add more to the book, create online version
This commit is contained in:
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module github.com/Xe/tulpanomicon
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require (
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bou.ke/monkey v1.0.1 // indirect
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github.com/otiai10/copy v0.0.0-20180813032824-7e9a647135a1
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github.com/otiai10/mint v1.2.1 // indirect
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)
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bou.ke/monkey v1.0.1 h1:zEMLInw9xvNakzUUPjfS4Ds6jYPqCFx3m7bRmG5NH2U=
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bou.ke/monkey v1.0.1/go.mod h1:FgHuK96Rv2Nlf+0u1OOVDpCMdsWyOFmeeketDHE7LIg=
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github.com/otiai10/copy v0.0.0-20180813032824-7e9a647135a1 h1:A7kMXwDPBTfIVRv2l6XV3U6Su3SzLUzZjxnDDQVZDIY=
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github.com/otiai10/copy v0.0.0-20180813032824-7e9a647135a1/go.mod h1:pXzZSDlN+HPzSdyIBnKNN9ptD9Hx7iZMWIJPTwo4FPE=
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github.com/otiai10/mint v1.2.1 h1:vDQzXgHumrrZvJp/ftsTB3NUaZQzjEh7HV7Hx27lZj4=
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github.com/otiai10/mint v1.2.1/go.mod h1:YnfyPNhBvnY8bW4SGQHCs/aAFhkgySlMZbrF5U0bOVw=
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package main
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import (
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"archive/tar"
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"compress/gzip"
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"flag"
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"fmt"
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"io"
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"io/ioutil"
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"log"
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"os"
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"path/filepath"
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"strings"
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"time"
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"github.com/otiai10/copy"
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)
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var (
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fname = flag.String("fname", "slug.tar.gz", "slug name")
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)
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func main() {
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flag.Parse()
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fout, err := os.Create(*fname)
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if err != nil {
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log.Fatal(err)
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}
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defer fout.Close()
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gzw := gzip.NewWriter(fout)
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defer gzw.Close()
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tw := tar.NewWriter(gzw)
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defer tw.Close()
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dir, err := ioutil.TempDir("", "sluggen")
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if err != nil {
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log.Fatal(err)
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}
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copy.Copy("./book", dir)
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defer os.RemoveAll(dir) // clean up
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os.MkdirAll(filepath.Join(dir, "bin"), 0777)
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var scalefile string
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scalefile += fmt.Sprintf("web=1\n")
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os.MkdirAll(filepath.Join(dir, ".config"), 0777)
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os.MkdirAll(filepath.Join(dir, "client_body_temp"), 0777)
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os.MkdirAll(filepath.Join(dir, "proxy_temp"), 0777)
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os.MkdirAll(filepath.Join(dir, "fastcgi_temp"), 0777)
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os.MkdirAll(filepath.Join(dir, "uwsgi_temp"), 0777)
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os.MkdirAll(filepath.Join(dir, "scgi_temp"), 0777)
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err = ioutil.WriteFile(filepath.Join(dir, "static.json"), []byte(`{
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"root": "."
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}`), 0666)
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err = ioutil.WriteFile(filepath.Join(dir, ".buildpacks"), []byte("https://github.com/heroku/heroku-buildpack-static"), 0666)
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if err != nil {
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log.Fatal(err)
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}
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err = ioutil.WriteFile(filepath.Join(dir, "DOKKU_SCALE"), []byte(scalefile), 0666)
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if err != nil {
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log.Fatal(err)
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}
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filepath.Walk(dir, func(file string, fi os.FileInfo, err error) error {
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// return on any error
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if err != nil {
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return err
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}
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// create a new dir/file header
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header, err := tar.FileInfoHeader(fi, fi.Name())
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if err != nil {
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return err
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}
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// update the name to correctly reflect the desired destination when untaring
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header.Name = strings.TrimPrefix(strings.Replace(file, dir, "", -1), string(filepath.Separator))
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// write the header
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if err := tw.WriteHeader(header); err != nil {
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return err
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}
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// return on non-regular files (thanks to [kumo](https://medium.com/@komuw/just-like-you-did-fbdd7df829d3) for this suggested update)
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if !fi.Mode().IsRegular() {
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return nil
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}
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// open files for taring
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f, err := os.Open(file)
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if err != nil {
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return err
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}
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// copy file data into tar writer
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if _, err := io.Copy(tw, f); err != nil {
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return err
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}
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// manually close here after each file operation; defering would cause each file close
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// to wait until all operations have completed.
