Eric: So, there is something that I teach and there’s a thing that’s taught in spiritual circles. I often say that almost all spiritual beliefs or systems have derived from other spiritual systems. It’s just whether or not you’re educated enough or have the memory to know of it’s existence. So, you follow these roots and you’re like, “That interesting. I can see where this thinking came [from] or where it derived from and what they researched and built upon their thinking.”

 

When one looks at self-awareness, we hear this word “self-awareness.” Different people have taken on a different view of that or a different value to it. “This is what it is and you should—”
There’s also mindfulness. Mindfulness is to be conscious, conscious that you’re in the room, conscious that you’re sitting in a chair, conscious of where you are. The point is that to be aware of everything all the time is almost a useless as being aware of it or not aware of it.

 

One of the things I like to do is to give certain things that I call self-realization. I don’t think self-realization is the moment where you’re like, “I’m enlightened. I get it all.” It’s having revelations of how you think, how you see yourself, why you think the way you do, why you react the way that you do. One of the most important things I feel to spiritually evolving is the study of yourself, your psyche, your mind, self-reflecting.

 

One of the things I call is the “I’s.” The I’s are not eyeballs but as if to say “I,” or “me.” One of the things I would say to people is if you do this little self-test and you go, “I. I. I,” and then you switch to “Me. Me. Me.” This is what we get into as a subtle difference. The subtle difference is that I tend to be more of a consciousness or almost into a spiritual level, whereas “me” becomes this identified structure. You’ll feel like a mass to yourself and you’ll become aware of it like you can literally feel it in yourself. When you go to an I, it’s almost like you can’t quite put your finger on what you’re trying to identify. That’s the beginning of building your soul, in a sense.

 

You’re starting to identify different elements of what’s machine, open, close, stand up, sit down, left, right, move. This is a machine designed to carry us through a three-dimensional world, per se. When you think about I’s, we say I’s with an “s.” What I would say to people—and I said something to somebody earlier about this—is the easiest ones to distinguish are hunger and comfort.

 

The best way to very quickly go, “Okay, I get what he’s talking about,” [is to] imagine that you’re really, really hungry. You haven’t eaten all day, you’re at the shaky point. You go in and there’s a lot of people waiting in line. There are booths built and they’re big, cushy booths. They’re private and you know us as White Cells, we don’t like anybody else. We want to be in our own little hole. That’s the truth about us. You want that comfort. You want that cushy seat. You want to get cozy in there and you’re like, “Oh, that looks so good.” Then, you look over and there’s the bar with wood stools, no cushioning on it and you’re up against these other people that you don’t really want to be sitting with. You can’t sit with your friends because they’re odd, even, odd, even, but you’re starving. The starving “I” goes, “I want to eat now!” The other “I” goes, “We can just wait, just a bit longer! Just look, look! It’s so comfortable over there!”

 

Now, you have this duality. You have two separate kinds of identities of intelligence that have a job. One is comfort, one is for food. They’re debating now, in you, which one you should go to. Who’s going to win? Is it going to be food because you’re starving and you’re going to sit in that crappy chair over there and be miserable but you’ll be satisfied with food? Or, can you suppress that hunger part of your identity and consciousness who’s thinking, “We’ve got to get over there to the food, but if you wait, we can have that nice cozy, comforting thing. Can’t you suppress your hunger, hunger? Can’t you quell it down?”

 

These are identities. They’re intelligences with a lot of information in each one, like a personality. You could put blonde hair on one and a trucker hat on the other one. It’s as if they’re “mini-you’s.” An “I” is a personality and you can keep breaking it down more within them but let’s keep it simple for now.

The question I would say to people is, “How many I’s can you identify within yourself?” You are an organic machine that has basic principles. You’re going to mate to reproduce. You’re going to seek comfort and shelter. You’re going to look for certain ideas and values. By which level are you now not automating? What gets down to the core of them not voicing an opinion or a want or a desire? At what point do you remove those things or become aware of them or isolate them to identify what is left? What is that that’s left? What intelligence is it? What does it want? What does it desire?

I’ll give another example. An example that I used with people is that I’ll say, “How in control are you?” This should be frightening. Everybody takes it for granted. It’s a very simple thing that I usually teach from day one. If I say to you, “I’m going to show you several objects and whatever you do, don’t shout them out loud like, ‘Oh, Eric’s holding a shoe!’” You’re not going to do that if I say don’t. You’re going to say, “Okay, I’ll shut up. That’s easy to do,” which you can do.

 

Now, I’ll say to you, “I’m going to show you several objects, three of them, only three, and whatever you do, don’t say what they are in your mind.”

 

(audience laughter)

 

Eric: You have control, don’t you? You are the decision maker in your own consciousness, yes? Why is there an incessant need that some voice inside of you blurts it out? Then, the argument ensues. “Why?!” “Because I can!” “No, why?!” There is no argument even, it just does what it wants to do. Nobody really thinks about “Why don’t I have more control over that? Why can’t I control it like I do vocally?” That is a problem because it means that you’re not really thinking, in my opinion, for yourself. We’re taught to automate since [infancy]. We’re taught words which are the next thing amongst the animal kingdom. We use a very complex language system. [There are] some creatures that do as far as we know, but at the end of the day, this is what feeds the brain to chitter-chatter all the time. If you could imagine not using words, tell me any object in here that you don’t know what it is. Why would you, in God’s name, need to—That didn’t sound right in a religious talk, but anyway…

Why does the mind need to give the syllables, the verbiage, like a tag? It’s like a brick. It says to whatever object, “Hold this brick. You hold this brick.” It’s slowing the process down! If you could think with non-thought because that’s what that is—Most people think when one says spiritually “have non-thought,” it means not to think at all. No, you’re thinking. You’re just not using words. What it should be is “don’t use words while you’re thinking in your mind.” It’s like electricity. It’s super fast and the more you use it, the faster your mind gets.

