rubedo

Let's talk about Arubed. See you later. I suggest you listen to Katya Ljungold. She has a lot of programming prologues. She focuses on the basis of brain processes. Summing up the conversation on the phase-C trinitus, I want to point out once again the tools that really help here. When there is energy and it needs to be properly structured and directed, here are all kinds of coaching and strategic sessions that allow you to quite consciously and quite rationally decide what you do and what you don't do. Now we're directing all the attention, all the focus here, and then here. And it's great and works great. Any creative activity that activates this state in you, here, too, will support and help you to just come into the state of the creator. It's important that the phase-C trinitus is about the state of the creator, when I just convince myself that I'm a creator. It's always been like that. I want us to probably record it again, that creativity is generally a basic human brain function. On the most literal, most direct level. Because our brain is constantly receiving information from the outside world, distorting this information, omitting this information, generalizing this information, creating, creating, creating models that we live by. That is, our brain is literally, literally, literally, in the literal sense of the word, busy with the creation of what trajectories, what routes we will live and move on. If you notice this, then the logical question arises, why am I doing this unconsciously, the previous trinitus? Maybe it's time to notice that I'm already creating a picture of the world for myself every day. I'm creating certain focuses for myself, I'm creating settings for myself, I'm creating values for myself, I'm creating what's important and not important for me, what happens and what doesn't happen, all kinds of models. Models of success and failure, models of achieving goals. We have a huge number of these models in our heads that are created on the basis of these several important processes that occur in human perception. Omission, distortion, generalization. Distortion, well, that is, conditionally, I don't know if you realize or not, that the picture that you now perceive as a monitor, on which some pictures, some other moving objects, the way you see my image, your image on the screen, some letters and so on, is the result of distortion. The light wave that enters your brain through the crystal, there is a process of pre-processing. This pre-processing, when your eye blurs the background so that you focus only on one letter that is written on the screen now. Creating the picture that seems to you to be an objective reality is nothing more than distortion. The same thing happens with hearing information, with everything. The same thing happens with bodily experiences. This continuous process of distortion, omission, generalization, incoming streams of information from outside, happens non-stop. The brain is engaged in creativity, 24 hours a day. And if for some reason I don't like the reality that surrounds me, then the question is only to translate this creative process into manual control, from the automatic mode. And for this you really need to remind yourself, just remind, that I was and I remain a creator all this time. All these 30, 35, 40 years, all this time I have been engaged in creativity, unconsciously. And that's why it's very useful here, these things that bring me to this state. When I see the fruits of my hands through creative activity, great. Why do dynamic meditations work well on the OSHA model? Because they work on the pumping, and OSHA is called the awakening of the Kundalini leg, the flame, the same metaphor, this golden color. Actually, it's all about the same thing, about this fire, about which Lena read the text to you, to blow it up inside you and direct it to the realization of a particular product. Well, yes, I remember there was a question, and now I want to answer it again. About the questions, the test questions, which are useful to ask yourself. If you remember, in the Inigred stage, the correct question is how I can support myself. It seems it sounded like I can, in general, make this path easier. Support myself, make myself feel good somehow, how can I help myself. At the Albedo stage, this is a question, what brings me back to life in general? What fills me, what inspires me in general? At the Citrinidze stage, this is a question, what can I do right now? What can I realize right now? What's been waiting for this for a long time? Or in other words, where to direct the accumulated energy? What to convert it into? Tanechka, yes? Hi, hi. I have a question, honestly. I've been noticing myself lately, I'm realizing, I've been looking at the lists of shortcomings, I'm doing them, I'm putting everything out there, something. And a few days before that, I had some information everywhere. There's a fire, there's fire. Then I was looking at the lady at the massage, she says, you have the elements of fire, not air, and so on. And now there's the element of fire, and all this is being introduced. And I have a question, I realized that I've been a little greedy lately. Besides the fact that I'm kind of in this stream and doing something. But at some point I'm like, wait, wait, otherwise you're giving away all the energy, and it turns out that due to these dynamic meditations, you can conditionally hold on to this state. Look, about giving away, it's just a topic for reflection, what goals are right in front of me right now. And what is important for this, what is not important, not important. In short, it's about resource management, so that you don't really burn everything out. It's true. And here, probably, the conversation about when we'll reach Rubed, I think there will be an answer to this question. Partially, this is what Inna wrote in the chat about when I'm carried away. Let's look at the Rubed stage. This is the fourth final stage of the Great Work, accordingly, the redness, this word is translated. And it's called, in general, the apogee. This is the apogee of the Great Work, this is the so-called royal stage. And this is the moment that comes right after I've done something actively, and I enjoy, in a sense, the work of my own hands. And I bring it to the final, to some... And at this moment, there are several directions through which the Rubed stage is interpreted. If you look at it in the context of Jungian analysis, this story about transformation, then, conditionally, Rubed is the moment when a person at a certain stage of his development comes to the state of maximum potential for him now of selfishness. That is, when I acquire some important knowledge about myself. And it feels like it's become a part of me. And integration with this knowledge. The feeling that I've discovered, found, attached, appropriated some gift about myself. And hurray! This is... I don't know, a line from Vysotsky. You stand on the top, you are happy with it, and only a little jealous of those, others whose peaks are still ahead. This is me on the top, I'm a person who says, I got it! Hurray! This is me, I got it, I've done it, I've got it together, I'm a handsome man. This is the final phase of Rubed, when you can really... The crown, the scepter, the power, I've got it on the throne, hurray! At the same time, the Rubed stage is some kind of sacred, maybe mystical experience. Again, in terms of Jung, and in terms of some kind of transformation of the depth, when I can feel some kind of unity of spirit and matter in myself. When there is some kind of mystical, spiritual experience, that everything somehow happened very correctly, and somehow I'm with the universe in some kind of synchrony. And in this difference from Albedo, for example. I mean, Albedo is... It's easy to confuse them, especially when there's no fresh Rubedo experience. But the difference is that Rubedo comes as a result of activity. That is, it's a very spiritualized state that is the result of activity. And Albedo is a very spiritualized state before activity. And that's why Albedo is silver, Rubedo is red gold, and the Philosopher's Stone is all of that. In terms of a more applied, more... How to say it? A more everyday level, in terms of some kind of creative process. It's at the Rubedo stage, that's where this little thing comes in, when I can be carried. Because it's the moment when there's so much energy, that a hamster can't tear it apart a little. And that's why at the Rubedo stage, here's what can happen. In five minutes, or a second before I finish and tear off all the laurels, there's a mistake, and a new cycle begins. I'm the one who plays this. I've almost earned it, almost made it, almost... I sang, sang, sang, and at the end I was a rooster. And it took me a while to... Well, some of these things that happen because of what? Because of the fact that there's a lot of energy, we can't... And we're like a hose that blew up, and the water's flowing in all directions. That's what Rubedo is like in a bad situation. Rubedo, in a good situation, what's very important is to maintain clarity and awareness. And that's why there's a metaphor for Rubedo as a red, cold flame. When I understand that I'm being pushed, I understand that a very powerful flow is coming out of me. But it's very important for me to report to myself how much this flow is moving in the right direction. And that's why, when we get to Rubedo's stage, there's a phenomenon... Synonyms. The synonyms of Rubedo's stage are clarity and responsibility, a sober look, focus, and active balance. This is a very controllable pressure. And attention should be both inside and outside. So, this is where the state of flow is fully revealed. When I'm simultaneously the brush that's writing on the canvas, the viewer who's watching this process of drawing, and the artist who's controlling this brush. This is what people who've achieved some skill in some creative activity, and worked out their actions for hours, at some point, you don't think about it, it just comes out of you. And you're just worried about holding the walls of this vessel, so that the flow doesn't break, so that everything goes into action. And it's based, very consciously, very carefully. It happens in business, when one negotiation is successful, and the other, and the third, and the fourth, and the fifth, and so on. And here, it happens that inexperienced people can start to get carried away. When pride starts to take over, when they're like, I've caught God's hand, I'll show you everything. And at this moment, a person starts to make mistakes. There are a lot of movies and books that describe these moments, when a person starts to carry, and a person, practically, being on the edge of a cliff, social, professional, financial, political, whatever, suddenly breaks down into his complete opposite, ends up in prison, and so on. There are a lot of these stories, you can bring some of them, and put some of your own here. So, it spoils the relationship, breaks it down, and the road goes with you, your partner, and thanks to your joint actions, you achieve some kind of success. And right the next day, after signing an important contract, you're in a mess, and you send one person to another, and that's it. And after that, it all starts to go in circles, as if you're going somewhere, in the whole company. Because there's this dizzying feeling, like, Ah, that's it! Right? And that's why, at the Rubedo stage, it's very important, as a tool for reflection and awareness, and practice of controlling emotions, and practice of concentration and attention, and practice, in general, aimed at expanding your capacity and conductivity, so that you don't lose your emotional balance. Because there can be bad consequences. So, I'm reading the chat. Self-confidence is in the air, I see the goal. Yes, that's it. You can start with a trained state, and you should, but be careful. Because, as I said, it can end with you tearing your neck off, and your own partner, too. No, Rubedo is... Wait a minute. Rubedo, like Albedo, is quite short. Let's talk about practice. Rubedo, like Albedo, is a rather short phase. Because, as a rule, it leads to the next level of the spiral. And so, again, it's Inigred. The longest ones, in this sense, as a rule, are Citrinitas and Inigred. Albedo and Rubedo are short. For a long time, everything was put together, this sacred... Let's look for some examples, if you have any. Look. I think, in many movies about great artists, there's this episode, when the long-awaited fame comes, when everyone finally holds you in their arms, and you become careless with your loved ones. You start to be careless with words. You're so influenced by the huge event that happened. I don't know, I gave a concert in a huge hall, and I saw an album that met a colossal success, earned a significant amount of money. And it's... When I won some super prize, and there's this feeling, not only material, but also spiritual, that I'm on top of the world, that I, in principle, kissed God in the head, and there's this thing that leads me, that I'm a prophet, it's for me now. It's very sweet, it's incredibly drug-like. In a sense, according to the laws of nature, it's physically unsafe to stay in Rubedo for a long time, and that's 100%. I'll explain it in a bit. And in this state, there's really this feeling of unity with the higher, with the universe, with God, and so on. And for this very reason, especially if the ego isn't quite balanced, I start to be carried away, and this feeling of contact with the higher powers and some divine touch to myself turns into the fact that I'm being grabbed by the neck. And the next step is to insult a close person who supported me all the way. I can ruin a relationship with a person who put a lot of effort into helping me get where I am. And, I don't know, lose some money that I just earned, and so on. And this happens exactly under the influence of the fact that I didn't hold back the flow of energy that was