consciousness screen

Memories Are Being Recycled Using The AGRA Acronym

There is nothing new under the sun.”

A.G.R.A is an Acronym for:

A: A Study in Pink / A Scandal in Belgravia

G: Great Game

R: Reichenback Fall

A: A Scandal in Belgravia / A Study in Pink

TST gave us a new acronym order on screen during Mary’s flashback in Georgia: GARA.

Oh good. I love acronyms. All the best secret societies have them.”

G.A.R.A is an Acronym for:

G: Great Game

A: A Study in Pink

R: Reichenback Fall

A: A Scandal in Belgravia

How it Works: Callbacks/memories from these four episodes repeat continuously in a pattern starting with MHR and ending with TFP. It’s like a stream of consciousness on the screen.  

Is this merely a stream of consciousness abuse?”

MHR

A: Anderson wearing a similar sweater to John in ASIP

G: The pink phone from TGG

R: Sherlock faking his death

A: Sherlock winking

G: Sherlock’s return in Series 3 is a cliffhanger

TEH

R: Flashback to TRF, Richard Brook, Sherlock’s Grave

A: Mycroft saves Sherlock from being killed by a lead pipe vs Sherlock saving Irene from being killed with a sword

G: Trains Trains Trains. John on a train vs John on train tracks

A: Flashback to ASIP “You invaded Afghanistan!”

R: Reference to Moriarty and his network

A: “I am not gay” to Mrs. Hudson vs “I’m not actually gay” to Irene Adler

G: Sherlock disguised as a waiter vs. Sherlock disguised as a security guard

R: Moriarty’s fake kiss. Sherlock begins to explain the fall to John

A: 13 possibilities vs 13 rows in Bond Air plane. “I’m not lonely.” “How would you know…” vs (“Sex doesn’t alarm me.” “How would you know…”). Sherlock’s shadow on door when Mrs. Hudson sees him again for the first time also happens in ASIB

G: Bomb in train car vs bomb strapped to John in TGG

A: Anderson’s sweater similar to John’s in ASIP

R: Sherlock’s explanation of the fall to Anderson. We see Moriarty again.

A: 1:29 on the bomb

G: Bomb doesn’t go off just like the bomb in TGG doesn’t go off

R: John asks Sherlock if he will tell him how he survived the fall. “I asked you for one more miracle”

A: Sherlock putting on the deerstalker and walking out to meet the press

G: TEH has a cliffhanger (Cam watching the video at the end).

TSOT

A: Mrs. Hudson’s husband. “I’m a high functioning sociopath.” Harry’s alcoholism. Mike Stanford. “So hard not smoking.” Eyeball in cup of tea vs eyeballs in the microwave

R: “Tragic Loss. Sorry about that one.” Reference to Sherlock faking his death.

A: “I know Ash.” vs “I know human ash.” And his partner, John Hamish Watson.” Sherlock using sliding magnifying glass when cluing for looks (this is a callback to TGG as well)

G: The stag night is similar to Joe Harrison and Westie’s stag night at a bar. Alka-Seltzer fuzz is similar to the fuzz when Sherlock is testing blood from Janus Cars in lab. Also used in the show’s opening titles.

R: Courtroom for MP scene vs courtroom for Moriarty’s trial

A: “John Hamish Watson” “The Woman she knew.” Irene Adler. Vatican Cameos

G: “I have to delete something,” on the steps to Sholtos’ room vs “I’ve must have deleted it” in the beginning of TGG where Sherlock explains he only remembers information he finds relevant

HLV

R: CAM’s pressure points vs Moriarty saying “Everyone has their pressure points.” Same red writing is used on the hotel video for the jurors as on screen during CAM’s pressure point scenes

A: John dreaming (flashbacks) of the first time he met Sherlock in ASIP while in bed with Mary

G: John has started riding his bike, and goes to a crack house. Joe Harrison rides his bike and sells drugs.

A: “The Game is on!” Anderson looking for drugs in Baker Street

R: Sherlock is a celebrity in the newspapers

A: Janine in Sherlock’s bedroom vs. Irene in Sherlock’s bedroom. Sherlock trying to obtain Lady’s Smallwood’s letters about an affair from CAM’s safe vs Sherlock trying to get pictures of an affair from Irene’s safe. Fireplace parallels as well.

G: Sherlock telling John he’s put on weight since getting married vs Sherlock telling Molly she put on weight since dating Jim from IT.