 

This is what a savant does. A savant isn’t seeing numbers in their head. They’re using non-thought and it’s giving them the total. They’re not thinking about making the total, it’s just an intention. Boom, they know what they’re doing. This, when one says “use non-thought,” is a higher intelligence. It’s a higher sensory or awareness and we all have it, it’s just that we don’t choose to really be aware of it or utilize it. When you’re meditating, you’re trying to get in the habit of silencing the Babbler and spending more time on just nothing. What you’re really doing is you’re familiarizing yourself with sentient awareness, a higher level of intelligence, a higher sense of knowing.

 

Does anybody want me to pick a few objects so you can prove to yourselves that you won’t shout them out?

 

Audience: No…

Eric: Oh, so brave. It’s something that you need to acknowledge and it’s no different than thinking about how many I’s you have. There is the “debating I,” I always say. I always say, “You can observe yourself in the third person.” What does that mean? Let’s say I’m somebody and I’m having a fight with my friend or my partner and I’m like, “You did this and that! You brought the groceries out knowing full well you were going to leave some out in the car for me and you were going to say it’s my fault!” They’re like, “No, I didn’t!”

In a way, what is the point to it all. I couldn’t care less. You couldn’t care less but you’re doing it because it’s almost like sociologically we have to follow this process. Now, we know the argument is going to escalate. In our head, we’re thinking while we’re arguing, “Ooh, there’s that door. I’m going to go over and slam that door, that kitchen thing. I’m going to do it hard while I go over to those dishes.” Wait a minute. Is it natural that I got up and slammed it or did I premeditate in some other person, planning in advance what I’m going to do for the sake of the drama? Now, I’m in the third person because I do a lot of practice and I’m sitting there going, “Oh my god, you idiots. Look at what you’re—” and I’m talking to myself while I’m doing that with myself.

So, I’m observing me going through the role of this debate like I have to go through this process, and I’m thinking to myself in this other person, “I’m so above all this. Why did I get sucked down to this stupid mortal stuff anyway? I know exactly what’s going on. It’s because this person’s engaging me and I feel like I have to respond.” Of course, there’s this, “I’m going to slam these counters so they get this alert like I’m really disturbed. I’m making a point,” but I’m premeditating it. I can count the steps to everything I’m going to do before I do it. I know the whole scenario of how it’s all going to go down. Do you guys all not? You have a person you argue with. You know the routine you’re going to go through. You kind of almost know the outcome and you’re even deciding how bad it’s going to be and whether or not you’re going to use the bathroom or not to cut it down, in half?

The question is, are you thinking about what you’re thinking? That’s the key. Are you thinking about what you’re thinking? Then, you feel pretty silly once you get there. Then, you’re like, “Wait a minute. This kind of takes the fun out of everything.” This is self-awareness. This is the beginning to self-awareness. The more that you think about it, the more you begin to advance yourself in a way. It’s when you start to separate yourself from how you would react to things. This is when you become “more spiritual,” or “the person you want to be,” until somebody really pisses you off. In either case, when one says “self-awareness,” people don’t always know what that means. It’s important, as I said earlier, that this is why you have to break everything down into brass tacks. If you don’t know what these things are, you’re kind of like, “Okay, I have a guardian angel.”

 

What the flip does that mean you “have a guardian angel?” I’ll give you that maybe there are some bits of truth in there. It’s their higher self. I can agree with that. I totally get it from that perspective. That’s the rational part that’s sitting there saying, “You’re above all this! Why do you have to slam that? Don’t slam the—Oh, dammit, you slammed it! What’s going on?” That’s my higher self, anyway.

Guest 1: I have a problem with thinking about what I’m thinking and analyzing while I’m trying to do some of the techniques a lot. I was wondering what advice you have for combating the governor?

 

Eric: A big glass of vodka.

This is the age-old challenge between trying to—You gain consciousness that you have—

In other words, you gain a level of self-awareness. That’s the first thing. Most people, they chatter in their head. They don’t even think that they’re chattering. In that process, we don’t really reflect on the fact of acknowledging that we’re even aware that we’re talking. The fact that you can acknowledge, “I’ve got this chatter going on,” that’s a second person. You’re observing yourself now. That is the first step to self-awareness. That’s the first step to a conscious kind of movement.

 

When you get disappointed in the fact that you’re talking, it fuels this thing to continue talking. It’s kind of like you’re punished for the “Hey, I’ve figured it out!” “Yes, you did, didn’t you?” Then you’re like, “No! Be quiet!” There’s a lot of factors involved that are going to have that effect and one of the fastest things to do is to acknowledge the fact that you should be patting yourself on the back that you caught yourself rather than being frustrated, which is going to feed it. Simply acknowledge the fact and be grateful of the fact that you are aware that you’re chattering in your head. That’s self-awareness.

 

There’s a variety of degrees to tackle this particular challenge. One that I would probably push the strongest is listening to the Tones. How many people in here are not familiar when I say, “listening to Tones or the Bars?” How many people here to not have an idea of what I’m talking about? Okay, perfect.

 

Everybody who thinks they know something about the Tones, I can assure you that I can take it up a whole other level and you’re going to go (imitates “Home Alone” facial expression). The Tones are a frequency that you hear kind of through your ear. Before I go in there, there’s meditating to music. There’s meditating to white noise. There’s meditating to nature. There’s meditating to just zoning out if you will. There’s different kinds of ways of letting your mind unwind if you’re doing the practice perfectly fine. Tones are probably, in my opinion, one of the better ones. They’re ones that can drive you half batty if you’re not careful because you’ve got to be able to disconnect. Sometimes you connect up, looking for it so much that you can’t really shake it. So, it’s like, “Alright, I’ve had enough. I can’t shut it down.” [There are] ways of doing that too.