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f.Close()
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return nil
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})
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time.Sleep(time.Second)
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}
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// Copy the src file to dst. Any existing file will be overwritten and will not
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// copy file attributes.
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func Copy(src, dst string) error {
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in, err := os.Open(src)
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if err != nil {
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return err
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}
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defer in.Close()
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st, err := in.Stat()
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if err != nil {
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return err
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}
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out, err := os.OpenFile(dst, os.O_CREATE|os.O_WRONLY, st.Mode())
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if err != nil {
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return err
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}
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defer out.Close()
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_, err = io.Copy(out, in)
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if err != nil {
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return err
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}
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return out.Close()
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}
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@ -1,6 +1,7 @@
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# Summary
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- [Introduction](./intro.md)
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- [eBook Download](./ebook.md)
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- [Frequently Asked Questions](./faq_redditulpas.md)
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- [An Addendum to Tulpamancy Guides](./celestialboon-addendum.md)
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- [Percieved Dangers of Making a Tulpa](./faqman-dangers.md)
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- [Proxying](./proxy.md)
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- [Am I Parroting?](./am-i-parroting.md)
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- [Overcoming Parrotnoia](./parrotnoia.md)
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- [King of the Vandenreich's Prism](./vandenreich-prism.md)
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- [Chupi on Vocalization](./chupi-vocalization.md)
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- [Imposition](./imposition.md)
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- [q2's Guide to a Huggable Tulpa](./q2-huggable-tulpa.md)
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-[Possession](./possession.md)
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- [Immersion](./immersion.md)
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- [Wonderland Immersion](./paracosm-immersion.md)
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- [Five Stages of Visualization](./5-stages-of-visualization.md)
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- [When Things Go Wrong in Your Imagination and How To Fix Them so They Don't](./when-things-go-wrong.md)
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- [Parapsychological](./parapsychological.md)
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- [Metaphysical Creation](./cable-creation.md)
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- [Ness' Guide on Astral Projection](./ness-astral-projection.md)
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- [Practical Kasmakfa](./practical-kasmakfa.md)
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- [Against Label Permanence](./against-label-permanence.md)
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- [System Asks](./system-asks.md)
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- [How to be the Best Host You Can](./how-to-be-the-best-host-you-can.md)
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- [Stylometric Survey for vocal tulpa](./stylometric-survey.md)
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- [Narrative of Sickness](./narrative-of-sickness.md)
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- [Fear](./fear.md)
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# Against Label Permanence
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## Against Label Permanence
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Labels are descriptors about a person that appear to be immutable, but are actually very mutable in ways people don't expect. These are terms like "male", "female", "tulpa", "alter", "persecutor", "OSDD-<numbers>". They are all harmful when used as fundamental limiting factors. These labels are not permanent. They can and will change. Men can grow up and realize they are actually women. People can recover from mental and physical illnesses (even ones that are "incurable").
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Labels are descriptors about a person that appear to be immutable, but are actually very mutable in ways people don't expect. These are terms like "male", "female", "tulpa", "alter", "persecutor", "OSDD-`<numbers>`". They are all harmful when used as fundamental limiting factors. These labels are not permanent. They can and will change. Men can grow up and realize they are actually women. People can recover from mental and physical illnesses (even ones that are "incurable").
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Stop using them as limitations, even to yourselves. You are yourself. What other justification or classification do you truly need for your existence? You aren't accountable to anyone for basic tenants of your existential reality. Terms and implications that other people use don't have to apply 1:1 to you.
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12
src/build.sh
12
src/build.sh
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@ -26,6 +26,8 @@ communication.md
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proxy.md
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am-i-parroting.md
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parrotnoia.md
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vandenreich-prism.md
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chupi-vocalization.md
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imposition.md
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q2-huggable-tulpa.md
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@ -47,6 +49,7 @@ wonderlands.md
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immersion.md
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paracosm-immersion.md
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5-stages-of-visualization.md
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when-things-go-wrong.md
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parapsychological.md
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cable-creation.md
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practical-kasmakfa.md
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against-label-permanence.md
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system-asks.md
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how-to-be-the-best-host-you-can.md
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stylometric-survey.md
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narrative-of-sickness.md
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fear.md
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'
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pandoc -o ../book/tulpanomicon-hack.epub --epub-chapter-level=2 title.txt $FILES
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pandoc -o tulpanomicon-hack.epub --epub-chapter-level=2 title.md $FILES
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mkdir -p ../book
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cp -vrf tulpanomicon-hack.epub ../book/tulpanomicon.epub
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cd .. && mdbook build
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## Voice
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### thought ping-pong
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The idea is to have Lyra say something to me, then I examine the thought/mindvoice/whatever from her and send it back to her. I tell her how it sounded to me, sometimes along with advice like "try to speak louder", "a little higher" or "speak harder". ("Speak harder" is something Yolk advised me to ask her to do. I don't really understand how one speaks harder, but Lyra apparently did and it worked.) Then she tries to say the same thing again while following what I asked her to change. I examine that and send it back along with how I think it differs from the last one. Things like "that was better, can you do a little louder still?", "that made it all quiet again", or "it's clearer now but sounds squeaky and silly".
