Speaker 2:is and like the metronome, it's merciless. It doesn't discriminate at all yeah, at all right.
Speaker 1:So if you're out, if you're out of present time and that's what the objectives are for is to get a person in present time in the physical universe you're out of sync you're out of sync.
Speaker 3:wow, wow, wow. So, accident after accident, situation after situation, boom after boom, like because that's crazy.
Speaker 1:You're, you're, you're at another point in time, which is not the point in time that is really going on right now. So you're, you're clapping to the metronome at 40 beats per minute and the metronome is at 45. So you're going to be off and that's why it's Thank you. So you have to be in sync with what it is that you're actually living in, as opposed to what you're counter-creating that's brilliant.
Speaker 2:Yeah, that's really interesting. That's really interesting and I'm pretty sure of memory. The earth's frequency is like 7.85. That's a. That's a pretty slow rhythm yeah, yeah.
Speaker 1:So you know it's, it's, it's. I mean you know. Then you get into sound and you get into the, the electromagnetic spectrum. You know beneath that and everything, and what you can see with a body and what you can see as a, as a, as a thetan, without a body or with a body, what you can perceive, what the wavelength of this is. And you see all this in the new age stuff about you know you're, you're at a different wavelength and everything, and I mean it's all pretty much the same thing.
Speaker 1:But the thing is is that your postulates don't have any wavelength until you create it. So they could be smooth, like a sine wave, or they could be triangular, or they could be square, or they could be square-shaped or whatever. And if you're out of sync, you've got two waveforms going over each other and all you have is a bunch of noise, and that's not Well. But you have a chord Right, and then you have a chord and that's why the tone scale has harmonics. You have one tone level, but that tone level has harmonics of the other, because that is ARC and that is the perfection of ARC, just like you have on a piano keyboard. So these two things they intertwine. And, of course, obviously, the human ear can only hear so much, but a thetan can hear the entire bandwidth because they are capable of creating it. If they couldn't create it, they couldn't hear it. If you're out of sync in present time, you're not actually hearing what's going on. You're hearing something else. Quote unquote. As a thetan, Mm-hmm.
Speaker 1:So perceived perfection as opposed to perfection. They're kind of the same thing, but it depends on whether you're out of sync with the physical universe, as if Aiton and you just need to get into sync with it and that is your change of postulate.
Speaker 3:That's how you change it, that's how you change your life, that's how you literally it, that's how you change your life, that's how that's how you literally can change the physical universe, because you understand that, that, those harmonics, you understand the frequency, you understand the, the optimum motion that is being created by you as a thetan. Uh ellery says at xm 24 that the establishment of an optimum motion is a basic goal of reason. And so if you want to live a life of reason and understanding and truth and logic, if you want to live a life with reason, the establishment of an optimum motion is a basic goal of reason, of an optimum motion is a basic goal of reason. And so when you look at your life and as life is going haywire, life is all over the place or whatever. Something's out of motion, something's not optimum here. Some activity, some actual I love how he says motion because I think that's really important Some actual activity or motion is out of order, it's discordant.
Speaker 3:You talked about the order. It's discordant. You talk about the chords. Something is discordant. And so he's like Ooh, that ain't the right note. Have you ever been in this situation? Like, like you, you were in a relationship where, like Ooh, that, that ain't. That ain't the way you talk to me. That ain't the right note. I don't. I don't tolerate that sound.
Speaker 1:Right, because, musically speaking, we're using this as a metaphor in a comparable magnitude. To have a note, okay, you can play a note, but it's just a note until you have another note to compare it to. How far apart, what is the frequency of that note? And if that rhythm is incorrect for you, it makes you wrong. Just two beats. That note has a beat. A beat is it's not a beat until there's another beat with it. That's what makes time is you have to have a rhythm. And if you, if you your, your rhythm is countering the physical universe, something that you've already agreed on that is persistent because there's a lie behind it. That's why it's there. The beat that you create with the counter note from the physical universe gives you plus or minus randomity. I hope people can follow this, because if you just have boom, what do you got?
Speaker 3:You just got boom One minute in time.
Speaker 1:Yeah, you've got a moment in time. Yeah, you've got a moment in time. That's it, and and that. That. If you want to look at that as a picture and end grammar secondary or a lock, okay, or a postulate.
Speaker 3:Actually, actually, actually, bump would be like they'll be like dead, boom Dead, without without another beat, without another heartbeat, without another rhythm, without another action or movement or motion.
Speaker 1:You don't have any life, right it's just that some float Right, you don't have any comparable magnitude. But then when you have two beats, you go okay, boom, boom. Ah, interesting, yeah, oh, now he's living. Now he's living, now he's living, okay. Now. Now, what is it? Is it four beats to a bar, bump, bump, bump, bump. Or is it eight, or 16, or 32, or wait, for it is in an odd time? Are there seven beats to the bar? And that's where you get into. That's something difficult. I don't know that.