 

A Tone is like a high-pitched frequency that you hear out of the corner of your ear. I often say, “When you clear your mind and you’re in a quiet place, you want to listen almost to the interior-exterior of your ear, meaning this hollow-ish area. It’s just a place to focus.” As you sit quietly, at first you’ll probably hear nothing unless you know what to look for immediately. After a few moments, you’re going to hear what sounds like a very pitched (imitates high-pitched ringing). It’s like a ring. Once you have that ring, the idea is to kind of just listen to it. Just sit and listen to it. You’ll notice that when you’re listening to a Tone, your babbler almost goes to zero if not zero. It’s as if the two cannot occupy the same space at the same time, unless you’re like, “Let me test it. There! I just did it.” Not quite. You’ll drift off. As you focus more on it, you’ll disconnect from the Babbler.

 

What happens now is you’re listening to one. You want to kind of now bring your awareness over to the left side and do the same thing. You’re kind of trying to pay attention if you’re hearing anything. You’re going to all of a sudden realize there’s another pitch which is slightly different that’s at a different octave if you will. It’s kind of like a (imitates mid-range ringing). They’re not quite like that. I do an awful interpretation of it, so don’t be looking for that specific sound.

Once you have the two, you’re going to find that you’re almost going back and forth. You can only listen to one primarily and the other one faintly. As you’re going back and forth, you’re going to develop a sense of [relaxation] or a sense of being able to get yourself to balance between the two. Once you’ve done that, it’s like a skill level. You’ve moved up.

What happens now is that you want to look for the third. There’s literally like ten of them. To get past four is extremely hard. I want you to understand that if you get up to three, pat yourself on the back. Don’t be like, “Oh, I suck. I couldn’t get to four.” That’s just feeding the fact of making it harder. When it’s ready, the point is that it comes to you. You can’t force it to come to you. You can’t reach for an object like you do in this dimension and bring it over to you or grab this or that. It’s something that you learn to do in a very unique and different way. It’s a different way of control. It’s a different way of movement in your mind. It’s exactly what you will do when you leave this body. You’re literally learning how to swim when, at one time, you didn’t know how to swim. You would’ve been flailing around and sinking and it would’ve been awful until you relaxed and learned to use the water movement as pressure and getting yourself to [orient]. This took a skill that most of us forgot, for those of us who can swim. We take it for granted.

 

When you’re listening to the Tones, you want to find this inner thing in your chest that’s actually kind of maneuvering them. It’s almost like you’re moving your body in such a way that is unnatural. Just like if you’re swimming, it’s technically at first unnatural versus [bipedally] moving around and walking. It’s like this whole vertical versus horizontal. It’s moving and pushing this way rather than walking and having weight on your feet. We don’t think about that, but once you’ve got it, you can swim great distances. You can swim underwater. You can investigate what’s down in there. You can put a mask on and snorkel or whatever.

 

This opens up a vast new arena. When you leave your body, the majority of the reason why people have difficulty leaving their body or snapping back into it—you feel that jerk—is because that’s the panic. That’s like going into water and not knowing how to swim. You instantly want to touch something on the bottom and when there’s nothing there, you begin flailing. You’re trying to touch something to [orient] the mass and weight of your body. When you can’t do that, the body just has a spastic [reaction]. It doesn’t know what to do with itself. This is what happens when you step out of your body and it happens very quickly. Energy is five times, ten times faster than what your body can react to so it happens very quickly. That’s that shock of falling down like sometimes you’re laying in bed and you feel that thump like you’ve fallen for a second.

 

The Tones lead to many things. I’m trying to address what you were saying. If you just work on the Tones and just finding them and holding them and trying to keep that third one. You always want to keep climbing and holding that. As you’re holding that third one, you’re going to find that it goes away. Then, you’re going to find that if you relax into it, just like swimming, you’ve got to find that comfort and then all of a sudden it works. It starts to get loud again. The loudness determines how much you’re controlling it. Trust me when I say, “You can bump into a Tone and it’s like a trucker’s horn going off in your ear.” It will almost traumatize you how loud it can get. You cannot let that deter you from wanting to continuously learn to manage those. If you practice with the Tones, you’re going to find that slowly it’s going to help you with the Babbler in your mind.

 

There is no permanent fix. There is going to be no, “I’ve finally got it. This is it. I’ve conquered it.” If you had, you’d be sitting up here with me. Just kidding!

 

The point is that it’s always a challenge, even for me, at times. The Babbler can come in and I find then that I’ve drunk too much coffee. I’ve got all these biological things that are not wrestling more for the occupation of my consciousness and then I have to more consciously push them back. I think that’s very important and I think a lot of spiritual teachers don’t want to admit to different challenges they have. They’re [like], “I’m omnipotent.” I don’t believe in that.

 

I believe in keeping it real because if you can’t have a realistic goal, you will always think you’re failing. If you can say that, “You know what, Eric said that even he has times where it can get a little challenging, but yet he’s out there. He’s really capable.” I think that that helps you achieve these great things and I think it’s very important to have that clarity and that honesty.

 

Guest 2: I just want to go back to the Tones a minute. Are they related to the music of the spheres, by any chance? [23:22]

 

Eric: You know, [there are] many different interpretations of what people would [describe as the Tones]. That’s very common in a lot of spiritual circles. That’s what makes it kind of, sometimes—

 

I always say, “When you talk to different people in spirituality, [there are] almost different languages.” There’s Russian. There’s Swedish. There’s Chinese. It’s falling in line to pretty much the same thing but you have to be careful and kind of break it down, because you also find that sometimes people have a very different idea from what you thought it would be, from what somebody else described as the spheres. When you would say “the Spheres,” how would you describe it?

