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Lesson 37 Guidelines for Self Transference

I. The General Structure of the Self Transferential System We have already considered the differences between the Transference and the Self Transference. We have studied the principal indicators of resistance, which in principle were the same for both systems. However, we noted that there could be additional resistances in Self Transference in the form of problems in composing scenes, in an inadequate correspondence between climates and images, and in defects in converting the images in the direction proposed by the initial interest. We also studied the basic conditions of fixing the interest beforehand and having an adequate external and internal environment before working in Self Transference. We also examined the principal themes (the Internal Guide, the Limit, the Roads, Precincts, Landscapes, Characters, the Hidden City, the Center of Power, and “She” or “He”). We distinguished between plots depending on their relationship to the times of the consciousness; we located past biographical conflicts in the lower levels, present ones in the middle plane, and future aspirations and ideals one wishes to reach in the higher levels. Note also that internal conflicts related to the future (fear of dispossession, of loneliness, of illness, of death) must also be placed in the higher levels, with their plots structured in the way the operator imagines the conflict. He will have to organize the scenes so he can convert or transform them in a positive way according to the interest he has fixed. In this regard, he should not enter the Hidden City until he has succeeded in transforming the conflicting plot. Otherwise, he will enter only very peripheral areas of the city. Once inside the Hidden City, he will have the opportunity to carry out further corresponding conversions. We also distinguished between the moments of entrance and development of the process, and spoke briefly of the emergence from the process as a re-encountering of the initial steps in a final climate of a positive experience. Finally, we distinguished between the various types of self transferential developments that correspond to the activities human beings do in the world. This correspondence is due to the correlation between the internal representation and the external activity. We looked at dreams, reveries and artistic and religious productions as forms of “empirical” self-transference. We placed special importance on the procedures of prayer, and we also saw other procedures related to praying which were not so relevant to self transferential processes. We saw the whole self transferential work as a profound work of converting the meaning of particular or general situations the subject lives in. We also understood that the depth of this work depends on the fixedness and clarity of the themes and plots. And while cathartic and transferential processes are in general oriented towards approaching and overcoming resistances, self-transference is also directed both by the particular interest contained in the conversion of meaning one desires to achieve, and by the continued perfecting of the themes and plots that compose the scenes.

II. Some Comments on the Altered States of Consciousness In the lessons on Operative, we saw that as one’s level of consciousness lowers, the mechanisms of reversibility become blocked. We also considered the cases in which one remains in the level of vigil, but the work of the reversible mechanisms is partially blocked. There are certain important phenomena where this occurs, and we group them under the name “altered states of consciousness.” These include hypnosis, emotional consciousness in general, and other states that are clearly pathological. The name “altered states” can be ambiguous because, while it refers to phenomena in which control of the “I” is overpowered, and uncontrolled actions are launched outside the subject (e.g. violent emotional outbursts), at other times it refers to cases of partial blockage of the reversible mechanisms that then direct the subject’s activities within himself (e.g. self- enclosure). In some cases, strong enthusiasm can be considered an “altered state.” Similarly, falling in love, artistic “inspiration,” or mystical “ecstasy” can also be considered altered states. But why is it common to feel a strong resistance to identify falling in love or artistic inspiration with alteration of the consciousness? Surely because we associate the concept of “alteration” with the idea of abnormality, and to a certain extent with illness. One does not consider it reasonable to include love and artistic phenomena within the category of altered states since they seem to be such positive, integrating, and frankly superior states. They appear to benefit the psychic economy rather than detract from it. So how should we classify these phenomena which transcend the mechanism of the psychological “I”, such as fusion with oneself which is characteristic of contact with the Center of Power? From the point of view of whether the reversible mechanisms are operating, they can appear to be phenomena of alteration (i.e. partially blocked reversible mechanisms), but from the point of view of the operator’s interest, this “letting go” of the habitual mechanism of the “Y’ in favor of oneself is a desired act, an act which is in some way intended, and one which results in an enormously positive change in the psychic economy. These particular “altered” states may justly be considered superior phenomena of the consciousness. Within these altered states we distinguish between artistic or religious ecstasy, rapture, and superior recognition. The phenomena of ecstasy usually have motor concomitances which lead the person to automatically assume certain physical postures (for example, spontaneous “mudras” or gestures), or they lead to motor agitation which makes them externally resemble hysterical or epileptic phenomena or the motor symptoms that accompany crepuscular states of consciousness. While the frenetic trances typical of certain primitive religions, and other minor expressions such as the “automatic writing” of spiritualist sessions have some similarities with pathological cases, it seems an excess to completely equate them. Rapture, on the other hand, is a basically emotional activity. This means it is similar to the phenomena of falling in love, although we should not confuse one with the other. Recognition is the superior experience or state which can positively change the meaning of one’s life and one’s perspective on reality. It is the phenomenon of the “conversion of meaning” par excellence. Clearly, it is absurd to link this superior positive state, also called “Samadhi” or “Nirvana” in Buddhism, with schizophrenic autism or the declarations of an individual in the throes of a crisis of mystical delirium, which it only superficially resembles. Although these comments have taken us away from our principal theme, we feel they have been necessary to dispel certain incorrect prejudices that have been spread in contemporary society. These prejudices have been diffused by the teachings of certain psychological fellowships which are not at all coherent in justifying their views.