R: Sherlock explaining to John about the keycard to get in CAM’s Tower vs. Sherlock explaining to John about Moriarty’s keycode to break into the Tower of London.

A: Sherlock falling backwards after being shot by Mary is similar to him falling backwards after being drugged by Irene

G: Louis Moffat playing young Sherlock Holmes. He was the voice of the kidnapped kid in TGG

A: Stairs from ASIP and the hallway where John shot the cabby and saved Sherlock’s life

R: Moriarty. “Off you pop”

A: “The Woman will cry.”

G: John hugs Mary vs John “hugging” Moriarty at the end of TGG

R: Tabloids. Janine in tabloids wearing the hat vs tabloid newspapers in TRF “Why is it always the hat, John.” Beehives vs The Bee Gees (Stayin’ Alive)

A: Red rose from Irene Adler in Sherlock’s hospital room. Lestrade saying he will take video of Sherlock in the hospital.

G: Sherlock vanishes through window vs Joe Harrison going through a window

A: The lie (Mary) hidden in plain sight

R: Mary faked her death vs Sherlock faking his death.

A: Christmas with the parents vs Christmas at Baker Street

G: “The Watsons are about to have a domestic” vs “Did you two have a little domestic?”

A: Irene’s theme is played so dramatically, it’s hard to ignore. Flashback to Christmas with the parents.

G: The AGRA memory stick vs the memory stick at the end of TGG. Mary’s past is similar to Westies (top secret spy)

A: Mary saying to John, “You don’t even know my name” vs John saying to Sherlock in ASIP “I don’t even know your name”

R: “Sodded lawn.” vs “Sod this”

A: “Low tar.” “Your loss would break my heart” vs “Caring is not an advantage. All hearts are broken in the end.”

G: “I’m not a hero.”

A: “Do your research, I’m a high-functioning sociopath.”

G: Red laser lights from snipers on Sherlock. Louis Moffat playing young Sherlock Holmes.

A: The plane on the tarmac vs Bond Air plane on the tarmac. “If you’re looking for baby names.”

R: Moriarty’s return. His face on TV screens vs his face on the TV in the cab

TAB

Opening Montage of TAB

A: Unzipping the body bag

G: Dressed up as a security guard

A: Riding crop, John meets Mycroft, “The Game is on!”

G: “Don’t make people into heroes, John.” Bomb strapped to John. “I’ll burn the heart out of you.”

A: Naked Irene Adler. “Are you wearing any pants?” “This is how I want you to remember me.”

R: Moriarty killing himself on the roof

A: Sherlock and John running through streets of London after the cab

R: John and Sherlock handcuffed. “We are going to need to coordinate.” Sherlock’s grave. “I asked you for one more miracle. Don’t be dead.” “I heard you.”

TAB Begins:

A: Recreation of John and Sherlock meeting for the first time in ASIP

G: Sherlock looking out the window, “The curtain rises…”

R: Emelia Ricoletti shooting herself in the mouth vs Moriarty shooting herself. Peter Ricoletti. “How could he survive…”

A: “Come when convenient…”

G: Sherlock doesn’t know how the solar system works

R: Diogenes Club

A: “I thought I looked rather enormous” vs “Putting on weight again?”

G: “You see but you don’t observe.” “Legwork”

R: Orange pips sent to Eustace in envelop vs Breadcrumbs sent to John in envelop. “Means death”

A: “A dead woman walking the earth” vs “you’re a dead man walking” (Jeff Hope)

G: “The Orange pips were a reminder.”

A:  Picture of Irene Adler. “You’re human.” vs “People want to know your human.”

R: Breaking glass vs. Moriarty breaking the glass at the Tower of London

A: Lestrade saying the body (Eustace) had a note vs. Jennifer Wilson having left behind a note. Sherlock rushing down a staircase.

G: “Putting on weight?” vs “How’s the diet going?”

R: Moriarty scene at Baker Street. Emelia Ricoletti vs Peter Ricoletti

A: “Dead is the new sexy” vs “Brainy is the new sexy”

G: “Putting on weight?

R: Ricoletti and Moriarty.

A: The deerstalker is introduced. “You’re Sherlock Holmes. Wear the damn hat!”

G: Spies

R: Ricoletti shooing herself. A substitute corpse. “You can’t kill an idea once it’s exist” vs “you can’t kill an idea, can you?” “Molly Hooper found a body for me when I…” The waterfall with Moriarty.