 

Guest 2: Basically, Steiner’s way to look at it. I guess the music from the different planets, it’s just the Cosmos basically. So, just those in relation to one another. I didn’t know if that’s what we were picking up in the Tones.

 

Eric: It’s a yes and no. The yes and no kind of works like this: You’ve taken one subject area and you just went, “…and the planets.” Now, it just went (imitates small explosion) to a big variety for me to tackle. It’s a yes and no. First of all, I don’t necessarily believe that you are hearing the sounds of the planet because now we’re going to get all scientific and try to understand it that way versus what not. On the same token, there are so many levels to entering into the Tones, it’s almost daunting.

 

I was talking to somebody the other day and they were discussing with me about hearing this beautiful music. What happens is as you move into the Tones, you can also kind of move out of what I call the “exterior of the Tones.” You will hear what is a wordless singing. It’s always, always profoundly beautiful. You will focus on it in such a way that you’re trying to make out what the hell [they’re] saying. It’s extremely, extremely hard to actually get it to verbalize. I often say it’s because the universe speaks in such a language that anybody will understand. It’s beautiful. It’s like you know it’s something very special and unique. You could be an alien. You could be from another country. It doesn’t matter what language it is. It’s almost as if there’s this sensory interpretation that any spiritual White Cell person will understand. They have this “dialing into it.” One of the things that they were talking about was it getting louder or softer. You think of it like the Tones. You think of it where it’s very soft but you want to bring it close to you. You can’t move in your normal, physical way. , so you have to find this way of movement like in water. It’s completely foreign.

 

I often say, “Don’t listen to it. Don’t try to listen harder. Admire it.” If you admire it like you’re enjoying it in the distance but you’re not really thinking about it, it’s kind of like a child or a pet that’s trying to creep up on you but they’re skittish whenever they see you look, so they kind of back off. They’re curious enough to keep coming closer. The second your mind observes, it jumps away. This goes right back to listening to the Tones. What’s true for the Tones is true for these. What’s true for these is true to moving spiritually out of your mind. It’s about thinking, or learning to think in a way that’s completely foreign to how we are communicating in this room right now.

 

When one says “the Spheres,” It’s hard to say because I’m not completely—I can’t say that I’ve delved into that format of what is presented. If I were to do that, I can go, “Oh, this is what they’re doing. This is what I would call it.” It’s very hard. I don’t want to misguide that information if I’m not 100% sure of what you guys would consider planets, spherical, or whatever. I’m assuming that it’s going to fall into this arena. It’s pretty profound.
You have these different variations of what sounds like music. These are states of consciousness that propel you or move you in. When I was talking the other day about changing the frequency within you and that defines how close you move slowly, life after life. Within this exterior of moving out of your body, you move into these higher planes if you will, almost merging into something. This is very much the same thing. As it’s merging into you, we think of it coming closer to us but the truth is that we’re moving towards it. It’s just a reverse mirror thing, it’s how we perceive it in an organic way. We think it’s moving towards us but we’re actually moving towards it. Like in car, you sit in a car and sometimes they’re pulling out and you kind of think, “Oh my god, is my car still moving?” You realize it’s like an optical illusion. It’s literally like that. You think you’re moving but you’re moving towards it, rather than vice-versa.

 

You have Tones that can get very loud. [There are] up to ten different frequencies on average. It’s very difficult to move past the third one, so don’t get discouraged with yourself if you find it very challenging. If you can go there, it’s great. Most people will do Tone practicing in bed, laying down. Other people will do it while they’re meditating. I would recommend meditating because you’re going to find if you do it in bed, as soon as you start to get really good, (imitates snoring). You’re going to pass out.

 

If you’re sitting again, that’s why I often say when you meditate, “You don’t want to lay down because you’ll fall asleep.” You’re telling your body it’s sleep time. If you’re standing, you’re too alert, it’s thinking about integrating with life. By sitting, you’re kind of saying you’re somewhere in the middle. You’re kind of semi-checked-out but you need to keep yourself checked in at the same time. Listening to the Tones, I would say to do it while you’re meditating. Practice with it and at first, you’re going to find that they’re extremely elusive. That’s the best way to explain it. To grab those Bars and hold them and to be able to have three of them going at one time and keeping it and observing where they’re coming from because they come from different points. This is a form of actual movement whether you realize it or not. You get better and better and better with it until you try to hold that third one and all of a sudden you’re going to be able to make it peel apart so you can hear the fourth one coming out of it. You realize [there are] actually two distinguished sounds rather than it being one, so now you’re getting more precise with controlling your consciousness to separate them. Literally, that’s what happens with every bar. They begin to separate because you use your mind to get them to come apart. The second your mind wanders for a second, they snap back together or they fade away. By almost holding all of these, you’re having a degree of this structure.

 

If you practice with doing the Bars, I would probably say—People are probably surprised when I say, “Just for a matter of five minutes,” because they think, “Oh, that’s such a small amount of time.” You will be surprised, it feels like a lot longer. It’s actually tiring to constantly work with something that you’re not really used to on a day-to-day basis. You have to almost build up an endurance and work with it. At some point, you may even become tired of playing with them and it’s not as amusing anymore. That’s because you haven’t figured out how to swim under the water yet. You’re swimming on the surface and you learn to enjoy those things but it hasn’t really dawned on you that you should be able to hold your breath and go under. When you go to do that, there’s, of course this reaction of, “Oh, I can’t breathe,” or, “The water’s going up my nose.” There’s that panic. That panic happens so quickly that it resurfaces you.

 

It’s about finding this comfort zone. What I was saying to the other person the other day is that once you’ve got the Tones in this way where you’re about three maybe four, don’t worry about five, six, seven, eight, and ten. It’s just ego at that point or you can go there, fine, do it. It’s good either way.