just flowing out of me. In this phase, artists often go into a drug addiction precisely because they can't cope with the energy that starts to flow through them. And in this sense, such comrades as Janis Joplin, Elvis Presley, these are people who just burned themselves to ashes and lived a short but very bright life. This is exactly the story of a person who was carried away by the flow of this state of absolute Rubedo. All-powerful. Here, Rubedo, all-powerful. But you still have to remember that even though I have this feeling, it's very accurate, this touch to something sacred, to something that only I have now, and no one else. Yes. But the conclusions from this are very important to make right. Because the conclusion from this is to take a deep breath, to pray, to say thank you to the universe, thank you for choosing me for this to happen to me, and to smoothly return to my own state, to some of my state. So, great, it means I'm ready for the next stage of my life. Lyuda, yes, ask a question, and I'll answer. Andrey, you said that in our lives there are big states, like artists, they are there for a long time. And also small ones, like you said, like opening the fridge. Oh, borsch, demi-glace on the table, everyone says, how does it taste? We often say that we win some things, but I don't go to the celebration. We say, we'll drink a lot, and then, and the next, and the next, and the next. So, what happens? I don't go to this rubedo, I won, and I have a celebration. You're stealing yourself away. Because it's very important that at this moment, and fear, Inna wrote, I'm afraid of this state, you shouldn't be afraid of it, you should be able to control it. And all the possible practices of awareness and reflexes that we started using in Negredo, we need them here again, to notice how the state of intoxication begins. Oh, I'm so lucky! At the same time, of course, a lot of resources are allocated there, of course, we need to make it successful, to put this tick, that we closed this level. I can do this now, that's it, we figured it out. I can solve such cases, I can close such contracts, I can win such courts. It's mine, I did it, hurray. I made it easier for the soul. And I'm ready for the next phase. And again, it's not necessary that the next Innegredo will be immediately with some bullshit. No, it just starts there, maybe new, so-so, and what's next? That is, the question is, when you won a court, for example, the next order has not yet come, it is not clear, too, micro-Innegredo, conditionally, so, what's next? Hmm, hell knows, can I go here? It starts with some kind of timelessness again, some kind of without either there, or here, or so, or well. Quite Innegredo, too, just it's in the local, in this context. My story about the energy flow. Specifically, so that it does not go down. Well, look. Actually, all kinds of practices, why I wrote here in brackets Tantra, because tantric practices, not vulgar, but sexualized, and real tantric exercises, they are aimed at what? A person has learned in the body, in his physical body, redirect energy and give it a direct focus and direction. And in this regard, if you are interested, you can study this story, how through, well, for example, again, there is... God, what is it called? Now I remember, I did this exercise some time every day. I will not remember now. Ah, of course, chakra breathing. Chakra breathing is such a dynamic meditation, in fact. When I learn to keep attention and move attention along with breathing along the chakras from the lower to the upper. And this is, in general, a kind of not deeply changed state of consciousness. When, on the one hand, I am very much in an intensive breathing and bodily work, because I breathe quite rhythmically, I stand, it all happens dynamically, I help my body. On the other hand, my task is to keep the focus of attention on where I direct this breath along with energy. First, I kind of breathe out, I unwind the lower center. Then the next, then the next, then the next, then the next. In fact, this is a practice of attention management, concentration management. When I am simultaneously in a very intense physical process, I simultaneously keep the focus on what I do. I did not unwind, I learned to keep the focus exactly on this task that I do. And the second important point about tantra, that it was actually born as an instrument of how to redirect sexual energy to something else. How can it be raised up, including, and so on. And this is the story about that chakra singing. Daoist practices are the same. And so, any techniques that allow to maintain this state of clarity and relaxed and simultaneously focused mind that observes itself in this way. Well, it may be a little easier for me in this sense that Dimchok brought us artists right to this business. It took us 7 years while I worked in the theater. It was a real task. It was one of the main focuses all the time. So that not a single role would capture you, so that you would not be carried away by this wave. By the way, I remember very well when for the first time I decided to play Tamerlane in the play Close Your Eyes and Watch. It's an archetype. Archetype of a ruler, archetype of a tyrant. It's a very large figure in which is much more than just a biography of a specific person. And in fact, there is this figure of a despot, a villain who is not considered in human life at all and his price is not a price for him. And I remember very well how the first time when I tried to play this character, I was sick for 10 days after that. I just had a physical, emotional, energetic... I had a feeling that a tank army was passing by me. And just that this... this entity came, somehow wiped me out and left me to lie. That was the moment when the actor couldn't handle the role at all. I was in a state of absolutely exhausted. And that was the moment when exactly this capacity and my clear consciousness inside was not enough. And then there was a very interesting way when you had to learn... Now I'll say a strange metaphor, but still... to rent your body to this force. But still, to rent your body in such a way that the body still remained alive and unharmed after. Sorry, I'll tell you a vulgar joke now, but it conveys very accurately what is happening. It's about... I don't remember how it sounds, but it's about when an elephant meets another one and says, listen, I love monkeys so much. And the elephant says, what do you like so much? Oh, they explode so funny when I finish. This is about what happens to an unprepared body when this powerful spirit comes. With the creators who died at the age of 27, something similar happened. By the way, the same Jung and his student Hillman came up with the idea of a diamond in psychology in the 20th century as the idea of some creative center and creative grain, creative stomach that every person has, and at some point chooses another mortal to communicate something to the world through it. So, the diamond is a rather ruthless and inhuman force in the sense that it doesn't ask whether you ate, slept, whether you're ready or not, whether you have enough health, whether you didn't sleep enough, and so on. I was very interested in different artists and I'm studying Van Gogh's biography now. This is also from the series. A person who gave up his body and psyche to rent to his diamond. And this diamond just threw it away and how old was he? 30? When he either committed suicide or something else. But this is a person who lived on the verge of madness for most of his life. And, in fact, going back to the Rubedo stage, if we don't want the creative force that we invited into our body and which is ready to use us with pleasure so that it doesn't tear us apart from the inside, it's a very important thing to practice certain exercises in order to keep the walls of your body as strong as possible. I don't know how much I still speak the language of the Rubedo stage. Is it okay? I'm trying to be as human as possible. But it's true that there are some things that are difficult to talk about. Here, hooray. It's interesting, Elena writes, that it came to my mind that when a person doesn't put all the energy of Rubedo's level into himself, not to mention that it's important to be able to direct it, then a person is unconsciously draining it until it's dropped to a lower level. Perhaps this is an interesting hypothesis. You can observe it. Like, fear is sometimes a safety net. Like, I'm in a kind of ecstatic state, but we stop evolution in this way. I'll remind you that we're in the language of the description of transformation. Until the Rubedo stage is over, we haven't completed the transformation cycle. And that's why it's very important to learn to get to the end of the cycle and to make this the starting point. Yes. How do you call this phenomenon of creative power? We'll talk about archetypes in a minute. It's going to be soon. You can talk about it in your favorite language, but it's a favorite topic. Great. Uncertainty, sober look, and awareness. Yes, the stage will be painful. Yes, yes, yes. And short. About the starting point in detail. Well, about the starting point. In the sense of Rubedo, it's a kind of completion of the cycle, when you need to appropriate your own strength, appropriate the results of your work. And God saw that it was good and it became like this. Well, here you go, the language of the Vetrov's covenant, what the Rubedo stage is. Done, done, done. I did it. Well done. And then, again, the ungratefulness is absolutely correct. And then, the transition to the next cycle. You're now actually leading me to how it's all in one cycle. I'll show you the picture now. You're doing a good hypothesis now. The two models overlap each other. And there are some intersections. But it's important here, speaking in the language of NLP, to see not only the similarity, so that everything doesn't mix into one common silver-raspberry paint. But, of course, there are intersections there. Because these are all different languages of description that try to somehow package the human experience. But what about Borshch, you're laughing. Well, there was a famous composer, the author of the Sibyl Cyrillic, Dzhokhin, I think, in Russia they called him. In addition to being a great composer, he was also a great cook. He loved and even considered his culinary creations to be much more outstanding than his operas. And so, there's this famous anecdote, when some of his fans come to visit him and say, Oh my God, Maestro, yesterday they gave the Sibyl Cyrillic, what a brilliant music! He says, Oh my God, music is okay, you try the salad. Salad is music, okay, I get it. But what kind of salad I got, that's it. So, anyway, Ksenia, I see you have a hand there. Yes, go ahead, tell me what you wanted. Yes, I wanted to ask about the practice of expanding consciousness. That is, all transpersonal experiences, holotrop, ayahuasca, LSD, are they the same, or are they different? Well, LSD... Open up other layers. Look, tools, tools, expansion... By the way, today, Vanya and I talked about it in an interview. The practice of altered states of consciousness is a powerful and ultra-high-speed tool with a very low level of security. What increases the level of security in these practices? It's the skill of reflexes and the observer's position. I gave Vanya an example in an interview today, that a famous rock musician, Kostya Kinchev, once said in an interview that he tried LSD when he was young. Then he found himself in hell. He said, like, I've lived through a real Christian hell, with devils, devils, with fire, with fire, with everything. He barely got out of there and said, I'll never try it again. What do we understand from this story? That a person tried, or rather, that a person met with some material of his unconscious in an altered state of consciousness, and nothing else could be met there. And it turned out that this meeting was not ready. He didn't have the skill to answer the question what was happening to me, what was telling me, what was I going to do. And the only language of description he could think of was the Orthodox language, from which he concluded that he'd been in hell. He came back from there and blocked the road to this research forever, saying, no, I'm not going there again, because Satan is torturing me. Thus, only intensifying the conflict between the conscious and the unconscious. In this sense, how useful this experience is, or rather destructive, because it increases the amount of stress in the psyche, the level of conflict between the conscious and the unconscious, increases the conflict between the mask and the shadow, if we speak in the language of this. Because all the experience I don't want to live through, which I say, no, it's not me, I'm a light-white fluff, everything is like a giant fire hell, then I divide my psyche into two parts, where I say, this is me, this is the devil's kind, and that's it, please. I'm reinforcing my own inner conflict. Therefore, I'm all in favor of practices in deeply altered states of consciousness, especially with the use of substances that are not the way I want them to be. I think that this is the moment when a person has the skill to turn his experience into an object of observation. When any pictures, any images, any experiences, any emotions that come to me at that moment, I turn them into an object of observation. Then I can do a lot with it, then it can be a super-productive process from which I will come out with the results of a year or a year and a half, or two years of intensive psychotherapy. You can fix it overnight, but I recommend it to people who... It's fashionable now, a person is a neophyte, he's just entered the territory, I've read that you need ayahuasca, and then he's just... There was a punishment in the old days when a person was tied to a horse's tail and let down the horse in a circle, and this is an example of what happens to an unprepared person in an altered state of consciousness when he has no