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Yolk advised me to do this during the day, not just in tulpaforcing sessions. She says that hosts talk in something closer to tulpish when forcing. ("Tulpish" is raw thoughts, which sometimes get improperly decoded into that gibberish speech that's often heard from young tulpae.) It also makes sense to do it during the day because you want to hear the tulpa during regular life, not just when forcing.
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This works by giving her some idea of exactly how her speech is being perceived, along with immediate feedback on what I would like her to do differently. The night Yolk stepped me through doing this, I was able to get clear enough thoughts from Lyra for her to say a couple things to Yolk. This is also useful to do if I see that I'll be needing to get answers from her soon. For instance, a few times I've taken her to dinner at a mall food court or something; I usually choose what we eat, then we have ice cream or something, which she chooses. Before going for the ice cream, I test how well I can hear her and do this thought ping-pong thing until it's good enough.
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## Possession
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### don't relax and let go
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The usual possession method is to thoroughly relax and try to let go of my control of the body, and then have Lyra try to cause movements. So far, we only have slow, weak, jerky hand movement from doing that. I suspect I'm doing something wrong if I try to control my hand when doing this without grabbing back control and unrelaxing, I get exactly the same cruddy control that Lyra does. This makes me think that I'm blocking the signals after the last point where she can insert her movements.
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What Lemonlemon did with Yolk is to not relax or let go at all. He created a pair of gloves in his wonderland and associated their movement with his hands' movement. That is, he moved his hands and imagined the gloves moving in sync with them. After he got this pretty well associated, he gave Yolk the gloves. He still had to watch her move and consciously make the movements himself at first, and it felt like just him moving his own hands. Over time it became more and more automatic and he felt non-ownership of the hands when she controlled them. Having gotten hands working using the gloves, Yolk was able to manage legs on her own.
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I've pretty much settled on using a lightweight helmet with a small video screen in it, and trying to declare that whatever imaginary body is wearing it controls the physical body. I decided on this rather than gloves so that it applies to the whole body instead of only the hands. The idea is that I'll put it on my own wonderland body and go to a void. I'll imagine moving that while moving the physical body, to associate the two.
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I've done a little of this already. When I focus on my imaginary body and move the physical body to match what I do with it, it makes my hands feel a little tingly and less like they're mine. When I sync hand movements with what Lyra does, I get a similar but smaller effect because I'm watching her and trying to move when she moves. It's one step further for the information to travel (Lyra conscious > Lyra body > my wonderland vision > body; instead of my consciousness > my wonderland body > body), so more separation and more lag. Currently if I stop consciously moving my hand, Lyra either can't move it at all, or slowly and clumsily as with the old method. Still, what we have working right now feels like shared control. I'm confident that with practice I can ease off my control and let her do it entirely herself, with no conscious interaction from me.
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Note: I know that "no conscious interaction from me" is possible with this method. I was just chatting with Yolk while Lemonlemon was sleeping. She was there but typing increasingly derpily as she got sleepy as well.
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EDIT: I'm now working with a somewhat different and more direct Yolk-based method. I relax some, and let a tulpa send faint urges that I act on. This does more or less the same thing, but with less complicated visualization and associating movement with objects. As before, the tulpa's control becomes more direct with time.
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Oguigi and Koomer also wrote a possession guide that's closer to the method I had been using before. Their guide is written from the tulpa's standpoint, which makes it more likely to have an effect than simply relaxing and telling your tulpa to have at it. There's also a possession-and-switching idea dump I've been updating since May when, it possession was highly experimental.