 

What you want to do is see if you can listen beyond the perimeter of the Bars. They’ll get very close and loud but you can let them go soft. You are trying to listen to something out there that’s a very, very faint distant sound. You’re going to hear this (imitates mid-range humming). At first, you’re going to think, “Oh, it’s a Bar,” but it’s not. It’s an octave of what seems like several voices all together, very beautiful girl voices or male voices or some kind of voice. The thing is that you want to now bring it in close. If you think about it, (imitates whisping noise) it disappears. If you focus on it, it disappears. It’s elusive to anything organic. It’s not of this realm and it doesn’t want to abide. It’s like two magnet pushing away from one another and the only way to bring it in is to really have very good disciplined consciousness. I often say, “Let it fall into you. Let it drift into you. Let it move toward you.”

 

What happens at first is you’re like, “How the hell do I do that? What the hell does that mean?” You’re frustrated because you’re trying to figure it out because my answer always is to stop trying. Drift, just admire it like it’s just there, like hearing it but I’m not like, “Oh, I’ve really got to hear what you’re all about.” You want to, but it’s like thinking without forward thinking. You’re learning to think down here and you’re learning to develop a different kind of sense in you that cannot be controlled in any way by this brain, this mind, that Babbler. It refuses to be controlled by it so you have to rediscover this other intelligence in you. This is hard stuff. This is not for junior league. This is for Buddhist monks, ten years in and they’re starting to kind of play around with this stuff. Once you do this, you can then hear this music coming in. It’s symphonic. It’s crazy beautiful and you let it move into you. You let it move into you. It’s almost like you let the Tone go into you and I often say it’s like electricity to metal, making it magnetic. It’s resonating your being. The second you have a Babbler or you start to reflect on it, (imitates whisping sound) it’s that fast gone. It’s like it just stops.

I’m sure people have accidentally, as a White Cell, heard this music, this beautiful music, and then it gets really loud. When you realize it, you’re realizing that you’re thinking about listening to it all of a sudden, because you’re like, “Oh my god, this is really beautiful.” At first, you’re just enjoying it. You’re in that moment. That’s letting it immerse with you. The second your conscious mind becomes aware of it, it’s almost like it spins the dial of sound right down. You want it back. You’re like, “Come back. I want…How do I…?” You know, intuitively, you kind of have to forget about it to try to get it to come back. Now, already, you’re trying to work with it. That’s ancient memory. That’s you having an older memory inside of you that remembers how to work with it, trying to awaken in your mind. It’s trying to figure out how to get it to come back. Am I crazy? Have you guys all experienced this?

Okay, well, that’s a very enthusiastic yeah. Alright. The more that you play around with the Tones, the more you’re going to learn to quiet your mind. You’re going to find that you can find immediate inner peace, no matter where you are. I often challenge myself, “How fast can I find the Tones in any environment?” So, the crazier and more disturbing it is, there’s like this thing. How fast can I get it? Boom, I’m there. I’m like, “Hell yeah. Got it. Yeah.”

Can I go to two? Can I go to three on a subway with lots of people? At a rock concert? If you really think about it, that’s you going into your zen. That’s when you’re in this operational state of consciousness. You find these Tones because it always corrects your frequency. I always say, “It’s like a chiropractor to the spine.” It adjusts your frequency. If you can hear it, you’re bringing your spectrum of vibration that moves through your body and you’re bringing it together which concentrates it. Then, all of a sudden you’re able to become aware or sense other anomalies, people that are maybe frequencies, or unusual or whatever. It’s what makes you able to separate them from everybody else or to sense or feel something as phenomena go. It’s about moving your centers and the fastest way to do that is to feel this sound or listen to it pull in.

 

Even if you can hit one Bar and just sit there for a bit and just move your mind without thinking, you’re kind of moving the Bar. You’re going to feel in you. Everybody thinks it’s something you hear and it’s very hard, even for me, talking because I want to relay to normal talking. The truth is, it’s always down in here. It’s a feeling. You move and you’ll feel it. It’s like a string is pulling between you and this other person. Amongst everybody else, it’s that person. It’s like it hits you. That’s how you know this is an anomaly or this is an unusual person or there’s something to this. That’s where you’re going to get brought into it more or decide to pursue it. It always starts off by centering yourself as quickly as you can. Grab that Tone if you can do it. The better your abilities are going to be when you can do it in any environment under any circumstances. If you can get to three, that’s pro level. That’s not easy to do.

 

Guest 2: Okay. The Tones are not only a movement thing but they’re also kind of a lesson in conceptual thought instead of linear thought? [37:15]

 

Eric: Yes, absolutely. It is literally the ultimate thing or skill to learn to—How does one understand what it is to leave your body? How does one learn to move around? When we think of astral projection, mind projection, thought projection, they’re truly all the same thing. We add a body to it. We add a silver string to it for security, because we’re afraid to get lost. I’ve never seen a silver string once but this was a genre-concept that was introduced into the psychology from the Silver Method, technically speaking.

 

This was never before stated. When you go back to true movement of consciousness, you’ve got to go back to aboriginals. You’ve got to go back thousands of years. They’re the ones that just got candy-coated like New Age stuff as it progressed by people who don’t know stuff and they just kind of say, “It’s this and that,” after they read a few things. They really don’t understand what they’re reading. In essence, how do you move? If I want to move across the room, this is like swimming. If you fall in water, you can’t walk there. You don’t know how to swim. You’ve really got a problem and you’re all over the place. This is what this orientation is and this is what keeps people ground and not allow their mind. They don’t have a way to relax and move that they trust.