language, no skills, what to do with it, how to behave, how to cope with it, how to live. So, yes, yes, yes, yes, I can watch cartoons, but... No, of course, you can, too bad. Too bad you can't teach it, because psychedelia is the most powerful tool. So, going back to the tools, oh, those were the days, I would have known all this in 2016, but I understand, I hope the pleasure was received, at least in large quantities, I hope. I live in South America, here it is a very popular position, an observer is a key thing, yes, yes. Because it can be for an advanced and improved user, it can be a powerful tool of spiritual growth and many other things. For an unprepared person, it can be a tool of suicide, including. If I have such, well, not sufficiently dense and good walls of the vessel, I have no skill to realize myself in difficult states. And so, I say again, the experience of Negroes is, in general, love it, because Negroes gives you a colossal practice of living in difficult states while maintaining a clear view and a clear reflection. From this point of view, Negroes is just, here, love your crisis, as it is called. Yes, Lena, I understand, good, watch the recording. Tanya, come on. Tanya, Phoenix. Yes, I have two questions. You said that in Rubedo there is pride, all-powerful, I understand. There is a huge temptation, to put on a crown and say that everything is fine. Yes, I mean that it is a shadow side of our minus, and in other stages there can be such shadows. Well, in Negroes, it is probably self-sufficiency. Well, it's just a meeting with a shadow. In Albedo, it's an illusion of the power of spirituality, when there is a chance to get stuck for a long time in this state and just fall down and play back. In Citrinitas, well, let's think together what kind of help is there. Well, in Citrinitas, perhaps, there is this danger of not following the process of ecology. Just like going into creativity, forgetting about sleep, food, and so on. And just when, what is it called, the foot got into the wheel, the crack, run. This is not a very healthy story. That is, in this whole process, at each stage, the ability to realize yourself, the ability to ask, what is happening to me right now, to reflect, to set some pegs for yourself on the road, and what is happening to me in the future. In fact, the observer's position is our everything. Are there any other special questions for Rubeda? For Rubeda? Well, except that the pride does not wake up. Well, she will wake up. After all, to experience the attack of pride is nothing terrible. Oh, yes, it's taken me. If there is self-irony enough, if you can see from the outside a little, oh, dude, you're screwed, you're, damn it... This is a very good antidote. I just tell myself that, well, yes, it happens. Well, pride is my favorite mortal sin. When I understand something, I decide that I understand everything. And then I don't understand again. And then I understand. I understand, but I don't understand. That's it. Self-irony and observer's position. In any case. But sarcasm and self-conceit are bad everywhere. That's why I say that the position of the creator is as functional as possible. And it's a synonym of adult and responsible attitude to life. When I'm very responsible and thoughtful all the time, I use the energy resources and time in my life. Because, again, about self-sabotage and so on. It's useful to remind yourself that we are finite. And people who have survived or are in the process of healing from some very serious disease can tell a lot of useful things. Guys, don't postpone it to the day after tomorrow. Because nothing is known about tomorrow yet. A person is not just mortal, he is suddenly mortal. That's the focus. However, let's try to see it all in its entirety. You asked me about archetypes and the holistic model. Let's look at it and add some more purely symbolic definitions. For those of you who like metaphors, symbols, images, it can be very useful. Again, no one has canceled the everyday magic. So if you want to play with colors, with poetry, you can use it at the level of the tool. Negredo, the color is black. The bird symbolizes the stage of the black raven. The archetype is a shadow, we talked about it. The poetry is the earth. Albedo. The color is white. And the symbol of this stage is a white swan. The archetype is an anima and animus. The basic female archetype, the basic male archetype. I won't go into this subject with your permission. If you are interested in the Jungian understanding of anima and animus, please, here you are. This topic is written a lot more, there is a colossal amount of information on this topic. And air. And here, in what sense? For the Negro to live, it is useful to walk on the ground, on foot, with your feet, just to contact the ground like with poetry. At the albedo stage, it is very useful to contact the air, to walk in the air, to breathe the air, to be as much in motion as possible, to breathe. At the centrimetus stage, the color is yellow. Here it is. A bird, a golden eagle or a peacock with a straight-tail. On some engravings you can find these birds on the ancient ones, which are depicted at the great work stage. The archetype. Here it is interesting. God, now. Excuse me. The archetype is a wise man. I did not say by chance that this is such a very conscious command with a gifted force. And the element is water. And in this sense, this metaphor, I remind you again, of this pissing boy, it is from the word give yourself, take out, pour out. I pour out of myself, on paper, this creative process is not by chance in the metaphors of water and flow very often transmitted. Therefore, the element is water. Well, the albedo stage. The color is red. I have it on the wall and on the neck. Accordingly, the bird. And here is an interesting, very beautiful metaphor. The bird symbolizing albedo is a pelican. And not just a pelican, but a pelican which pierces its own chest and feeds its chicks with its blood. And this is a very beautiful, a little bit bloodthirsty, but a metaphor of what I... How to say it? I share the fruits of my labor with the world. That is, I feed my chicks with my blood. This is a metaphor for giving the fruits of my labor, of my creativity, to the world. And the element, as you understand, is fire. We have been talking about this for quite a long time. And, accordingly, at the albedo stage, it is to burn candles and somehow contact fire. In general, a very suitable tool. Well, then the famous alchemical metaphor of the uroboros, a snake that bites its tail, which tells us that this is an uninterrupted cycle. And as soon as one cycle ends, the next one begins. And then the next one, and then the next one, and then the next one. And this is the beauty and magic of life. What else do I want to say about these final stages of citrinitus and rubedo? Especially... Citrinitus is a stage at which it is very important for a person to notice that everything that surrounds me is really material for creation. And if I have created some reality for myself that I like, that I don't like, then I can create another one for myself. And it's interesting that the whole cycle works on this. If Negredo is responsible for the destruction, the old one is scattered, then I create something new on these scraps, on the ashes of the old one. And why am I saying this? Because there's this famous call from alchemists that sounds like a soul-fat coagula — «dissolve and dissolve», which is reflected here very beautifully. If I've dissolved something that I don't like, then I can dissolve it and dissolve something else. That's why I've got it in my hand, because this view of my reality, of what I can dissolve and dissolve — dissolve and dissolve my emotions, dissolve and dissolve my attitude to certain processes, dissolve and dissolve certain events, dissolve and dissolve some projects' formats, and so on. So, this is a continuous cycle of soul-fat coagula. «Survival has a reverse side. What else is there to strive for after you've survived when you weren't promised?» I don't quite get it, Natasha, what you're talking about. Maybe it's just the context of what we were talking about earlier? Yes, it was about those who visited that country. It's interesting to ask them about the value of tomorrow and the finite life resource. Having visited that country, it turned out that it's impossible to find motivation for 15 years. What else is there to strive for? I mean, you danced about death and stayed here a couple of times. I hope you've changed your mind about this situation. I'm working on it. Because, well, someone said, «How do I know if I've fulfilled my mission on Earth or not?» It's very simple. If you're still here, it means you haven't fulfilled everything yet. Hi, Violetta. Hi. I'll go back to the question I had. At every stage, we ask ourselves certain questions that help us go through it. And I have a question about Ruby. What kind of question is it? It's like, how not to dissolve, how to survive, how to carefully move on to the next stage. How to manage energy, how to manage the resources that I have at the moment in such a large amount, and so on. Lena? Good afternoon. Thank you. I have a strange question. Do you think all stages of a person's life are synchronized in relation to different areas of life? Or is it possible that, for example, in the field of self-realization, at the stage of New Grad, in the field of personal relations, in the field of finance, or something else, it's synchronized? I think you can observe this. I think it's not necessarily parallel. And it's precisely because this model concerns a large number of different cycles, one of which can fit in one day, the second in three months, the third in several years. And they can flow quite parallel, I think. So, it's normal when you have no strength and no desire to do one thing, and when you start a new job, or a child, then there's already another leg. I would observe. I think so. Thank you. I wanted to add something on this topic. Because while we were here for two weeks, I was tracking my state and remembered that even at the stage of New Grad you can feel a victory and a feeling of citrinity or even rubetta when you slept, for example. You couldn't adjust your sleep, but you slept once. And you understand that you won in this local thing. And this small local victory helps you to move on, to go to the next stages of the global one. It's like a matryoshka. It's like we're in a complex existence. And if you look at life, we have some life global changes, like moving, having children, marriage, and they start the global stages of this living. But inside of them we have every day when we can make borsch, cook, draw a picture, write something down. And we have some tasks, how it all flows from the beginning to the end. To see that it's just a normal cycle. And it's just a normal flow of things. And so it's easier to treat it on a larger scale. It's easier to do it, it's calmer, wiser. It's clear. You understand that small processes work like a training. I felt like a borscht master. If I made borscht, why can't I do it with some first business experience? Yes. And let me show you some more beautiful connections for those who like it. First of all, we've already said that the end of one cycle of a spiral creates a cycle of the next one. And in this wisdom of the circle of life it's not a circle, it's a spiral. And now let's see it from a beautiful perspective. Here's a way to make changes. There are a lot of them, just google it. Doesn't it remind you of anything? Just pay attention to the description of this process. There's shock, denial, frustration, depression. There's something between depression and experiment. And then there's a decision and adaptation. If you don't know about the great work stage, it's not clear what's going on here between depression and experiment. How is this transition arranged? And now we understand how. Through the Albert de Rhone stage. Or, for example, there's this model of the Jack Tessmer transition. As far as I remember, it's a very strict square-nest model. And here's phase one. The beginning of a new frustration and how we notice changes. Phase two is when we plan and prepare changes. Phase three is solving the most urgent problems. And phase four is the formulation of changes. Here, too, it's almost one-to-one. And we don't know. Is there something in common? I mean, Mr. Tessmer, when he formulated this model, did he know anything about the great work stage? No idea. Yes, four squares in the game is possible. And that's the beauty of it. Because this way we start to understand that everything... And last time Ivan talked about the natal matrix. You can see some correlations there. On the one hand, I'm saying that it's useful to see not only similarities but also differences so as not to confuse the language of the description in some kind of a raspberry-berry mass. But at the same time, it's worth noting that it's useful to see some correlations. It's very helpful and makes the way easier because we understand that there are some unconsciously common processes that are repeated regardless of the level. By the way, one of the postulates of the hermetic philosophy that lies at the heart of alchemy is that what's at the top is what's at the bottom. And in this sense, there's a full correspondence between global processes, macro-processes, micro-processes, external processes, and internal processes. When I find these connections, I find the differences that didn't exist before and find the correlations between what was not obvious before. I want to share my thoughts and ideas with you. I'm curious what you'll say. I had this idea relatively recently. I'm a few years old. People write to me on different social networks, asking why I don't write down some meditations or some audio practices. And I'll be honest, I've had this idea for a long time. Technically, I understand that people like my voice and want to have something like this. But I didn't quite