A: Sherlock looks out the window, exterior shot vs the same exterior shot at the end of ASIB

TST

G: Moriarty. Classified top secret with Mycroft.

A: “High functioning sociopath”

R: “I’m glad to be alive” vs “staying alive.” Moriarty’s revenge after dying on roof

A: Sherlock stabbing the mantel vs stabbing the mantel the first time him and John visit Baker Street

G: John blogging

R: “The spider makes his move” vs “Moriarty is a spider with a web, etc.”

A: “Come back, it’s the wrong thumb” vs Mrs. Hudson saying “Ugh, thumbs!”

G: “You see, Watson, but you don’t observe.” (Baby Rosie throwing the toy in Sherlock’s face)

A: The Six Thatchers case from John’s blog. Using magnifying glass. Dead body in car.

R: Moriarty flashes on screen. Black pearl vs Moriarty’s diamond in the Tower of London

A: “Then he becomes a pirate for some reason.” vs “But initially he wanted to be a pirate.”

G: Sherlock looking into his white microscope, testing blood vs testing blood in Carl Power’s case. Pets are so loyal. “A noose to hang my neck in” vs “Hanged, yes.” “Like hiding a tree in a forest.”

R: Mentions of Moriarty. Glass breaking.

A: “Tell her she’s a dead woman walking” vs “You’re a dead man walking” (Jeff Hope)

G: The memory stick

A: Ajay falls backwards as he is drinking and lands in his room, passed out vs Sherlock falling backwards and landing in his bed after being drugged

R: “Ammunition” vs John tells Mycroft he gave Moriarty ammunition

A: Mary drugs Sherlock vs Irene drugging Sherlock

G: Memory stick

R: A note to John

A: Plane vs Bond Air plane. “You’re at my mercy” vs “Beg for mercy”

G: The curtain rises (text to Mary)

R: Mary’s DVD’s vs “I’m a storyteller. It’s on DVD.” John’s note to Sherlock vs Sherlock’s note to John

A: 13 on the post-it note on the refrigerator vs. 13th row on Bond Air plane

G: Cliffhanger with John’s note and Mary saying “Go to hell, Sherlock.”

TLD

(The opening shot of a gun firing could fit in here as John’s gun from ASIP)

R: John’s therapy session with Eurus looks similar to his sessions with Ella in TRF

A: Faith with walking cane vs John with walking cane

G: Sherlock looking out of window onto the street vs Sherlock looking out the window watching John crossing the street

A: Flashback to John with his cane. The whole scene with Faith Smith. Walking around London, eating, Mycroft spying on them. “Amazing” Gun in handbag vs gun in drawer. Throwing the gun in the Thames. Serial killer. 

R: Talk of suicide. Sherlock on the ledge of a bridge vs Sherlock on the ledge of Bart’s Hospital

G: Sherlock shooting the wall

A: Sherlock in the boot of the car vs the dead guy in the boot of the car in ASIB

R: Mrs. Hudson’s having a slow-motion “earthquake” with the tea spilling vs the man at the Bank of London in TRF in slow-motion with his tea rumbling and spilling. Handcuffs vs Sherlock and John handcuffed. Therapy.

A: “I’m not your housekeeper!”

R: “You pretended to be dead for two years!”

A: “The game is on,” said Mrs. Hudson

R: “Thought this was some sort of trick…”

A: Hiding in plain sight. Texting Faith vs Texting Hope

R: Nurse Cornish is a big fan vs Kitty Riley being “a fan.” Both take place in and near the restroom

A: Wear the hat. The queen, her majesty.

R: Bliss vs Domestic bliss

A: The game is on.

R: Return to Bart’s Hospital

A: Morgue with dead woman vs Morgue with “Speckled Blonde” or Morgue scene with Irene’s fake dead body.

R: Culverton’s keys vs Moriarty’s keycode. They can both go anywhere they like.

A: Faith with walking cane. John leaves behind his walking cane as he did in ASIP. Mycroft sends car to pick up John. Mycroft looking for drugs vs Lestrade looking for drugs at Baker Street. John deduces there is a secret brother vs Sherlock deducing John’s sister

R: Mary’s DVD vs Moriarty’s DVD

A: John rushes to save Sherlock from killing himself

R: “Off you pop.” John uses a fire extinguisher to break down the door vs Moriarty using a fire extinguisher to break the glass at the Tower of London. “There must be something comforting about three” vs “Your three friends in the whole world will die.” Molly is the fourth.