 

The Tones are really teaching you to orient in a snow globe world, is what I call it. It’s like a ball within a ball. You turn it this way but the other one inside is kind of not cooperating in the right way. It’s only through practice, practice, practice that you learn how to move something in an unnatural way, but it makes it move on the inside the way you want. You don’t think about it anymore, it just becomes second nature. When you want to scan somebody, when you want to use your mind to reach into something, when you want to move your mind into time and space, think about how unique the idea of time to space is. We understand the concept. We think of time as something progressing and changing slowly. When you really think about it as energy, it’s really effed up for us to even begin to fathom. It’s like jumping in water. You’re all over the place flailing. You don’t know what to do with it. The Tones are literally one of the best bridges to move into training yourself to get into that point where you can move beyond yourself.

Again, it’s repetition, repetition, repetition. I’ll give you another very powerful “for instance.” Everybody thinks they know the Tones so well and I’m like, “Psh. I could do a year-long training on Tones.” When you see something move out of the corner of your eye and you look and there’s nothing there, we know it’s an entity nine times out of ten. You see at a higher frequency out of the corner of your eye because of the curvature. It’s like a prism or glasses that you see through to read with. It’s bending the ocular of the light. You’re seeing what is the density which is finite to us in direct vision, where you can see it out of the corner of your eye. You look, it disappears because the arc of your eye changed.

Now, there is a way if you can adapt, through holding Tones. You’re used to doing them in your mind and holding them, but if you can take that feeling and become aware of it in your chest—because it’s really all happening down here. This is the only thing that can control all of this outside. You’re just doing it from here whether you realize it or not.

 

If you sense the entity, if you sense something, this part can’t contain it, can’t grab it, can’t hold it, can’t touch it. It’s like evaporative. If you look at it and you can, in your mind, think of it as if it were a Bar, a Tone, you can use your energy to contain, to hold it. It’s like grabbing it with your hands. You can literally use your chest and move it so it’s moved. You will see the static field staying there. It may be very transparent, but it’s there. You, now, are developing a means to convey or communicate or defend yourself or to hold or to study more. Whatever you want to call it, it starts from the Bars. What you can do in the Bars translates to that dimensional place where the organic translates to this place. By utilizing your training and thinking outside the box, you now have an incredible tool to explore with in that sense, to become useful. It’s almost like when you scan something—For those of you who don’t know scanning, it’s like scanning a person, doing a reading from a distance, moving to pull data per se, finding a building or an object. If you go ghost hunting, you want to feel where the funky energy is. What are you doing? Nobody ever really thinks about that. If you really think about it, in your chest, you’re kind of feeling for where you think there’s going to be something going on or something of curiosity that’s drawing you.

If you move into Tones and you start to play with Tones and you can integrate that feeling, you literally can feel as if you have a way to grab onto that elusive thing that you’re feeling in that area. You’re going there, physically, again to look. Wrong! It’s the wrong way to do it. You’re going to have to physically walk there but what you need to do is physically hold yourself into narrowing down the precise spot that you think there’s an anomaly, rather than you walking into a broader area where you’re like, “Well, I feel something in this area.” Where, specifically, is there a source? You can do that through your chest center if you can make that, in your mind, the idea of it being a Tone or a Bar.

 

Keep in mind that this is kind of advanced stuff. It’s very difficult versus the warm, fuzzy, thinking about energy concept. It’s a much higher discipline in yourself. Good kung fu starts with good practice, repetition, practice, repetition, practice. That’s what makes the masters from the amateurs. That’s whether you’ve got the endurance to put that practice in and you’re going to find your skill level just immensely separates from everybody else, very quickly.

Go ahead.

 

Guest 3: Okay. Touching a bit on the Tones and on the heart as well, as you develop your Tones, usually when people are practicing whether it’s meditation or just listening to Tones, they’re are going to start strengthening in those abilities. Now, at times, things can happen overnight, as we know. Sometimes, you develop a little bit too quickly. So, for someone when that’s happening and you’re developing, it’s a very overwhelming feeling when you start learning or maybe honing in on your heart or your chest. For circumstances like that or situations like that, some things can be very overwhelming. What do you advise? It’s almost like a seclusion, like, I could hide out for days. No offense people, but people scare me.

 

Eric: No, absolutely. 100% correct. Yes. No, it’s very true. This is where you have people who call in and they’re like, “I can’t hear the Tones. I don’t really think they exist.” We get phone calls like this. We’re nice and we try to explain it to them and they listen and they go, “Alright, I’ll try it.” Then, they call up and hour or a day later, “I can’t make it stop!” What’s happened now is the Tone, at first, is faint. You’ve got to figure out a way to get it to come towards you. Once you do that, there’s something in your head that now has clung to it and you can’t undo it. It’s like you’re so aware of it that you keep observing in this other place like it’s stuck. It can literally be maddening.

We’ll often say to people, “Look, turn on a radio. Watch TV.” At first, you’re going to hear it because you keep checking in. As soon as the movie—get a good movie—gets your attention, it somehow lets go of it. Then, you can start watching the movie and you’re like, “Okay, it’s gone.” If you start to look again, you’re going to, at first, not hear anything. Without thinking about it, you’ve trained yourself to be so acute, you start listening in that other way. You’re moving with the water, swimming like this. This is where it can become exhausting. You have to find ways to dial out and usually that’s to get yourself to watch a movie or listen to music or integrate with other people.

As soon as your mind engages, you’ll find that it drifts away. If it can stay for a day or on and off, communicate with someone. It’ll fade away to where it’s not so easy anymore to get in. Unfortunately, there’s not a hundred percent, easy fix-all. Give them a good smack and “snap out of it!” It is something that’s a bit of a challenge and it can get very [nauseating] or scary for someone when they think, “I can’t control it! It’s out of control!” Again, you have to fixate on something and usually—I’ve been doing this my whole life. What I see is eventually they’ll either go to sleep or they’ll check out and then all of a sudden they wake up and it’s gone. They kind of move on with their life because somebody called them and they had to focus on that. They forget and then they’re good. They will snap out of it eventually.