Speaker 3:I can predict that yeah, even when you just said that I was like that's on top. I can't tolerate that.
Speaker 2:I don't understand that right, but it's funny, funny. There's so many songs out there that have those odd beats, that sound completely normal, and it's not until you start counting them that you realize oh, hang on, that's not quite a straight beat, right. Even if it's off, even if it's an odd number, it still works.
Speaker 1:Right, if a tapestry is too busy, you go, what's that? But if it's too complex or it's not complex enough, it's all a matter of rhythm, and that's what the art series is about is art and color and how all these things go around and how they intertwine with each other. But you have to have a comparable magnitude in order to know that's the right rhythm. For me, as far as the perfection of my postulates, the randomity, or the minus randomity 40 beats per minute versus 240 or 100. And in popular music, it is an industry standard and it is verboten to do anything else, is an industry standard and it is verboten to do anything else.
Speaker 1:Any song that will sell, any song that has sold in popular music, is 120 beats per minute. Any, any, that is really yes, 120 beats per minute. Anything Beyonce anything Beyonce produces, that is really, yes, 120 beats per minute. Anything beyond, say anything beyonce produces, it's 120 beats per minute. Now, that's the accepted. That is the industry standard for this. You know, you have the a and r guy. I don't hear a song. Why it's not?
Speaker 3:oh, wow, so I? I just googled this. I'm sorry, finish your flow.
Speaker 1:It's not 120 beats per minute. We can't release this as a single.
Speaker 3:So Wrecking Ball by Molly Cyrus Wrecking Ball by Molly Cyrus DJ Got Us Falling In Love Again by Usher. Dreams by Fleetwood Mac let's see Amyy winehouse. Um all these, really you should be dancing by the bgs. All of these, all these very popular songs at 120 beats per minute. Wow, rumor has it by Adele.
Speaker 1:Mm-hmm, isn't that interesting? Wow, it is interesting, that's fascinating and that is considered perfection because that is something that everybody can understand and can duplicate. They can duplicate that, but if it's something else else, it's considered not mainstream. That is the perception of perfection as far as beats go for music. So what does that tell you about beings?
Speaker 3:Wow, I'm floored. I'm floored. I guess it tells you that we have to. We find this optimum, this perfect, this perfect beingness, this perfect existence, this perfect way of doing things, and we try to make it make sense, and to the degree that we cannot or have not been able to do that, that's where we start to kind of feel off somewhere, right right, but that is the accepted norm for a tolerance of perfect randomity, and this is what drives people's emotion.
Speaker 1:Why do you listen to music? Because it's it's, it's pleasurable in some way, whatever it is, whether it's a ballad or you know, unrequited love song, or complained about love, or you should be dancing, or whatever. 120 beats per per minute. So that's the perceived perfection, and I'm going to put this within the proper framework. That's the perceived perception of this planet of the optimum randomity. Now, what would you say? That the tone level of 120 beats per minute is? Now, it's no coincidence that the tone scale is called the tone scale Scale, tone scale it's the same words that is used wait for it in music.
Speaker 3:Tone scale Would your?
Speaker 2:heart rate. I'm guessing your heart rate. I'm guessing your heart rate would also be affected by your emotion, wouldn't it so if you're angry, then you know your heart rate would be a lot higher than your standard. When you're relaxed, your heart rate lowers depending on your tone. Do you think there's a relevance there to do with your heartbeat as well?
Speaker 1:Yeah, now wait for it. This might blow our listeners' minds as well. Do you know what the minimum beats per minute like on my Apple, apple Watch, is for you to burn calories, that you need to maintain to burn calories? You know what it is 120 beats per minute. 120 beats per minute.
Speaker 3:Yeah, I was just looking at this. To maximize your running cadence, you got to start listening to a playlist of 120 beats per minute songs while you're working out and you will actually get the perfect rhythm for your heartbeat to actually lose weight interesting, interesting I love it. I'm gonna do this. I'm gonna do this. I'm gonna start losing weight. Listening to uh dj's got us falling in love again. I almost thought I'd lose the weight. Listening to DJ's Got Us Falling In Love Again. Dj's Got Us Falling In Love Again.
Speaker 1:So my question is how much is the optimum randomity based off of that beat per minute and that considered perception because of the body?
Speaker 3:Right, I think he is right, I think that I think that considered perception. Well, I think, though, the the body gets its effect from that considered perception of that, that optimum motion. So the, the Dayton, I think I already said it before the thetan interacting with the physical universe, has to find that optimum motion.
Speaker 1:Right, that's how it works. Yeah, and that's the gold standard for perfection with a body in the physical universe, both in hearing and in heartbeat. I'm sure that there are a ton of the physical universe both in hearing and in heartbeat. I'm sure that there are a ton of other correlations, and you know, we could get into the numerology and all that stuff of it as far as what that's based off of, but that is considered to be perfection when it comes to heartbeats, comes to music. What else is there? 120 beats per minute, you know, with John Travolta walking down the street at the beginning of Saturday Night Fever, he's walking at 120 beats per minute with that paint can in his hand.