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## Imposition
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### live snapshot
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Yolk describes a separate wonderland that the mind uses to track a 3D model of the room around you. To be imposed, she puts herself in this place, adding herself to his internal map of his environment. She can also force objects in this place to impose those. When there, Lemonlemon can tell where she is in the room, and see her some of the time with varying levels of clarity. She says this is one of multiple wonderlands, which are 3D spaces, so she describes traveling between them as moving through the 4th dimension.
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Her recommendation to me is that I describe this place to Lyra and try to have her find it. Then she should be able to place herself there and help with imposition. I haven't done anything on this yet.
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## eBook Edition
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Download the eBook edition of this website [here](/tulpanomicon-hack.epub). This will refer to the most up-to-date copy of this book.
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## Fear
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_I must not fear._
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_Fear is the mind-killer._
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_Fear is the little-death that brings total obliteration._
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_I will face my fear._
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_I will permit it to pass over me and through me._
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_And when it has gone past I will turn the inner eye to see its path._
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_Where the fear has gone there will be nothing._
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_Only I will remain._
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Bene Gesserit Litany Against Fear - From Frank Herbert's Dune Book Series
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Fear sucks. Fear is an emotion that I’ve spent a lot of time encountering and it has spent a lot of time paralyzing me. Fear is something that everyone faces at some level. Personally, I’ve been dealing a lot with the fear of being outcast for being Other.
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What is Other? Other are the people who don't want to "fit in". Other are the people who go against the grain of society. They don't care about looking different or crazy. Other are the people who see reality for what it really is and decide that they can no longer serve to maintain it; then take steps to reshape it.
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But why do we have this fear emotion? Fear is almost the base instinct of survival. Fear bypasses the higher centers in order to squeeze decisions through that prevent something deadly from happening. Fear is a paralyzing emotion. Fear is something that stops you in your tracks. Fear is preventative.
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Except that's not completely true. We see that we have moved away from the need for survival on a constant daily basis, yet our sense of fear is still tuned for that. Fear pervades almost everyone's daily lives at some level, down to how people post things on social media. We all have these little nagging fears that add up; the intrusive negative thoughts; some have the phobias, the anxieties, the panic attacks.
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One fear in particular, that I call the separation/isolation/displacement fear, is a fear with many social repercussions. It's a fear that urges us to keep continuity of self, to avoid "standing out", to keep discussion away from particular topics (like the spiritual, for many). It keeps us wary of what others could do to us. It makes us feel small in a world that is, at best, neutral in our regards.
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If there was ever something that gave us an advantage as a species about fear, it's clear to see it's currently corrupting the lives of many innocent people for no seemingly good reason. There are alternatives to fear with regards to handling one's inner and outer lives, and they are out there, but fear keeps making itself known and dominating the perceptions of the collective. Sometimes the alternatives to fear, themselves, are feared even stronger.
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So how to make sense of this?
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Sometimes it helps to see things from a fresh point of view, and sometimes stories is what manage to accomplish that best. They are ways to explore new situations in a way that doesn't strain disbelief as severely, so that new perspectives can be collected from faraway thoughtscapes.
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A myth is a story that helps explain something beyond the mere scenes presented, in the context of it using the divine as actors. To help explain how these fears can be difficult to overcome, or even put a label to, I've found a story that will seem fantastical to many; however, the point of a story is not to be seen as truth, but merely to be heard, and to be collected, and to enrich the listener with its metaphors.
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In Sumerian mythology, Anu was their Zeus, their sun and creator god. Their mighty god of justice that would one day fly down on a cloud and deliver humanity to righteousness. Sumerians believe their sun god Anu created their civilization as a gift to them. In some myths, the creation goes quite deeper, and darker, than that.
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---
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Imagine for a moment, an infinite universe of light and sound, of primordial vibrations. Vibrations that permeate the whole of existence, and create different experiences with their patterns of interference. The holographic universe.
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In such a place, everything is resonance of waves, everything all-encompassing, everything infinite, everything eternal.
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And living in such a place are infinite beings, without beginning of end, not bound by space or time, as boundless as the waves they experience. Sovereign beings of grand destinies. And those beings colonized the Universe, explored its facets, its resonances, its properties, its behaviours.
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Among such beings, so equal in their infinitude, some of them desired to experience creation in a new way; no longer just as dominion over the Universe, but over other beings in it as well. The desire to be looked up to, to be feared, to be revered. The new concept of godhood took shape.