understand what kind of practices I should write down. I understand that in every stage of the Great Work, especially in relation to human transformation, you can write down a certain number of 2-3, maybe 2-3 for one, 2-3 for the other, 2-3, maybe a little more than 2-3, you can write down some audio practices that would form the observer's skill, the skill of self-awareness and self-awareness, and some important focus and attention that are characteristic of this stage. So, it's not a pure meditation. I'm a bit boring and stuffy in this sense. I try not to confuse terminology, because meditation is a practice that is based on the skill of self-awareness and self-control. And if I tell you what to do with my voice, then you don't learn to control your attention. I'm the one who controls your attention. And then it has very little to do with meditation in my classical understanding. But to some kind of self-control and guidance that can help you go through different stages, I think it's a good idea. What do you think? I wonder if you would like it or not. I just want to control our attention. I'm not asking you to do anything. I just got the idea to take this project into my work. Because then I need to write it down, go to the studio and record it. Okay, I got it. And then I fulfill the promise I made when we were still on the shore, when we were building our small community. That you will be the first people to whom I will offer this new product on some particularly pleasant friendly conditions. Those who then want to use it from the outside world. It will be at some other price. Well, my friends, if you have any questions about the model we discussed today, let's discuss them and answer them. Because I've told you everything I had about these two webinars. So, as they say, if you have something to ask, you're welcome. I also think that such projects can help you to orientate and notice the moment when it's time to move. What is it called? Yes, Sasha, hello. Hello. Thank you very much. I'm more of a philosophical question. Well, in short, I thought that... Now the Negrada will end. You lost the microphone. The second shift. You thought that the Negrada would end and what? And everything else. Oh, oh. Sasha, Sasha gave it away, apparently. A question about practice. How to slow down yourself at the second stage? Consciousness, concentration. What else can you advise? My energy has turned on. Well, then continue. Sorry, I'm affecting the technique. In short, I thought that... Well, it's the final process. Now you have to worry, and then everything will be fine. And then, bam, the second shift. Again, the cycle of personality, repetition, and so on. I'd rather share my emotions and peace of mind and accept the joy of constant improvement. Oh, yes. I'm very curious. I also want to fixate on something. I don't want to change anything. Leave everything as it is. Yes. Of course, it's interesting. Not only interesting, but even the realization of this fact helps. It gives some hope. There was one Jew who said that everything will pass. And it will pass. Yes, yes, yes. The ring appeared for a reason. In short, thank you very much. You're welcome. Everything is super on time. Thank God. About practice. How to slow down in the second two stages? In the C3 stage, you don't have to slow down, but, on the contrary, you have to keep a straight face. That's where we're at. It's just very important to mark the segment where the final of the active action will be. What result will I... What will be the result? The contract is signed, the contract is signed, the picture is written, one page of the story or novel or book... One page. One written page. Hurray, I wrote it. The chapter. I don't know. And so on. You need clear criteria, a clear starting point where we make a stop. And, accordingly, we go into Rubedo, we punch each other in the chest, we connect with the infinite, eternal, and so on. Yes, you can live happily with your mind and consciousness. And at the Rubedo stage, of course, this is a very important thing. Well, in addition to the practice of turning on this inner observer and a little bit of centering and focusing. Lena, start practicing what I wrote there. I'll throw off the presentation now. You'll have these slides. You can look at it from there. Because somehow you don't need a lot... As Bruce Lee said, I'm not afraid of a person who knows 10,000 punches. I'm afraid of a person who practices one punch 10,000 times. Take some practice and turn it into a routine. And it will be great. By the way, I live my Korean lesson every week for the whole cycle. Oh, great. Enough, yes, come on. I'm like, you know, a beginner who asks a million stupid questions. Why are you starting this? Because I'm honest. I just got into my field, for the first time I got acquainted with all these definitions. Many people are here for the first time, it's okay. And it's quite difficult for me. I have two questions. Does the speed of each stage depend on the scale of the event or on my skill and understanding of how I go from stage to stage? For example, to cook more or to write a book of my dreams that I've been trying to write for 15 years and I can't write it. A lot of factors, besides these. Because a huge number of different factors affect our lives, not only how conscious we are, and so on. Well, awareness of what's going on, of course, saves time and effort. Don't f**k yourself up, let it happen, because it happens, especially if we're talking about Nigro de Alba. It saves a lot of energy and time. Well, I think that it's a very important skill of an adult. To develop this habit, to consciously give up self-abuse as a practice. Because this masochism has been built in us since we were kids. We often think that if we scold ourselves well, then, you know, some higher power will show mercy to us and we'll be a little more merciful. But life is not like that. And this story is connected with the feeling of guilt and the manipulations of guilt, which many teachers have tried to build. If you've learned a lesson, you're a bad person, so be ashamed, suffer. It's not a must in the Marlezon Ballet. As my wise friend said, suffering is needed to understand that it's not needed. And this great thought of Dalai Lama that pain is a natural part of life, is true. Refusal of suffering doesn't mean I'll stop experiencing discomfort. I'll experience it from time to time. But it will significantly differ how I'll feel at that moment and what I'll do with this discomfort. I'll somehow... Practical self-abuse, which I love very much, we talked about it last time, I'll just repeat it again, is so great that you can see this unobvious link between the pain impulse I'm experiencing and the emotional reaction and the decision I make in connection with it. And it turns out I can let a pain signal through, but it's not necessary to suffer about it. Because what is suffering? Suffering is creating additional tension, trying to resist, trying to fight. I also add all kinds of cognitive constructions to it, like, what the fuck is going on in my life, why did this happen to me, all sorts of things that lead to nothing, to no solutions. And of course, and quite rightly so. And it only makes it worse, and the energy that could be directed, for example, to adapt, like with nails, the story is that you breathe in and adapt, I don't allow this energy, instead of letting it through and adapting, I put blocks on it, I do, no! I... It's because of suffering, yes, it's exactly this, it's not just... Not only to use a curse word, but you yourself... Yes. And I'm saying that it's not necessarily a part of the Martian ballet. And the faster we understand this, the easier it will be for us to live, just significantly. And the way out of suffering, as a rule, is through the question of how to make your life easier, and I did it well right now. As a rule, these are some very simple actions, simple. And they are very offensive to do, I'll tell you why. Because it seems that my suffering and my drama are so carefree, so huge, so large, but it can't be that I pour myself tea or open the window, that I'm what? It turns out that my suffering is not so huge, not so carefree, and not so... No, wait a second. I'm still here, I'm still here, I'm still here, nothing wrong, and this is also okay. I somehow... Red Riding Hood I understood, and I liked this game. If you like this game, then continue to the health, the only question is that this is a scene. In hours, in weeks, in the time of life, in what happens in your life in this regard, about what you don't do while suffering, what we miss at this moment, what resources we deprive ourselves of, what we don't have time to do, what to notice, what to feel, what to live. The truth is, as soon as the end of life becomes a direct experience, such an experience, well, it can help me that I have a good acting imagination, I imagine myself, I immediately feel a little bit of a return to an adequate state, I stop suffering and do something with myself. Yes, and Lena writes quite correctly that from some point pain on the nails converts into a pure perception, only enjoyment of the experience, and there, at some point, I already know, especially about the quality, guys get up on their nails and say, it doesn't hurt, and stop suffering. It doesn't hurt, that's all. I haven't grown up to this yet, it's probably still ahead of me, but it's possible. Anya, yes. Yes, I wanted to add about suffering, because it can be, how to say, a habit taken from childhood, well, there are children who are positive, and there are children who suffer from scratch. Well, he's a teenager, but he's already suffering. I don't really believe in that. I believe that, after all, a teenager doesn't know anything about suffering, he just lives there. I mean, at the moment when he is more or less conscious, that is, he starts walking, starts communicating, different reactions... And then I think that this is the result of what he learned. When you observe this in one family, you see that in the same situation, one behaves in one way, and the other way of suffering. I can say for myself that I was just one of those children who suffered. I have any question, it was in childhood, about suffering. And for years, just decades, I suffered until I realized that suffering and choice is pain, it's like a normal state, and suffering is a choice. But another moment let me go, when I found out that maybe the body just doesn't produce enough dopamine. And then I realized that at the biochemical level, it can also be. That is, you have a side, a side of the universe, just less joy, and you need to make an effort to make it more. And it also inspired me and helped me to stop suffering, including when you turn on, okay, I need to find ways to get this substance into my body. Yes, and in this sense, this is a very adult position that I find very nice, to figure out what is happening to me, to collect information, including, of course, so that we don't go into some pure mysticism. I, of course, try to look at this as much as possible, as much as possible, yes, Lena, thank you, good luck. I try to look at this system as whole as possible. And of course, there are many different ways. And here, of course, to support yourself, when Julia suggested to share our thoughts about which analysis is useful, which microelements to look at, and so on, and so on, it's all part of this huge, holistic, integral process, when I take into account biochemistry, including. Therefore, of course, yes, I am with both hands. Ksenia, yes. If you take transpersonal psychology and the matrix of the group, the mother experiencing stress, the child's mother experiencing increased stress, he learns to experience suffering prenatally. This is a pre-verbal period, he just remembers. And you were talking about awareness, conscious, we don't understand what was there. And this is experience. Well, how is it, there are a huge number of languages in the description. It's really very interesting and beautiful how we, what we consist of. If you really see that we have become the result of a huge amount of influence that has had a lot of different forces, starting, really, from how the beginning of the embryo development took place, and then, in fact, the whole process that you said is described in the matrix of the group. The state of the mother's health and what is there in her genetic, chemical, biochemical, and so on, and so on. Hereditary all kinds of diseases were they or were not. And then, as soon as we were, in general, in the light, and the process of social influence on us began, in addition to genetic, biochemical, then all this, oh my God. Therefore, it's like this. Therefore, it is very important to look at yourself with a lot of compassion and a lot of love, because we are raking up a huge layer of influence that has been imposed on us for our 30, 40 and more years. And if at least to some extent in this process we manage to take the wheel in our hands and at least a little bit of this process make a little more conscious and a little more, how to say, manageable, then, as they say, applause and a clap of air and bravo. Because it's a very big effort in itself, because the human brain does not like to spend unnecessary energy at all. And therefore, the colossal number of inhabitants of the Earth, in general, is actually a walking algorithm and a walking biorobot, which, in general, from a certain stage of life does not ask any questions, except, for example, the most basic requirements of the Pyramid of Oil. So, if we ask at least more complex questions and find the tools to manage ourselves, it's a huge happiness. Ksenia, right? I wanted to ask how long will the chat still work and will it be active? It will be active all the time. I will be in this chat periodically. When I have some ideas, for example, another idea that came to me is to arrange a movie viewing. I mean, so that you watch the movie The Sword of King Arthur first. In advance. And I