Speaker 2:Interesting and even in the pure, maintaining a heart rate of 120 beats per minute after the vitamins for at least 10 to 15 minutes.
Speaker 1:Yeah, mm-hmm, a heart rate of 120 beats per minute, after the vitamins, for at least 10 to 15 minutes. Yeah, yeah, and and and. So not only sonically, but visually, I can. I can watch any drummer with the sound off and I can hear what it is that they're they're doing and what they're playing, without hearing any sound at all because of what I'm seeing, because I'm so familiar with that metronome. Now take a look at that with your postulates.
Speaker 3:Yeah, Can you, can you wait a minute? Wait a minute, wait a minute, Can you? Without any result, without any? How do I say this? Without seeing it? Can you know it to be so? Can you know? Can you hear it, Can you see it, Can you feel it, Can you observe it as a being before it shows up in the next universe? That's how we create, that's the power of the imagination, that's how we create. You can see it, feel it, experience it and you know it. So you know it to be so as a being.
Speaker 1:Yeah, yeah. So you have that little thought bubble right before you make the postulate and you go no, no, no, because what you're doing is you're looking at, you're looking at the randomity of the tone scale and you're, you know, you know, going over to grandma and grandpas and listening to them talk about their body problems. You're like Ooh, ooh, that no no, no, no.
Speaker 1:As a kid you know and you fall asleep that I know. Mom, I'm going to stay with dad. You go see grandma and grandpa. You know that's right. So if you're if you're you're creating postulates, you have to take into consideration what is the randomity involved in it and can you accept it, like you said with the earlier axiom, because if you're doing that, you're counter-creating your own have-ability of what that's going to feel like, what that's going to look like. Can you predict it? Can you not predict it? If you can't predict it, you don't want any part of it. But sometimes we make postulates that are counterproductive to what we can have and what we can't have, to what is conceived as the perfect or perfection of what we can have. So having this, doing, this, being this, being this, is a perfection of postulate, a perfection of randomity, a perfection of what you can have and what you can't have. And if you counter, create that now you have a dissonance and that's why you're unhappy.
Speaker 3:Wow. Well, I choose to be happy.
Speaker 1:What does that beat consist of?
Speaker 3:Yeah, that's right, that's a perfect life for me that perfect life for me, that perfect life for me.
Speaker 1:What that song by Pharrell Williams that was in Because I'm happy for long. That is considered to be perfection of what happiness is in the end? Yeah, it is a. It is a gold standard of happy. Is this song happy Isn't? Isn't that interesting how it's conveyed? And it's 120 beats per minute. That's that's happy. So that aligns with perfection of that. Happy isn't on the tone scale per se, but yet it is Interesting Food for thought. Why? Because Interesting.
Speaker 2:That's really good guys.
Speaker 1:Yeah, and isn't it funny when you go into a store and they know you're their target market, so they play songs from your generation and your era. If you're in your 50s and you go into a store and they're playing songs from the 80s, what does that do? It makes you happy. It makes you happy, yeah, it makes you want to spend more freely, and they get a desired result. You can do the same thing in your own life, with your own created perfection and your own rhythm and your own beat.
Speaker 3:Wow, okay, I need to put my playlist together. I need to get some, some happy music for me going. So I can start to create my happy, my happy life with my perfect, perfect plus or minus randomity with the perfect experience and I can go in and in auditing, go back and clear up any misalignment of emotions in my past and get a perfect alignment of my emotions in my present, so I can have a wonderful future, amen. Have a nice day.
Speaker 1:Right. You can now deal with a lot more randomity and a lot more games, because you can tolerate a faster rhythm of your own creation, because you that is the thetanic perfection that we are all striving for is I need a lot of randomity to be happy. It's way faster than 120 beats per minute. So you know again, the music thing is just a comparable magnitude, a metaphor for what we're talking about, and I really hope that people understand this and realize that they are their own conductor of perfection, their own conductor of perfection.
Speaker 1:I love it. So, for Arthur Quentin and myself, we hope you've enjoyed this podcast and it's opened your eyes to what perfection is and what it is not, and how you can create it using independent Scientology concepts, the axioms and so forth, and align it with your own song that you create. And we're getting into the final days of our half-off bridge package special. Contact us 816-355-4606. That's plus one if you're out of the United States, and we will get you going to where you can be your own perfect conductor and your own composer of your future track 816-355-4606. Visit us at ao-gporg or the collegeofindependentscientologycom and we will get you going. Get you educated, get you up the bridge and independent Scientologycom and we will get you going. Get you educated, get you up the bridge and get you happy.
Speaker 3:Happy.
Speaker 1:Namaste, and we love you, take care. Bye-bye.
Speaker 2:Stay awesome, bye-bye, thank you, thank you.