III. The Middle and High Planes in Self Transferential Work 1. Directing a Self Transferential work in the middle plane leads the operator through a more or less normal, everyday landscape, and brings up data from his recent memory. At the end of the road he will find the city where these everyday activities take place. There he will visualize the ambits in which he will locate and assemble the corresponding scenes. As usual, he must first define very well his interest in converting the meaning of the situation he wishes to work on. He will choose plots that coincide with the situation he wants to modify, while the themes he uses may be more or less allegorical, depending on the case and the disposition of the operator. Obviously, he must also achieve an adequate correlation between climates and images so that the negative climates may be transferred from one theme to another until he succeeds in modifying the plot according to his proposed interest. The study of the resistances that arise, particularly those related to defects in composing the scenes or in the correspondence between climates and images, will enable the operator to perfect his work and produce a more profound self transferential process with time. Here we repeat our recommendation to not try to solve problems by means of Self Transferential techniques if there are minor techniques in previous lessons which can give good results. The preparation for a Self Transferential process is carried out as we have already mentioned. Then, one calls one’s guide, develops the process, and finally emerges by re-encountering the initial steps in a positive climate and with internal unity. Then, one studies what one has done so one can improve the techniques in later sessions. 2. Directing the process up the ascending road will lead the operator to an increasingly unfamiliar landscape as he ascends, until eventually he arrives at the hidden city. In the interior of this city lie the aspirations that mobilize him most strongly. These are his most permanent reveries, among which the reverie nucleus stands out. If the operator is interested in modifying a particular aspiration or reverie, he will have to begin by correctly defining the reverie and his interest in modifying it. Then, he includes himself in the plot and fulfills his wishes, letting the reverie come true so that he can later start to displace the plot in the direction of his previously proposed interest. It is important for the operator to completely fulfill his wishes in the initial plot. In order to do this, he must not only obtain a good, clear visualization of the scene, but also experience a strong correspondence between climate and image. Without the latter, he will be unable to transfer the charges in the direction proposed by his initial interest. As with all other transferential work, it is obvious that as he repeats the works, the operator will be able to make more profound compositions of the scene and the fitting. One problem that will frequently appear is conflicts brought up by the vision of one’s future. One must work on one’s fears of future situations before entering the city. That is, before one enters the city that keeps one’s aspirations, it is advisable to free oneself of these fears by working on them in previous locations with their corresponding plots. This sort of “purification” before entering the city is very useful because it will give one a certain internal freedom in the later work that tends to positively modify the fixed reveries or aspirations which, as we know, are compensations for the situations the subject lives in. So one first works on one’s fears of the future so that the motivations for one’s compensatory aspirations or reveries become evident, and do not become “knots” of resistance which will later be difficult to handle. As an example, we will now give a Self Transferential sequence that corresponds to the ascending road. It is known as “The Guide to the Inner Road,” and it is from Chapter XIV of the book The Look Within by Silo. On the Inner Road you may walk darkened or luminous. Attend to the two ways that unfold before you. If you let your being hurl itself towards dark regions, your body wins the battle and it dominates. The, sensations and appearances of spirits, of forces, of remembrances will burst forth. This way you descend further and further. Here dwell Hatred, Vengeance, Strangeness, Possession, jealousy, and the Desire to Remain. If you descend even further, you will be invaded by Frustration, Resentment, and all those dreams and desires that have provoked ruin and death upon humanity. If you impel your being in a luminous direction, you will find resistance and fatigue at every step. There are things to blame for this fatigue in the ascent. Your life weighs, your memories weigh, your previous actions impede the ascent. The climb is made difficult by the action of your body, which tends to dominate. In the steps of the ascent you will find strange regions of pure colors and unknown sounds. Do not flee purification which acts like fire and horrifies with its phantoms. Reject startling fears and disheartenment. Reject the attachment to memories. Remain in internal liberty, with indifference towards the dream of the landscape, with resolution in the ascent. The pure light dawns in the summits of the great mountain chains, and the waters of the-thousand-colors descend among unrecognizable melodies towards crystalline plateaus and pastures. Do not fear the pressure of the light that moves you further from its center, each time with increasing strength. Absorb it as if it were a liquid or a wind, for certainly, in it is life. When you find the hidden city in the great mountain chain, you must know the entrance. But you will know it in the moment your life is transformed. Its enormous walls are written in colors, are “sensed.” In this city are kept the done and the to-be-done… But for your inner eye, the transparent is opaque. Yes, the walls are impenetrable for you! Take the Force of the Hidden City. Return to the world of the dense life with your forehead and your hands illuminated.

Exercise: Self Transferential Processes in the Middle and Upper Levels (Ascent) 1. Define your interest with respect to a present conflict you wish to overcome. Enter the process, develop it, and emerge. Take note of the resistances, particularly any difficulties you have in composing the scenes and making the climates and images correspond. Discuss the techniques with other people and repeat your practice during the following days. 2. Define your interest with respect to a reverie that is taking your life in an undesirable direction. Specify what change you want to produce. Then, enter the process, develop it, and emerge. Take note of the resistances, discuss the techniques with the other people, and repeat this during the following days. 3. Define your interest with respect to a fear of the future. Specify precisely the changes you wish to produce. Then, enter the process, develop it, and emerge. Take note of the resistances, discuss this with others, and repeat it. We recommend that you work with only one plot in each exercise.