 

Guest 3: I’ve noticed a difference in equilibrium, because it really is like a screaming to the point, where I can pick up and hone in on those frequencies because they’re so loud now that something like conversation, somebody could be sitting in front of me and I’m constantly like letting people know, “I’m sorry, I have difficulty hearing with this ear. Could you repeat yourself?” So, I’m not longer picking up] the language but I can hear sounds from so far. I’m like, “Wait a minute, it’s like you need to—” I can’t bring it in.

 

Eric: There’s an old saying, “belly breathing.” There is a truth below your belly button as we meditate that by just focusing on that, it usually takes all of those senses and brings them down. It turns it down. If you find that it doesn’t work immediately for it, I would say, “Get into the habit of just meditating a few times to start training yourself to isolate your mind to go there.” It usually works pretty quickly. If you just let your mind go, you just focus on that spot, you breathe in slowly. Sometimes I say, “Breathe in slowly from that spot.” You use your imagination. Imagine you’re breathing in and breathing out from there.

What happens is that it starts to draw in that sensory that I talked about. It kind of pulls it in. If you move to your chest, what are your doing? You’re going to that water movement. You’re starting to feel from your chest and that’s going to increase the sensory. It’s going to do all of these things. Mind is a little bit different. Again, I would probably say, “Practice, practice, practice down here,” so that when you really need to bring it in because it’s becoming too intense, it seems like a very simple thing but it’s a very, very highly effective process once you learn to focus on it. It literally will tone it down.

 

The other thing you can look into are things like orange juice. I often consider the fact that the biological body is often 80% at play with anything we do spiritually or psychically because it is the medium by which we have to process thought. Anything that we experience, it still has to be sorted in context in our brain in order for us to reference it. We’re rooted in this dimension.

 

I find that when I start to really bring up my Kundalini or bring up my energy, I will deplete the sugars in body very rapidly and I need to re-hit that source up to bring it up. It’s not like I’m running or doing anything. It’s literally energy burning in the muscles. I would say that when people sometimes go heavy into the In-Between, one of the things I’ll say is, “Drink some orange juice.” For some reason, it’s the sugar or the alkaline or acidity in there, whatever it is, it works very quickly and it helps to tone down this hypersensitivity that the nerves now are being almost “toned up” to deal with the psychic level of pulling the data. It’s like coming too fast for it.

 

Guest 2: It’s like a heating. It’s almost like your heart heats.

 

Eric: As I was showing you guys the other day, I was sweating. I was up here and I was just roasting. I was like, “It’s so hot in here,” and the other day I was complaining about how cold I was. You guys were like, “No, it’s cold,” and I was like, “Look, I’m sweating. I’m drenched. You can feel the heat coming off me.” This is a very physical reaction, organically. It’s not a cosmic heat, but it’s a cosmic energy that the body recognizes as being real and it’s reacting to it. This is what’s creating this intensity. Your heart will flutter.

 

A lot of times, when people release Kundalini from their back, you get muscle spasms up your back. These are legitimate things where your organic body is reacting to something that’s intensifying the nervous system. I hate to say it, but sometimes I’ll go right to ibuprofen. The ibuprofen tends to be a muscle relaxer to a small degree and when I work too much—

 

[There are] times when I’ll work on cubes. In fact, [there are] some spots on my hands now where my hands get so hot I get burns. They literally will make blisters on my hands. It looks very weird because it’s kind of a weird spot to have it. My body is reacting to that phenomenon. You can’t just say, “Oh, I’m just going to wave the energy off of me.” Sometimes it’ enough, but sometimes you have to say, “I need to look at the biochemical [aspect] of what my body is doing because clearly, it’s doing something to react to that energy.” You’ve got to kind of work and compensate those two and always be aware of where you’re at physically with it.

Guest 4: Great day, Eric, and to all. In regards to the Tones, I’m very familiar with them. I didn’t know what they were. I was in grade school. I thought the music class was in session and I looked around and I was like, “Nobody hears that?” Then, as I’ve gotten older, they start to come every now and then. At certain points, they begin to get more so high in frequency, very tone but only in experiencing that in intimacy with my wife. Right? I would ask her, “Do you hear that?” She said, “No.” And I’d say, “You sure you don’t hear that?” Right? It would get stronger like five minutes afterward. I’d say, “Oh, I gotta sit down.” She would be like, “Ohh, are you sure you hear something?” I’d say, “Oh, I hear something.” Now, you’re saying to let the Tones naturally occur.. I’m saying with me, it just came and it got stronger as it began. [51:43]

Eric: This is a good question. I could go on about this for a very long time. There are different kinds of tones that occur. There’s the kind where you’re just sitting on the couch watching TV and you hear this (imitates high-pitched ringing). After a while, it goes (imitates fading ring). It disappears and you’re like, “What the hell is going on?”

 

There is tinnitus where you’ve damaged your ear and now all you can do is hear the Tone all the time. That’s different than hearing the Tones. It’s high-pitched, but it never goes away, ever. It’s enough to drive somebody bat-shit crazy and there are people who become suicidal because they’re like, “I can’t deal with this anymore.” I’ve dealt with people who were on ships where they actually were in the machinery for the ship engine and they damaged their ears. It would literally just be a constant ringing. You have to know that there are some differences.

 

When you hear that high pitch, it comes off very soft and it gets very loud very quickly. It’s very loud and then eventually it goes off. This, here, is what’s considered a conscious shift. Something in your mind, in the back of your mind, is shifting immensely. There’s kind of an awareness going on. When it happens very quickly, you hear this high-pitched sound. This is what’s going on. It’s not a bad thing. It’s kind of a good thing.