had a thought, accordingly, to cut it and arrange a separate webinar and analysis. And to follow. In addition to the great work, there is still a lot of interesting things to see. But I need time to prepare it, and so on. Not right away, but I'm saying this because I plan to throw in our chat some ideas, some different events that I can hold for you. And so... Someone has already recorded. Well, okay. So that I don't turn away. I got it. And, in fact, so that we have a community on one side, and on the other side, I will have a way to get closer and somehow be born in a more understandable way, that big project that I plan to do, which concerns the learning program and books, including. Well, maybe some excerpts from the book, as I write, throw out something else. Well, in short, something like that. So I think we'll have an interesting party. Well, plus, again, I'm very both hands for it, if you yourself will also share some of your observations, your findings. There are a lot of psychologists, modeling practitioners, different people who have their own expertise and experience. And so we can have a very cool sandbox where such an interesting life on the topic of transformation and development will take place. Well, that's it, actually, probably, then yes, thank you, thank you. I'll do audio practice, then. Okay, we'll keep on talking. Well, then, somehow, I congratulate you, you have now met the stages of the great work. You now have this model, I hope, gathered some kind of whole, single picture. Then life begins, very interesting, fascinating, when you will apply this model and look at how it manifests itself in your case. Well, I really hope that it will really save you some time and effort and, in general, some reassembling of your life, which will certainly happen, will happen a little easier, a little more joyful and a little more manageable than they were before. Because, as I said, the most important value of all possible languages in writing is to make the process a little more manageable and predictable. If life is possible to make more manageable and predictable, then it's... So we're not in vain, it's called. I, in particular, do my job. Yes, Elena, I ask you to applaud separately.

citrinitas

I think we're going to start, because it's already 6.06, so why waste time on those who decide to join? I'm very glad that we're in some kind of... It's really interesting to watch these processes of general unconscious synchronicity, when suddenly people, without talking to each other, start to come to some synchronous tempo, going into the same state to the same ideas, to a specific date. This is an explanation of this. As you know, there is no such thing, this is a pure demonstration of how the unconscious field is arranged. We can just record and watch. We're in a calm state, I'm very glad to see you all. Hurray! Hurray! Here, I've decided to read some poems. Open up, what have you found in these poems? Please, don't call me back, I light hundreds of lamps in me, I straighten my shoulders, I go to the call of the coming days. I was with the unfaithful ones, I was more faithful to them. So, about the fact that I straighten my shoulders, I go to the call of the coming days. This is a great epigraph. To what we're going to discuss now, let's remember what we finished last time. We've studied the first two stages of the Great Deed, Negretta and Albedo. And, in general, to make it logical, it's important to remind you that the Albedo stage is a stage of contemplation, when I've escaped from the series to the light after some horrible dark tunnel, I lie down, breathe, spit, drink some water, gradually put myself in order, and somehow, oh, I'm alive, hurray, everything is fine. And, naturally, for this stage, there is a contemplative state, a desire to somehow move away from all the worldly emotional swings, to sit on the mountain, and so on. And this is the period when it's really useful to be in this contemplation, to be in this kind of detachment, to accumulate energy, to charge the cylinders, and, so to say, to replenish the resource supply. What's the danger here? As we've already said, this process often drags us down. I'm here now, I need to wait, I've just finished one course, I'll go there to study. And then I haven't finished this book yet, I need to finish that one first. And then I need to go to that specialist, wait, I haven't yet, no, no, no, no, and this one, I haven't yet, and now I'm going to one more retreat, and they'll tell me how to, finally, how to get out of this trap, when you're so apt to do something, if you're going to start doing something, you're an eternal theorist. I told you about this syndrome of the theorist, who can sit at a table for a long time, and analyze a play for a long time, and is very involved, very charismatic, very convincing, but in every way pulls back from the moment when you need to go to the playground and start playing something. This metaphor is directly transferred, what is called, to your life, and we say, now we have exercises, now we have practice, and everyone is like, let's sit a little longer, it was so comfortable to sit and listen to the theory, well, it's okay to sit, why do you start any exercises at all? Well, judging by the fact that you're smiling, apparently, I'm telling some familiar things, I'm not doing anything, I'm already tired of myself, and that's where the danger is, that this fatigue begins from yourself, then the process of self-healing begins, and we so smoothly, smoothly, smoothly roll back to the negative, that's what you have to treat it as short, because its meaning is, well, it's okay to imagine, its meaning consists of just two tasks, to collect resource, to collect information, to charge the bag, that is, to collect information, to collect energy, everything, and what's important, to collect energy, to collect resources, not for the whole life ahead, it's important, but for the obvious immediate actions, well, for example, if my task is to write a story, I'm there for a long time, everything is hanging out, I'm not like anything, courses about how to write a novel, become a great writer and publish a bestseller in the United States of America. You need to take one course about how to write a story. One. And go try it out right away. Moving from Albedo to Citrinitas is overcoming the fear of a clean slate. In the literal sense of the word. When you need to take a step, finally go and do it. If you have been going for a long time, I don't know, go and record a song in the studio, don't wait for the moment when you stand on a light turn or when you stand in a Mariah Carey. You need to go and get the first experience, because I, as a vocalist in the past and a person who worked in the studio a lot, must tell you that this process of getting this studio vocal experience is self-sufficient. It cannot be replaced by any reasoning about experience. In general, moving from Albedo to Citrinitas is very important. As an epigrapher, you can take this phrase that experience cannot be replaced by reasoning about experience. Albedo is an eternal reasoning about experience, a place of experience. And, of course, since new experience does not appear, frustration and fatigue begin to accumulate there. Because this energy that we filled the tanks with, instead of directing it to the case, we begin to direct it to explain to ourselves why not, why it is too early, why we are not yet, and so on and so forth. And this is generally a non-productive process. In other words, remember, if last time we did exercises for self-calibration, feelings, emotions, thoughts, remember, right? This is also necessary in order to notice at the Albedo phase when I already have enough energy for action. It's very easy to notice it by the body, it's just impossible to miss. When there is already some kind of tone in the body, when you can go and take a dumbbell, when you can go and calmly run some, if you run, some of your 3-5-10 kilometers, when you are calm, your hands are already starting to scratch in the literal sense, you can finally go. If you remember, we also said that transition is always through fear, and this is the moment, right here, this is the moment of overcoming the literal meaning of the word. Well, let me start showing you some beautiful slides. So, in alchemy, the Citrinidous stage, in the literal translation, is the yellowing of its meaning, its metaphors, its ideas. In such words as determination, as the color of the soul, as strength, as purposefulness, as a very positive view of the world, and the acceptance of resources, which are the direction of these resources in the immediate action. And in this case, this is the story, you know, when a child begins to take the first steps, it is very important that at some point the parent let go and gave the child to try it himself. This is me, who is bearing the child. This is Citrinidous in its purest form. This is me, I am going to get the fruit. I sit down and write the first lines of the first poem. I take and plant my first flower in a pot. I go and go to the first workout there in some kind of sport. In a word, Citrinidous is an action, it is an active activity, and if you want, if we say that Negredo is, in general, such a rather Inns state, or rather Inns state, then Citrinidous is me. This is the position, I am the creator, I kind of want to take and do. This is the phrase of Michurin, we cannot wait for mercy from nature, take them, she has our main task. This is just another such pigrof. Yes, what is it, what does phase Citrinidous require from us? I am not by chance in a yellow scarf, this is actually yellow, this is kind of the symbol of this stage. And at this stage, it is very important to go from word to action, from preparation to action, to testing the hypothesis of any, to any first steps, to go and get some fruit. When I don't do the thing I'm used to, I'm torn from the inside, unbearable to do. Here, Tanya, thank you very much for this comment. And really, why does this happen? Because energy is allocated for the task and accumulated for the task. And if the energy that we have accumulated for the task, we begin to merge it into some kind of game with ourselves, in the form of self-nourishment, in the form of scolding yourself, sprinkling the head with ash, all this nonsense, of course, is accompanied by colossal frustration. And our inner creative beginning, at this moment, really experiences colossal indignation, because why the hell was it all done for me? It was done so that you went and did it, and instead of that, where to merge it all, you start doing it. Therefore, it is difficult not to be offended when you start doing after Negredo, in shock from how much everything is. And therefore, in fact, about what techniques, what tools are useful at the stage of Citrinidous, energy, of course, is very important to direct, and it is very important to channel it, in the sense of setting some clear limits to where we are sending it. And therefore, if at the stage of Negredo and Alba it was very reasonable and normal to communicate with a psychotherapist, in general, to heal your trauma and so on, that is, to do somewhere real and past, then in Citrinidous, here is one of the very suitable tools here, it's coaching, right in coaching with all the goals, with the development of the plan, that is, the construction of a strategy, when you, right, that's what it's called, start like this. So, first of all, I want this. So, what is the task in the first place? What is the second? What is important, what is urgent? What is important, what is not urgent? Well, you know, these Eisenhower coordinates, if you don't know, then google it. It's one of the most famous models of how we start choosing what we do in the first place, what is the second, there are four squares. Important, urgent, unimportant, urgent, respectively, unimportant, not urgent, and urgent, but not important. Well, and, accordingly, you just scatter it all over the four squares and go. You ask me, say, well, if I especially never, as it seems now, it's important. Here, let's do this. Is there anyone among the attendees who thinks that I have never been to the Citrinidous phase? In general, are there such people? Well, just in case, I want to understand. It's just that I never, I'm there... Ah, great, there are no such people. That is, at least for a lifetime in Citrinidous we all visited. Hooray! Then you probably have memories of this state and the criteria of this state. That this is a very active state, when there is a spring in the body, when there is such a high tonus, when it comes straight, and now you need to go somewhere urgently and do it. I'm not accidentally, again, returning to the body, because the body is here the most accurate criteria, the most accurate measuring device, which gives the most accurate feedback. You won't get confused. It's just different. Albedo is a different state of the body from everything, than the state of Citrinidous. This is, of course, there is such a mechanism there. We will not go deep into it now, but, of course, those who know, there is such a tool, the motor field, which describes different human states according to certain criteria. There, of course, it expands or narrows me, pushes me away or attracts me. I feel more like activation, or I'm in some kind of state of lip absorption. In short, the body gives out this feedback very clearly and without options. The body does not have this at all, whether yes or no, maybe gas, maybe brake. The body does not behave like that at all. Everything is very unambiguous and very clear. You can check it, well, right here, elementary, you can check it. Imagine some fruit or product that you really want, that you love. And notice what happens to the body, how it is between you and the nose, it turned out. And probably you need to feel some signal right away. If we put here, accordingly, some product that we don't like, it's definitely not tasty, there will be a complete