A: Irene’s text message. Sherlock wearing the hat

R: The “Miss Me” in black light vs “Help Us” in black light. John in therapy. Eurus with gun on John =  Moriarty’s snipers on John

TFP

A: Eye opens vs. John’s eye opening in ASIP

G: TLD left us with a cliffhanger, and John in danger

A: Bond Air plane with sleeping/dead people and the same child actress.

R: Moriarty’s voice “Welcome to The Final Problem.”

A: “John might like to call his daughter vs Why would Jennifer Wilson still care about her daughter

G: The bomb at Baker Street

A: “The pirate.” vs “But initially he wanted to be a pirate.”

R: The guards and the security cameras. Sherrinford Prison = Pentonville Prison. Sherlock walks into Eurus’ cell while she plays the violin, her back is turned vs Moriarty walking into Baker Street as Sherlock plays the violin, his back is turned. Moriarty says Bach would be appalled vs Eurus saying “Not Bach, play you.”

A: Sherlock plays Irene’s theme. Vatican Cameos.

R: Moriarty with head phones and dancing vs the entire sequence of him at the Tower of London with the Crown Jewels. The guards escorting him. The security cameras are similar.

A: Christmas. Moriarty.

R: Five minutes between Sherlock and Moriarty. Moriarty in front of the glass cell vs Moriarty in front of the glass with the Crown Jewels. Sherlock and Moriarty shown next to each other in a cell in TRF.

A: Little girl on plane

R: Moriarty’s Final Problem

A: Little girl on the plane

G: Moriarty going “Choo Choo…” trains and more trains

A: The walls of the second room are red and gray, and similar to the walls where Jennifer Wilson was found dead.

R: Moriarty

A: Bond Air plane and little girl. John says Irene Adler loves Sherlock

G: Molly’s “I love you,” scene is set up like the scene in TGG with the painting and the Super Nova.

R: Moriarty. “Took her only five minutes to do this to us.”

A: Little Eurus in John’s sweater from ASIP

G: Little girl on the plane says, “You mean where the driver is?” vs John talking to the train guy in TGG: “What about the drivers?” “They’ve gotta live with it, haven’t they?”

R: Moriarty’s revenge

A: The plane!

R: Time to solve the final problem

A: Young Eurus wearing John’s sweater from ASIP

G: Shot of pool from the TGG

A: Young Eurus in John’s sweater from ASIP

R: Gravestones. Cemetery vs the cemetery at the end of TRF. Arresting Eurus vs arresting Moriarty.

A: John in shock blanket. Lestrade saying his line “He’s a good one.” Shot of Sherlock opening the body bag and John in bed from ASIP. “You know where to find me…” text.

G: Sherlock shooting the wall

A: Sherlock stabbing the mantel

The Lost Special: The pattern ends with Sherlock shooting the wall and stabbing the mantel. Mrs. Hudson told us what these two actions mean. The case is still unsolved and there are still unanswered questions.

In the Western world we have become accustomed to the thinking of spiritual concerns as being distinct from everyday life. We think of the spiritual as being other worldly, and therefore those art forms that portray spiritual subjects do so with symbols of the divine that transcend everyday materiality.

But in the art of Chinese Zen Buddhism one finds a supreme concentration on the most common aspects of everyday life. Even when the great sages of Buddhism are depicted, they are rendered in a secular style, just like very ordinary people. The significance of this extremely human portrayal is that it shows us that their attitude about about the relationship of the soul to the body and of mind to matter is entirely different from ours - in fact they do not really consider the spiritual life in those categories at all.

We feel that our soul is separate from the body, that the spirit is separate from matter, and by extension that God is separate from the world. And as we have confronted and tried to reconcile ourselves to this material world we have come to identify ourselves as a kind of detached soul, and therefore we have come to feel that there is a problem with material existence. We believe that life is something that we must conquer, or something we must somehow get out of. But either way we feel distinct from it, and think of ourselves not as part of the nature material world, but as separate from it, dominating it, and trying to master it.

The art forms of Chinese Buddhism, however, express quite a different point of view, a point of view for which the material, everyday, ordinary world is not a problem to be solved or a conquest to be made.

It would be a bit of a relief for us if we could see the world as an extension of ourselves, and ourselves as an extension of the world. In order to understand how Zen came upon this view one must consider the environment in which Zen first arose, which was the native Chinese world of Taoism. When Buddhism first came to China it was most natural for the Chinese to speak about it in terms of Taoist philosophy, because they both share a view of life as a flowing process in which the mind and consciousness of Man is inextricably involved. It is not as if there is a fixed screen of consciousness over which our experience flows and leaves a record. It is that the field of consciousness itself is part of the flowing process, and therefore the mind of man is not a separate entity observing the process from outside, but is integrally involved with it.