 

I often say, “It’s kind of like in the movie the Matrix, where he sees the cat go by twice and he’s like, ‘Oh, deja vu.’” When you hear this pitch go on, pay attention to the next few hours, what happens. Something is going to be unique that if you’re not paying attention, you’re going to be dismissive of. Either somebody’s going to call you or be out-of-the-blue like, “Hey, I really need you to come here. Something happened.” Either people were thinking about you or you’re needed or something’s going to impose itself on your life or something. There’s usually a correlation and it’s happening so abruptly that it’s ringing very loud. I often say “we’re all connected, alisoné,” but it’s so normalized like the shimmering on the water, that we don’t really feel it. We just kind of mundanely move on. The only time we separate is becoming more spiritual. We lift off of that. We separate from the grid.

Now, the reason why, when you’re making love or you’re in that moment, you’re actually shifting your consciousness. You’re hearing that tone because it’s the same thing. You somehow, indirectly, have learned to swim in a sense, without realizing you’re doing it. It’s to say that when you hear the faint tone and you start to practice with it, it stays away. The second you let your mind go but you’re paying attention, it gets really loud. If you pay attention, this is self-observation. This is the key. This is the key to everything. When you start to hear it, you’re all of a sudden going, “Oh, here it comes again. Yeah, I know,” and it’s going to get louder (imitates ringing fading in) real quick. You’re not listening. You’re so used to it that you’re swimming towards it. You’re bringing it towards you.

 

I would say, “Be very attentive to what you’re doing at the same time,” but I would ease your mind and try to see if there’s a second one out there. I assure you there is. Do the same thing, almost like, “Oh, there it is, but I don’t care about it. I’m so used to it.” I already know it’s going to get louder and that’s what you’re doing with the first one. You’re kind of not directly acknowledging it but you’re acknowledging it because you’re so aware of it. Now, it’s all that you can hear.

 

What you want to do is you want to bridge that into a useful way, to the second one, and see if you can find it. Maybe even the third. She might go like, “Hey! Hey! Back here! What are you doing?”

 

Guest 5: No, actually he tells me to be quiet!

 

Eric: Right. (laughter) Well, I was joking! I was like, “Hey, here!”

 

What you want to do is—It’s so hard to explain this. It’s like there’s not really something I can think about in our everyday life that I can say, “It’s like this,” or “it’s exactly like that.” It’s something that when you don’t think about it, it comes to you. When you think you’re thinking about it and it’s coming to you, it’s because you’ve already retrained your mind. If you go back to some earlier time, you’re going to realize that you noticed it very faint and you tried to listen to it but it wouldn’t come to you and you learn to somehow switch your thinking to get it to come towards you.

 

Oh god, I wish I had a way to explain this. This is like a trailer. I was saying this the other day. If you’ve ever tried to park a trailer from your car and you turn the wheel to kind of back in like you think you’re going to back in, the damn thing always goes the opposite way. In your brain, it’s like one of these bicycles that are trick ones from a carnival. This here is not syncing up to what you’re doing down here.

 

They got on there and they ride around and they’re like, “Oh, you’re an idiot! You can’t do this,” because they’ve spent months practicing to get it right. They’ve trained their body to adapt. This is what’s happening: at first, it’s far away and you’re trying to get it louder and it’s doing this. At some point, you’re like, “Whatever,” but it’s school. Usually, most people learn to do it in school. For me, grammar school, high school, or something. You’re at your break or whatever they used to have and you’re daydreaming. Your mind is wandering but you’re here but you’re not here. You kind of know you’re in class but your mind is starting to see pictures. You’re daydreaming or whatever.

 

You’re hearing something and you learn to listen but not listen. You’re largely in the room because you’re hearing pencils fall or people scuffling around. There’s this other part conscious and you’re conscious of it but not fully. In essence, you learn to make the sound louder and without realizing you’re doing this, you’re learning how to ride that bike now. You’re teaching yourself through this repetition, you just don’t remember doing it. You don’t remember how you got it down pat. Now, it’s there and it’s like I was saying before, “Sometimes it gets so loud and you want it to stop, but you don’t know how to get it to stop anymore.” It’s like your mind is so aware of it that you can’t stop acknowledging that it’s there. That’s what keeps it there. It’s this kind of weird, reverse kind of thinking. In this place, this is what you’re learning to do because you can’t walk in that place. It’s a whole different kind of reverse thinking that intuitively, you would think, but you can learn to do it.

 

 

When you have that sound and you’re paying attention it, what you want to do is accept it, but I want to start without looking, see if you can become aware of any other sounds and then see if you can admire it but not try to draw it in. Don’t try to hard-listen to it. Admire it like a symphony is playing and [there are] twenty instruments. You want to focus on one particular one more so than the rest. You can hear everything else but that one, if you focus on it, becomes clearer and louder and better, yes? You’re trying to do the same thing. You’re trying to find that distinctive sound that was hard to hear and once you focus on it, it gets clearer and better because your mind is able to focus on it more. It’s almost like it’s coming forward, it’s getting louder. You’re shifting. You’re doing exactly that.

 

Guest 4: She comes over and she can tell I started shifting. [60:20]

 

Eric: Well, that’s what it is. I bet if she looks at you, she can see that your eyes are kind of dilated a little bit like you’re going in there, but you’re not going in there. You’re going out, it’s just a different way.

 

Meditation, if used properly, will show you how to move the currents of your mind into a better life, a more prosperous life—consciousness expanding, memory improvement, inner balance, Higher Balance. Most of all, discover who and what you are, and what you can do. Join us at Higher Balance Institute. We’ll help change your world.