reaction, most likely. Here's the light, stop me, I'm being carried away. This is a very interesting moment. Thank you for saying that, it's important. I'll come back to this in a while. There are some subtle nuances. I bought a treadmill and Google at home every day. I was having fun. Here, here, here, here. Well, here, here, wonderful. Accordingly, how to understand that the phase of training has come, it really is with the body, with your body. You won't get confused, you won't be able to miss that moment when there will be a lot of energy and you really want to go and do something. And at this moment, it's really very important, if you didn't have any serious plans, no projects, no plans to take something here and do something, this is a very suitable moment. And from this state, again, it's very useful to pump up experience in the state of an active, active creator. Therefore, all kinds of Yandex practices, which develop this Yandex principle, archery, some martial arts, but not the Yandex one, where I turn the energy of the opponent against him. No, where you have to take and do, boxing, for example. Yes, some ascending, racing, if you don't like martial arts, and so on. That is, Yandex practices that are designed to achieve the goal. There is a clear algorithm here, do one, do two, do three, there is a goal, there is a result. And here, how is it, I don't see a goal, I don't see an obstacle, this is concentration, to be honest. Albedo, I wouldn't... No, why? I wouldn't say that this is a half-measure, Tanya. In the gym, yes, yes, Elena, absolutely right, crazy dances, yes, great, yes. I wouldn't say that Albedo is a half-measure. I would say, on the contrary, that this is a very important phase, because without gasoline, the car won't go. Albedo is needed for the car to have gasoline. When you approach the car, you see that you have 0, that's it, and first you have to get to the gas station, fill up the tank, and then go. Albedo is exactly about filling up the tank. And that's why there are exhibitions, contemplation, meditation, inspiring tools, so that here, I'll remind you, in the Albedo phase, it's important to ask yourself, what gives me energy, what fills me, what inspires me, where can I, in general, what brings me back to life. And yes, absolutely right, Lyudmila, in the Nigredo-Albedo stage, coaching is absolutely a waste, because it works with superficial rational structures of our brain. Not taking into account the question, where to get energy, for the achievement of this rational goal. Because in the stages of Nigredo and Albedo, the body plays a very important role, the state of the body, and in general, the state of the body emotionally. Rational control, in general, the mind is in this state, in a kind of semi-disabled state. It's very difficult, again, if you remember, that you can be aware of yourself, you can, so to speak, observe yourself in this poor state, feel sorry for yourself, but setting some goals, like, now we'll set a goal for six months ahead, we'll make a strategic plan. No, it's all going to go to waste, with a probability of 99%. Because there's nothing. Because there's nothing and no one. In the state of Nigredo, there's no one, and in the state of Albedo, there's nothing. The recording is on. The recording is on. Here, the energy is exactly enough to be enough for the first 10. Yes, yes, yes, yes. And here, you don't need to stock up on energy, really. When you go to the stage of Citrinitas, you don't need to stock up on energy for the whole life ahead. You need to stock up on exactly what you need to start, because then the appetite comes during the meal, very often, if you really enter into some kind of good creative tempo, then it starts to go crazy, and the car is already going at a known inertia. What else is important about Citrinitas? It's a state when creativity becomes the main principle of existence in general. I'll explain what I mean. When, as a creative object, a person can relate to everything. What do I mean, again? I see that I have something wrong in my relationship. I've had a long-standing argument with some person, and we have some kind of incomprehensible relationship. I take him, write to him, meet him, come to his house with a box of wine or something. We're all on the same page, and we have a wonderful relationship. Citrinitas is at the stage when the energy and resources are enough, to get everything that's necessary, everything that needs to be done. It's been a long time since I've had a fight with my parents, and I need some kind of a break, and so on. I call my parents and find all the strength to bring this thing to the state I need. And this is the creator's view of his life, like a canvas. I look at different contexts. So, what's wrong with my relationship? I took it, screwed it up, fixed it. Like in that pie-cake poem. There's an old master at the factory, he does everything well. It's even written in his passport, Oleg Petrovich is fucking awesome. Citrinitas is Oleg Petrovich is fucking awesome, who fixed it here, screwed it up here, hung everything here. It's been hanging for six months, the picture is crooked, spent five seconds, and it's still hanging. The floor is not washed, washed. So, in this sense, without any reflection, quickly, silently, correctly. On the Great Trennik, Tatiana Muzhitskaya's mirror, there's this Jan principle, that Jan acts quickly, silently, and correctly. If Jan does something wrong, he just somehow changes it and does something else. It doesn't matter. The moment we just act, and that's it. And this is... I think we can define the floor to the stage. I don't get it, Marina, probably. Maybe. I don't know what's wrong with the floor. In a word, citrinitas is really the stage when a person looks at the world not as a data, but as a material with which you can do something. What you want to do, regardless of the context in which you're talking. And here the word creator has this highest meaning. That I... Well, I like it, great, we leave it like that. I don't like it, I don't like it, we want to fix it, we take it, we fix it. Today is an interesting day. Oh, so I bought it for what, but I'm selling it. In the Retrograde Mercury public, I, as you know, am far from astrology, I've never been deep into it, so today I'm writing that today, February 22, the union of Mars and Venus. And it seemed very symbolic to me, a very beautiful moment, I'll explain why. Because Mars, as you know, is a male planet, and Mars represents the male part, and Venus, respectively, is the female part. And the union of the male and female parts is a story that's never happened to citrinitas. Why? Because... It's interesting that in the alchemical tradition, this stage was only transmitted by mouth for a very long time. And it wasn't recorded in almost any ancient texts. I'll tell you why. Because the metaphor of this stage is, apart from the fact that there's a metaphor of a peeing boy, there's a metaphor of an alchemical marriage, and there's a metaphor of a natural saiti, a lover. As you know, in the Middle Ages, such a wonderful organ as the Holy Inquisition could have reacted in a very ambiguous way, having learned that some strange guys were starting to talk about saiti, and that what we meant in the spiritual sense, not in the flesh, would be explained by the respected Putin on the constrain later. And, accordingly, this sacred, really, this secret knowledge about this metaphor, what kind of metaphor is it, I'll tell you now, it was really, well, they tried not to mention it again, just so as not to bring any problems to themselves. And that's why for a long time they thought that after albedo, there's rubedo, the final stage of the Great Work, and there's clearly something missing, because it's impossible, when I contemplate and accumulate strength, to immediately jump to the state of being a handsome boy on a horse, standing with a prize winner, already on the top of a mountain. It doesn't happen like that, there's clearly a transitional stage. And what does this transitional stage mean? What is it? And here it starts beautifully, very beautifully, how Western and Eastern traditions start to intersect and intertwine. Look, in the East, in India, there's the idea of Tantra, which, if you've ever studied this story, what is Tantra about? Tantra is about the transformation of conflicting parts, about the unification of polarities. The very idea of Tantra. What, a man dances, a woman, a man's energy, together with a woman, yin and yang, mixes and creates something third. The idea of creativity, globally, is essentially Tantra. I take one, I take another, I mix it, and I get something third. And in general, then, from the point of view of Tantra, there's no conflict. In principle, the idea of conflict, from the point of view of Tantra, does not exist. There's some pair that looks somehow opposite. I take it, I do it, I unify it, and I get a third state. So here, it's very clear, very beautiful, how Western alchemy comes to the idea, the same as the Indian and Eastern Tantra. And they describe it in a slightly different language, but the idea of unifying polarities, as the dance of the male or the saiti of the male and female beginning, literally, literally repeats itself. And there are engravings, where there's a man is the sun, a woman is the moon, and they're in different ways, how they're different ways of being depicted, how they merge and merge together. And it's just, what's it called, try to find 10 differences. And this is like, tsi, no matter how many inis there are, without tsi, it's all lifeless. Well, in a way, yes. If you want more parallels, it's interesting that there's a chakra system, also known in yoga, where the chakra of Manipura is responsible for this active action towards the world. We've specially checked the saline today, that it's yellow. Just like the yellow symbolizes citrinitis. And one more metaphor, why is the pissing boy, why is the urinating Cupid the symbol of citrinitis? Because it's a release, it's a liberation from what should be released. In fact, it's a metaphor of creativity, when I've accumulated something inside, I have to free myself from it, I have to pour it out. Some creators say, I want to pour it out on paper. Well, that's why you want to call it that. You see, in this context, too. For example, I draw on snow. Cheers, please. For example, when I wrote my first book, Alchemy of Public Performance, I can't do it anymore, because it takes up space, it consumes energy, I'm always busy keeping it, not forgetting it, I need to pour it out on paper and alienate myself, so that the whole world owns it, it exists, people read it, use it. Great, that's it, my head is free, I can switch to something else. In this sense, creative ideas that don't turn into a result rot inside, they consume a lot of energy. And they just, literally, you spend a lot of energy to keep it in mind all the time, and at some point you let it go, like, it's not fate, or it's especially annoying when someone else does it. Have you ever had a life like that? And then, six months later, someone else did it, made a lot of money, and you're like, damn it. And the world is built like that. It doesn't give ideas to just one person. It gives them a certain number of heads, and whoever had enough energy, determination, and intention to do it, is a good guy, and that's it. My painful story on this topic, with my friend, the director, who I played a few times in Moscow, I came to her with the idea, and said, look, there are almost no movies where the main character is a conductor. Well, except for the obsession, and some other stuff. And in general, it's all about cops, detectives, and all that. It's cool to have a crazy conductor, like, Kurendis, and we decided to generate something, and even started writing some idea. And then we dropped it, and other things started, and then SV, and all that. And then, in 1923, I played the main character of Kate Blanchett, I don't remember the name of the female conductor. And then came Bradley Cooper, where he played Leonardo Bernstein. Two movies in a row, with the main character being a conductor, and Kate Blanchett getting a prize for the best female role, and Bradley Cooper getting a job. And I was like, who's in your way, dear comrade? Well, it's not my business, but others did it. Whoever had enough resources, and so on. So, this good happens, and I'm called Kurendis in Nizhny. I highly recommend it. I highly recommend Teodor, he's great. I remembered the youth of Sorrentino. I understood everything about myself, why I'm overweight. The idea of the sea's ability, but I didn't do anything until today, I was afraid to be visible. And that's right, all these ideas rotted inside, and I was eating stress and envy. I understand that, especially since I ate 10 extra kilos at one time. Or I was helped to get rid of them. So, I understand it very well. So, that's why Citrinitas is the stage when it's very important to put aside the conspects, to put aside any objections, and just go and do it. Get experience. And I'll repeat it again, Yann is quick, silent, and correct. If Yann doesn't like the result, he just starts acting on the result and doing something else. But the energy is supplied here exactly as it should be. You have to understand that. If in Negredo, energy is needed just to regroup, in Albedo, we accumulate this energy to make it a certain amount, to get a plus, in Citrinitas, we start turning it into material objects. And I want to say again, don't treat it as something global. When you approach... Not just something global. If you approach, for example, a fridge and you need to feed your family, and you only have 3.5 products, from the moment you discover you don't have the necessary food to feed your family breakfast, to the moment when breakfast is on the table, you'll live through the same stages of the Great Deal. From the moment when you're like, what the hell, where is it, what's that, do I need to go to the store, and so on, to the moment when you realize, I can make something out of this, and then you just take it and go. And you have to learn to see these phases, both in small actions and in big ones. It's not just about building millions of businesses, or releasing a multi-volume encyclopedia. No, it can be a local task. Starting from the point where you need to make a story about a relationship that hasn't been made for a long time. Here, right now, you can do that. And the hashtag, I can do that, is the hashtag StadiiC3Nets. What do I want to offer you in this sense? Where should I invite you? Regardless of where you are right now, I suggest we do a little exercise, a talk-like one. Please, write in the chat who can't practice right now and won't go to the session hall. Lena, you've taken that into account. Okay. Marina, Natasha. 