As a result, in this philosophy the fundamental conflict between the mind of man and the flow of life is seen to be an illusion, something unreal that we have imagined. This illusion arises because the human memory is part of this flowing pattern that has the ability to represent former States of the pattern, and this gives the impression of a certain permanence to the behavior of the pattern. We must be aware, however, that our impression of permanence is a kind of thought process that appears to be separate from the pattern upon which the record is written, but is really part of the pattern as well.

The practice of Zen is to experience the overall pattern directly, and to know one’s self as the essence of the pattern.

—  Alan Watts, What is Zen?

When you know that everything that is happening is only appearing on the screen of consciousness, and that you yourself are the screen on which it all appears, nothing can touch you, harm you or make you afraid.

Annamalai

Ego is an Illusion

Ego is unreal, a mirage, a facade, bullshit.

Ego is synonymous with the ‘me’, personality, identity, self, mind. All of these terms refer to the concept of a personal identity structure.

The ego is only a concept. It doesn’t exist in reality. The Buddha referred to this Truth as anatman, meaning no-self.

Understand that it’s not that a buddha has removed the ego and that an unenlightened person still has an ego. A buddha comes to recognize that there never was an ego to begin with. Nobody has an ego. There is no such thing as ego. Enlightenment is simply the recognition of this timeless Truth in one’s own being.

One at a time, thoughts arise in consciousness and pass away into consciousness. Consciousness itself is void, like a blank screen.
Thoughts are simply fleeting projections on the screen of consciousness.
The concept of ego is based upon these thoughts that come and go in consciousness.

Consciousness is Real.
Ego is unreal.

The unreal never is.
The Real never is not.

The following animations represent an inquiry into what ego really is. The black represents consciousness. The white represents the thoughts that arise and pass away in consciousness.

The high speed at which thoughts come and go allows for the illusion of the ego to persist. By slowing down the rate at which thoughts come and go, one is able to see clearly that the ego was always only an illusion.

In this first image above, there appears to be a complete white square, representing the ego structure. The ego appears real and tangible as thoughts arise and pass away with little to no gaps in between.

This next image above represents how the ego structure appears when one begins to inquire into it. The white lines, representing thoughts, are recognized to be flickering at a high speed. Thoughts are coming and going, but still, there appears to be a complete square, representing the ego.

This next image above is the same as the previous, only slowed down. As one becomes more observant in their practice of self-inquiry, they’re able to notice that the appearance of a complete square begins to appear less and less real. The gap between thoughts becomes more apparent. The ego is beginning to be exposed as illusion.

As the next image above slows down even more, one becomes sharply observant and they discover that there is in reality no true square which represents the ego. There never was. There appears to be each of the four sides of a square, arising one at a time, but the square itself cannot be found.

In the same way, thoughts arise and pass away, one at a time in consciousness. Together, they don’t make up any real identity structure. In reality there is no ego and there never was. When you look hard for the ego, you can never find it.

In the first image there appeared to be an ego structure, represented by the white square. When slowed down, the final animation reveals the Truth that there was never a real complete square, only the illusion of one.

These images are a conceptual representation of no-self.

Like a mirage, ego appears to be real until one takes a closer look. Upon looking closely, it’s revealed that ego doesn’t exist, never existed and will never exist.

Upon the realization of no-self, the illusion of ego will persist, but it will never be taken to be real ever again.

Tsukinami Carla Dark 08

* Translation of: Dark Fate - Tsukinami Carla - Dark 08
* You can click on the (x), if not then it’s not translated yet.
* Putting it on a read more, because it’s long.
* Enjoy!

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When you know that everything that is happening is only appearing on the screen of consciousness, and that you yourself are the screen on which it all appears, nothing can touch you, harm you or make you afraid.

Annamalai Swami

Merging in Happiness

Everyone deserves happiness and bliss, happiness without a tinge of sorrow. At the same time everybody loves their own self best.

The cause for love is only happiness. So, that happiness must lie in one. Further that happiness is daily experienced by everyone in sleep, when there is no mind. To attain that natural happiness one must know oneself. For that, Self-Enquiry, ‘Who am I?’ is the only path to dwell upon.