4, 5, 6. 15 minutes. I want 15 minutes. Okay, no one can do that here. Look, it's obvious. Who wrote that? I want to, but I can't. Okay, fine. Okay, those who can, we won't send two or three people to the session hall. Let's do it this way. Write down a question. What simple and small actions can I do right now, maybe even today, but I've been postponing it for a while? What can I do right now, in the shortest time? Maybe there are unfinished business that have been hanging around for a while. And that's also very easy to do, because it's not a philosophy, it's not Jung, it's pure psychology. Unfinished business, or so-called unclosed work, is a very important thing. So if you want to improve your productivity, in this sense, productivity, to finish unfinished business, to put a tick, it's done, and forget to send it to the archive. And that's terribly important. Usually, in all the popular publics about psychology, they write, before the New Year, to find an opportunity to pay off your debts, if they are there. Well, closing not only before the New Year, but in general, it's very useful in life. What is the Zeigarnik effect? Can I say? I wrote it. It was... I don't remember, in the beginning of the 20th century, a psychologist, led by his manager, Blume Zeigarnik, I think her name was, she proved that these unfinished business she noticed that waiters in cafes remember longer those orders that are not yet completed, than those that are finished. And it turns out that it boosts our operational memory, and it's scientifically proven. Yes, because like on the screen, when you have a bunch of windows open, it's like, oh, it's been a year, it's proven that it will hang in your head. I remember it from a movie, a Russian detective movie, it was a second-rate movie, but there was a beautiful phrase, it was a quote from the movie, it was called Lion's share, it was like, nothing is worse than unfinished business. That's why, yes. Unwashed dishes, yes. And you know, you can treat dishes as a series, not my sphere of competence, but like, the cleaning lady will come and wash it, not my business, and then there's no problem. It's very hard to get away from this. Because you won't be able to do it yourself. You'll remember that you were going to do it. I closed three loans yesterday and today. Hurray! Olya, congratulations. It's a colossal liberation inside. Okay. And I want to, in this regard, since this is a creative stage, in the full sense, and a demiurge, when we really move from contemplation to active action, I want to dilute your attention a little, so that you listen not only to me. I think a week and a half ago, or two, two and a half weeks ago, saw how Elena was publishing a very good text, which... By the way, I'm for you, so why don't you tell us what it is. It's just a little demonstration of what we're talking about, and then we'll discuss what we mean. Elena, the floor is yours. Tell us about this product, what it's about, and what you think it's about. Yes, it's a story about fire. It's a story about how it can burn, incinerate, kill, destroy. And together with that, fire is able to bring back the fire inside you, or the fire inside me, or the fire inside us. But only by going through this fire can you discover your inner fire, which is much, much stronger, much brighter and more powerful. And the funniest thing, and not really, is that only by going through the fire can you discover it. In all other cases, you can only guess about it. But the most interesting thing I saw in the text was that at some point it inspired me. It inspired me to read it, to hear it, to live it. And it was a small, but very precise flash of inspiration, when there's power, there's desire, there's inspiration. And I guess we're in the middle of practice. Yes. Before I start, I'd like to ask you to make yourself as comfortable as possible, just to check how stuffy it is, how we're sitting, what's wrong with our shoulders, what's wrong with our necks. Yes, you can drink some water if your mouth is dry. And all you need is your attention and your body, which you feel and which you're very, very comfortable with now. What does fire do? It burns. It's like a piece of wood, coal, or fabric. Everything you put in fire turns to ashes. And gold? If you put gold in fire, it turns to pure gold, and its value increases. If you put iron in fire, it becomes stronger. Why? Because the fire inside it is stronger than the fire that burns it. This fire is full of determination, purity. If you are full of determination, if your thoughts are pure, if you are full of gold, you will shine. It is strong. And you will gain inner strength. And no one can harm you. You will not go through the waves. I'm with you. Through the rivers, they will not drown you. You will not go through the fire, you will not burn yourself, and the flame will not burn you. No weapon made against you will succeed. I'm with you. Everything is still with you. Everything is still with you. This is how fire sometimes comes to us. Through events, through people. But if we move on, it does something very important. It allows us to find our inner fire. I wish everyone, no matter what stage you are at now, tomorrow, to come to your inner fire. Thank you very much. Thank you very much. I wanted to say this because it's interesting. The experience gained in Negredo at the albedo stage, you want to keep it away from you and not touch it at all. And at the citrinitis stage, it becomes fuel and clay for creativity. And that's why when poets turn their love experiences, suffering, tragedy, etc. into poetry, when Rachmaninoff, at the end of his most difficult and long depression, writes his second concerto for the piano with an orchestra, it's arranged exactly like this. The experience that, as it seemed, inside the process of me being destroyed, torn to pieces, I will never live through it, etc. At the citrinitis stage, it becomes a tool for creativity. Because I take this experience and turn it into a work of art. I write a text on this topic. And I turn it into poetry, music, song, into whatever, into some kind of reflection, into something I share later, into a podcast I record, into a metaphor I come up with and share with friends. And I want to offer you this way of living in the critical stages that through creativity it goes very well. You enrich yourself as a person in this way. Because through complex experiences we increase the amplitude and capacity that we can let through. I don't know if you've thought about it or not, but the capacity and amplitude of human perception of the world around us. Because our humanity, our compassion, our sympathy for others, our ability to empathize with others, our ability to judge less and to understand more that, perhaps, in his situation I would have behaved the same way, and so on. All these abilities grow thanks to the crisis we've been through, and the complex situation we're in. Yeah, yeah. Very, very cool. I'm reading it now. And that's why... It's about falling in love with yourself. Well, yeah. If you don't fall in love, at least you have to accept it. Because without it, you can't do anything. And now, pay attention. Remember we said that without... Why is it impossible to concentrate without playing? Because you have to see what evolution you have to go through. You have to learn to notice yourself first, to realize yourself, to observe yourself, so that later you can call yourself a creator and a master. Imagine you try to offer and say that a person who's never thought he was a screw or never thought of anything, who's never had the reflexes, and you say, you don't understand, you can create your life, you're a creative person. What? Until I found myself as a subject, I don't know if you've thought about it or not, millions of people live outside their subjectness. They just don't realize that they're subjects. They perceive themselves... They're just not able to see a single thing in themselves or to make their own decisions, their own thoughts, their own opinion, their own position, etc. Millions of people just don't have it. And as a result, we usually have some complex experiences that we need to deal with, that we need to go through. And in the process of how much I deal with it, it's very important for me to find out where my responsibility is, what I can do in this regard. You need to find subjectness. Subjectness is usually found in the face. I was raised in such a way that I can do it now. I can't do it now, but they'll never get there. They can't physically get there. This level is too high for them to be able to live their lives. And that's why we need NegroEdo to live through our subjectness, to get to know ourselves, our dark side, to see ourselves in all its glory — both ugly and not. To accept ourselves in this state. To get through Albedo and enter the C-3, when I say, like, here's the wheel, the goal is there, let's go. Let's do it quickly, quietly, right. It's useful to say that, as we said, C-3 is about uniting conflicting sides. And so at the C-3 stage, a person takes on his or her experience of NegroEdo. I'll repeat why I asked Lena to read this text. My hypothesis was that you wrote it as your own reflection on your period. Was that right? — Yes, that's how it was. — And so, at this very moment, I'm joining my own fucking shit that I've lived through. I say, yes, I'm joining you, yes, it was with me, yes, it's important for me, yes, I don't run away from it, I'm just standing here, I'm grateful for it. I learned it for some reason, it filled me up with something, I grew up with some new properties thanks to it. And I can go further, and I can merge it all into creativity, into active activity, into creation, and so on. And so, I'm ready to switch you on and where we'll end up later, after this. This is my favorite fucking thing. Of course. I'm ready to take you on from this point to the final, fourth stage. If you have any questions about C-3, ask them. You can ask them in the chat, if you want. Maybe I've missed something and I can tell you something. Yes, Natasha, go ahead. Hi everyone, Andrey, hi. I want to clarify. I wrote down that C-3 is a state of unity of conflicting sides. For me, it sounds like integration. Is it already integration or not yet? It's the process that starts here. And integration, when I look at my past experience, and I integrate, yes. Are there any setbacks? Well, based on experience, it's a bit difficult to get away from it. If you've already started, it's harder not to go there. I think that the moment when you feel inspiration, you know how it's written on the blade of the Hedman's brain? Faith in God, and strength in the hand. C-3 is this. Faith in God, and strength in the hand. And when you feel this strength in the hand, and you start to see the fruits and results, this process... Again, the state of the flow, that's it. How can you get away from the state of the flow if you've already entered it? If you've already entered it, it's complicated. While the resource is coming, you're doing it. Then you reach some point, and then it goes on. Disappointment... Here's a good question. I'm talking about disappointment in the beginning. How can you disappoint in the beginning? Technically. In order to disappoint, you need to spend all the time, instead of being fully in the action, spend all the time, some amount of energy to evaluate yourself from the outside, and to evaluate the critical requirements. Then, in general, disappointment is elementary. There are very useful rules in this sense in the theater. When an artist is on stage, he's opposed to reflecting on how I look, whether I play well, how I do it, and how I look from the outside. Because at this very moment, all the magic of the theater and all the magic of interacting with the audience ends. It's impossible to be inside the process at the same time and evaluate yourself from the outside at the same time. It's impossible. It's impossible to, pardon me, have sex at the same time and look at yourself from the outside at the same time. How right I am, so to speak, how beautiful I look from the outside. Everything, pardon me, all the pleasure ends at the same second. Because either inside or outside. Speaking of the Common LPS, it's a very simple criterion. You're either associated with this process, or you're not. You're separate from the process. So, if you don't want to break the creative process, it's very important to learn to immerse yourself in it entirely and evaluate the results, not the process. To reach the result. After that, you can dissociate, look at the result. And this will be the final, in fact. And yes, maybe we'll go to the next cycle when I look at the result. And the artist will say, no, it's not what I wanted. Or not exactly what I wanted. Well, great, then we'll go through the cycle again. It's applicable if we're talking about iterations, about some approach to creating a product, I don't know, a training, or a book, or some other thing. Or a business plan, or a project of some kind, entrepreneurship, or something else. There's this point, the point of convergence, when we've finished a cycle, we need to