Existence or Consciousness is the only reality. Consciousness is the screen on which all the pictures come and go. The screen is real, the pictures are mere shadows on it.

When the subtle mind emerges through the brain and the senses, the gross names and forms are cognized. When it remains in the Heart names and forms disappear.

Where there is not the slightest trace of the ego, there is the Self. Merge with the Source.

By K.Nagori

Recognising the Self

Mooji, could you explain self-inquiry? How do I actually begin?

Begin like this: I am, I exist. This is the most natural recognition and knowledge. The sense of existence is spontaneously felt in you as ‘I am’. No one taught this to you. Be aware of this simple intuition, without associating it with other thoughts. Feel how it is to be simply present in this instant, without holding onto any intention. Don’t touch any thought of doing something special. Keep inwardly quiet. If suddenly a wave of thoughts should come, don’t panic. There is no need to control or suppress them. Simply let them play without your involvement. Observe with detachment. Remain empty of intention. Keep quiet.

Imagine you are standing on a platform at the railway station. One by one the trains come—they stop, doors open, doors close, they move on. You don’t have to get on. Like this, simply observe the thought activity appearing on the screen of consciousness without connecting up. Don’t log on. Thoughts and sensations will be seen to move on by themselves, without being forced. Stay neutral. Be with the awareness as awareness itself. Feel the breath moving effortlessly, without will or strain. Observe the senses functioning, the sense of outer and inner; any movement is just happening by itself, unplanned and unforced.

Whatever arises as thought, feeling, movement or sensation is quietly observed, only now there is less interest, less pull. All is arising; your self is not aroused. All this is smoothly observed. Even the sense of self, the feeling ‘I am’, is appearing inside the awareness. Make no greater effort than is required. You are here. That which is neither doing nor undoing, neither directing activity nor being affected by activity, which is effortlessly aware yet unconcerned, that is your real self. Not behind nor in front, nor above nor beneath, for it is not another phenomenon. It is unplaced, unborn, boundless awareness-self.

Now, observe the observer: ‘Who am I?’ Check inwardly but remain quiet with alert attention. Don’t collect any answer or clues; an answer would and could only be an opinion, an idea or another concept. Don’t tie yourself to any concept. Turn the attention away from objects towards the viewing subject. What and where is the seer? Remain silent and neutral. There should now be an increased strength of focus in the looking.

Now, again, watch the sense ‘I am’. What is ‘I’? From where does it arise? Watch. What do you find?

—  Mooji
Mooji, how do I actually begin?

Begin like this: I am, I exist. This is the most natural recognition and knowledge. The sense of existence is spontaneously felt in you as ‘I am’. No one taught this to you. Be aware of this simple intuition, without associating it with other thoughts. Feel how it is to be simply present in this instant, without holding onto any intention. Don’t touch any thought of doing something special. Keep inwardly quiet. If suddenly a wave of thoughts should come, don’t panic. There is no need to control or suppress them. Simply let them play without your involvement. Observe with detachment. Remain empty of intention. Keep quiet.

Imagine you are standing on a platform at the railway station. One by one the trains come—they stop, doors open, doors close, they move on. You don’t have to get on. Like this, simply observe the thought activity appearing on the screen of consciousness without connecting up. Don’t log on. Thoughts and sensations will be seen to move on by themselves, without being forced. Stay neutral. Be with the awareness as awareness itself. Feel the breath moving effortlessly, without will or strain. Observe the senses functioning, the sense of outer and inner; any movement is just happening by itself, unplanned and unforced.

Whatever arises as thought, feeling, movement or sensation is quietly observed, only now there is less interest, less pull. All is arising; your self is not aroused. All this is smoothly observed. Even the sense of self, the feeling ‘I am’, is appearing inside the awareness. Make no greater effort than is required. You are here. That which is neither doing nor undoing, neither directing activity nor being affected by activity, which is effortlessly aware yet unconcerned, that is your real self. Not behind nor in front, nor above nor beneath, for it is not another phenomenon. It is unplaced, unborn, boundless awareness-self.

Now, observe the observer: ‘Who am I?’ Check inwardly but remain quiet with alert attention. Don’t collect any answer or clues; an answer would and could only be an opinion, an idea or another concept. Don’t tie yourself to any concept. Turn the attention away from objects towards the viewing subject. What and where is the seer? Remain silent and neutral. There should now be an increased strength of focus in the looking.

Now, again, watch the sense ‘I am’. What is ‘I’? From where does it arise? Watch. What do you find?