converge to understand whether it's there or not. If it's there, great, we'll continue the next cycle. If not, then no. But here's a very important thing — not to dramatize. Today, I was recording an interview with Ivan Zhuravlyov. I really think that this is probably one of the most basic, unproductive strategies a person can have — to dramatize and suffer. I think that for some reason, we've stuck to one thing. If I'm experiencing some negative emotions, then I need to immediately focus on this topic, say that everything is cramped, that it's always going to be like this, that life is hopeless, that the world is shit, and that we're never going to get out of here. And then play this scene from Shakespeare's tragedy non-stop, for hours, days, weeks, and so on. Here, it's very important to ask yourself more often, what am I spending my resources on? Am I really needing this for something? Am I really doing something important for myself? Or am I just wastefully wasting precious energy on pure shit? So, that's all about the control skills. I know that if I want something, if I have a goal, I can act. I'm stuck on not seeing what I want. I'm constantly thinking about it, and a lot of energy goes away and starts going around. If we're talking about the Negret phase, it's clear that you want it to end soon. I think, Marina, that there are some very simple things you want. I mean, not globally, but very simple things. I want to eat, I want to walk, I want to... You know, it's a very useful question about how I can make myself feel good in a simple way. Put on warm socks, ventilate a room, pour tea, listen to nice music. And maybe, with a change of state, I'll have some other ideas about what I want. Okay, cool, I've got my hands. Elena, go ahead, I'll follow you. You were talking about the endless drama. It seemed to me that it was partly because of the fact that I was in a position of sacrifice, and it was recovering, but I just didn't think that it could be done in a more adequate, ecological way. And the second thing, the guys asked about the retreat from Citrinitas back to Valbeda or Negret. I can say from my own experience, for example, I was offered to conduct a training. And I understand that I haven't done offline training for a long time. And I'll be honest with you, despite the fact that I constantly work with students online, but I realized in the last week that I was offered a training, and I needed some time to rest. And here I was supported in a sense by my close ones. When we criticize ourselves, that we are not ready yet, let's take a break. And my close ones say, get up, let's do it. I think this helped me a lot. When it may seem to me that I am not ready yet, I need to recover, I need more strength. And your close ones can give you a feedback that you are probably ready. Thank you. Fatih, Zhedan. I have a story. I have a person who has a lot of energy. I understand what I was at in the third stage. And I had the following. I create a course, my product. And when this energy appears, I put it aside again, and I transfer my energy to sports. I would be crazy about dancing. I'm happy, I don't waste energy. But at the same time, I stay here at the third stage, or is it considered a rebound? Because I understand that the thought of the course triggers me, it's difficult for me. But I'm happy. I went for a walk, I went to dance, I did some training. And you seem to stay at this stage, or is it also considered a rebound? Look, if you accumulate energy to do a specific thing, and then you go and do something else, then it's kind of a crazy deception. I don't know how nice it is for you. I think some part of your creativity is really hurting you at this moment. I'm waiting for this to finally happen. Of course, but it's like a painkiller. I don't know how to compare it to anything. You know, it happens to creators, by the way, periodically. When the energy has arrived, instead of drawing a picture, I'll go on a date, I'll go to the bar, I'll dance like crazy. At this moment, the part that is responsible for the realization of the creative potential is sad. And it's better not to. Perhaps, it is also possible periodically, but again, who deceives whom? You need to talk to yourself about it. Eduard, hello. Yes, good afternoon. I've already highlighted some of my comments. I don't know, just ask for a comment. I understand that C3Nitas is primarily about us manifesting in the outside world. I notice, and according to my observations, a huge number of people probably have been learning since childhood not to manifest from pressure from the outside, that is, from the school part, in fact. And now, for example, working with a psychologist after the first webinar, I noticed that I often switch from phase 1 to phase 2, phase 1 to phase 2, and this is because there are already formed mechanisms that have been in place since childhood, which in fact do not allow this to be done. What to do with it? Should everyone work with a psychologist and tell these mechanisms to each individually, or are there more universal answers and stories? In my opinion, universal is unlikely. At least, I can't think of anything universal now. It really seems to me that... Now, let me repeat it again. That after all, it's not just about some forms of public statements about yourself. It's not just about that. I don't know, digging a garden and planting a tree in your yard is also a creative process. I don't know, sewing a slipper or pants for yourself is also a creative process. In this sense, we look at phase C3 as a creative process for any creative activity that includes some kind of transformation of the external reality. To write something, to fix something, to sew something, to build something, to invent something and to implement it. But it's an exit from the head to the outside, when I take something and do it, if it's about my personal transformation, well, transformation doesn't exist in a detachment from a goal. We don't transform just like that, anywhere. For example, I want to leave my employment and go into entrepreneurship. This will be accompanied by a psychological transformation. Because if I work in hiring, I have one picture of the world. I have a salary in a certain amount every month. I have a certain reality. I have a person who gives me tasks. This is one world. The world of entrepreneurs is a sea of unpredictability and it's not like who has the time. It's a different picture of the world. On the way from one state to another, a person's personality is necessarily transformed. And when he moves to the C3 stage, it's very important for him to go and start taking the first steps towards entrepreneurship, to go and open a company, to buy the first equipment if I want a place. To start acting and get feedback from the world. I'm just expanding the scope of what we call a creative process. And we treat it as creativity in the full sense of the word. Entrepreneurs do it 100%. If you ask an entrepreneur why he's doing it, there's always this thing like, there was nothing, now there is. I want it to be there. There was nothing, now there is. There was no coffee shop, now there is. There was no running track, now I'm going to put running tracks here. This is the first question about expanding the scope. Now I'm answering your question. If we're talking about the public, about the format of public speeches, about what's written, what to fix, and so on, and so forth, I don't know. Along with that, the moment when Albedo and Citrinitas switch, what's the golden thing about it? In the literal sense of the word, it's golden in the sense that you can treat this and that, and break your fears and limitations like a door. All these methods, stress series, I'm afraid to speak publicly, so I'll stand in the middle of the room and read poetry. It works perfectly here. The energy is delivered to you, so you can knock the door down and say, I don't know, I managed to answer this question. Did I do it? Partly, thank you. I've already done some of my students' speeches, I've been at IP for 8 years, I have a slightly different, more global story, and there's more fear. But those are my specific moments. I don't think it makes much sense to go into it now. Okay, thank you. I have another question. If I need to do something for others or for work, I can always solve the issue, but if I need to do something for myself, I'm starting to feel self-sabotage. How do I deal with that? You can start provoking the program, but don't do it. Well, forget about yourself, Bolt, in the end. Sorry for... And check, look at the feeling. What if I just score a goal? Well, that means I don't need it for myself, maybe. It happens. Anyway, whose voice is in our head when we listen to this moment? I think this is the moment. And this is what's important to me. I'm sorry for giving this vulgar example, but I think it's a good example. I mean, if you go to the bathroom, you don't have any self-sabotage reflexes. You don't think, I'm not going to go, but people will say, I need it. And if you're self-sabotaging some tasks that you decided you need, but you don't, well, it happens. I don't think there's a universal answer here. We need to figure out what it's about. Okay, Lena, then Lyuda and Natasha. I'm a dancer. I've been dancing for 15 years. And six years ago, it all broke me. I got injured. I went into therapy. I completely rebuilt my activities. I was healing myself first, and then I started working with people. And then, these last days, I wake up and I'm not a dancer at all. I'm an artist. I don't want to heal anyone. I want to dance. I'm in shock. I'm like, what is this? Is this possible? It was a six-year period. And now it's like an integration of all the experience and the return from the past, getting some unfinished things. I think it can be much easier. We have different parts, which are periodically subpersonalities. I'm also getting activated sometimes. An actress who wants to be on stage. I'm making up a scene for myself. I can start with some lines and upload them to the channel. Maybe I need to perform somewhere. I think about where to perform. It's normal that it happens in cycles. It's not the end. Now it's a period when the dancer breaks out, and then the healer breaks out again. Lena Vostrikova will be there. Lena and her mom are wonderful. Everything is wonderful. It's a normal course of life. One battery is fully charged, and the other one starts to think, like, I need attention now. We're different in this sense. We're diverse, interesting, organized, and wonderful. I see a little confusion. I'm confused because I'm 6 years old. I was sure I'd be a musician until I was 25. I was fighting with my heel to the ground. I was a musician, a rock star, and I was going to play guitar. Then came the acting skills. Now she's 15, and she's starting to take up a place. It's an interesting path. It's great. I'll find a way to be like this. So, I'm enjoying it. Thank you. Dance with Lena. Write it down. Lyuda, yes. Hi, everyone. I'm not asking to share my experience. Everything that happens in my life is spontaneous. What Andrey said, I understand. Why does it happen? I'm enjoying it. Maybe it'll help. You confirmed that I couldn't post on Instagram. I write and film texts. But I can post on the glass ceiling. I've been doing yoga since 2010. Mantras, meditation, desire boards. I didn't do it. I went to boxing for two weeks. It coincided with our first webinar. I lost my fear. My coach said, go do it. I did it. I can't do it anymore. I rested for 30 seconds. I did it. I don't have any fears. I understand how it works. Thank you. I've read your comments. You said that you do something for others more than for yourself. You can try to change yourself. Does what I do for myself help me be more productive? Sometimes we think what we do for ourselves is just a thing we live by. But if you see the difference when I take myself to a massage or a hobby, I get a resource and potential that helps me be more effective for others, then I can make a direct cause-and-effect connection. I do it for myself, I do it for others. Can I say something? It's not about massages or yoga or sports. I always find time for it. I have my own company. It's about things I don't like to do. For example, setting up accounts, financial plans. It works for a while. I live in Germany, we have a tax here. Can I delegate? Yes, you can. I delegate a lot of things I do for myself. I don't know how it works, or how many hours I've been with patients. If I do it for someone else, or for someone else, it's not hard for me to sit down and solve some questions. But when it comes to myself, I'm resisting. But it's about things that often don't accumulate in the operating room, and a lot of energy goes to it and doesn't let you realize that you're resisting. So, what do you need? I'm serious. I'm talking about not dramatizing your symptoms. I'm not being lazy. I'm not dramatizing. You're talking about resisting as if it's a data that can't be changed. I suggest you be ironic about it. Or I say, my resistance won me over, so I'll take all the consequences. There are consequences, right? I suggest you talk to yourself as if you're an adult, and I'm ready to take the consequences that my self-sabotage will bring. If you understand that the consequences... I'm sure, Yulia, that if suddenly... I don't want to fantasize about dramatic situations, but if there's an additional circumstance that will make you put out a fire, you won't sabotage anything and will run to put out a fire. When such cases happen... I think it's just a matter of adult conversation. I'm not directly related to alchemy and our great cause. It's just a test for adulthood. I'm watching you. Thank you. Thank you. What do I suggest we do now, friends? Before we go to consider the Rubedo stage, we'll take a break, as foreign coaches say, to refresh ourselves a little, and we'll be back in 7 minutes, let's say, at 35, and then we'll go to the stage of the Rubedo stage.