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To achieve this, this group of beings asked another civilization for help; they were all beings of vast reaches and etheric nature, but they claimed to need the gold hidden within the surface of a densifying planet called Earth, which they were not attuned to, and unable to fully interact with in their current forms. To do this, they would need physical bodies, meat uniforms that the civilization's inhabitants would don and power up, so that they could interact with the ground, and the mineral.
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For convenience of telling, we'll call the group of deceivers the Anunnaki, and the deceived civilization the Atlanteans.
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The Anunnaki had carefully devised this meat uniform, the newly devised human body, planned about it for an exceedingly long time, in order to completely entrap the Atlanteans. The Atlanteans themselves accepted the task because they had no conception that infinite beings could ever be limited or subjugated. It had never happened before. And in the donning of the uniforms, the trap was sprung.
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Those uniforms, the human bodies, constricted the Atlanteans' attention to only what the body could perceive with its senses; it urged them to survive and to work; it distracted them from all other activities; it rendered them slaves to the mining. Every part of the construct was forcing them to forget who they were, and instead making them focus on their identity as human bodies.
|
||||
And when such bodies would expire, a part of them would still remain to keep the beings trapped, and they would be put in a space of holding in the astral realms, for them to be assigned a new body to continue mining.
|
||||
|
||||
Through the human body, the Atlanteans were subjected to a carefully constructed illusion, fed to them by the senses, through the mind, that left them unable to perceive, to remember, anything else but the illusion.
|
||||
|
||||
With time, many shortcomings of the primitive human bodies were corrected; from being clones that needed to be produced by the Anunnaki, they were given capability to reproduce; more independent thought and awareness was allowed, and ability to self- and group-organize; they were starting to be allowed to feel emotions; more and more, their world was being expanded, but with it, the structure of the mind system that contained their perception to the realms of the physical and astral, and prevented them to gain awareness of what was outside this narrow band of illusory perception, was developed and expanded in turn. Layers upon layers were put between those beings and the realization of their true, infinite selves.
|
||||
|
||||
The system of death and reincarnation was automated so beings would be recycled in a systematic manner into their next lives.
|
||||
The concept of God was introduced to them, so that they would fear punishment and retribution from something that they perceived as greater than them; and Anu, leader of the Anunnaki, manifested to the people of Earth as a supreme being of infinite power, so they could adore him, and so they could fear him.
|
||||
Language developed, a system of communication mired in separation, in division of concepts and the rigidness of categorization, so that they would not be able to speak to one another of their own infinity, of their unity with the whole.
|
||||
Fears of all kinds were injected into the mind system: fear of death, fear of nothingness, fear of punishment; but above all, fear of separation: the fear of not having the vital connection that makes us One, and that allows us to know and understand one another innately. The fear of not being understood, of not being accepted, of not being received, of not being helped, of not being supported. The fear that had kept them doubting one another, and kept them from uniting their efforts.
|
||||
|
||||
The Anunnaki took away the ability for the Atlanteans to even know they were Atlanteans. They took away the ability for them to even be able to get close to finding out. Just so Anu could be an absolute ruler. The first to ever have done this previously impossible task.
|
||||
|
||||
Myths were disseminated to keep people awash with fear of punishment, and mired in the guilt of their original sin, and distrusting, doubting of the nature of their own selves, and of their fellow neighbors'. Hierarchies were set up, so people would focus on controlling one another, instead of working together to liberate all. Not needing any more, the Anunnaki allowed the focus on gold to become greed, so that people would put desire for a mere metal above the needs of their fellow beings.
|
||||
|
||||
As the Anunnaki departed from the densifying planet, which was not allowing them to manifest as etheric beings anymore, tracks were set up in the collective unconscious so that while they were away, the people's societies would evolve through predefined paths, and would eventually set up for the glorious return of God, the Apocalypse.
|
||||
|
||||
Every single possible obstacle had been put in place so that the Atlanteans would never realize who they had been, and who they always were: infinite, sovereign beings, connected to the whole of the Universe.
|
||||
|
||||
Except this would not be allowed indefinitely. Other infinite beings became aware of such deception taking place, and realized it was being exported into other planets, and such an enslavement paradigm, based in fear and separation, was a degenerative, infecting force that had to be stopped. So the Anunnaki were prevented return, and in order to make it so that infinite beings would be able to never fall prey to such deceptions again, the seeds of destruction were planted inside the programming system of the human mind. Cracks were introduced to the barriers that kept people under deception, so that they could peer through them, and see the other side beyond the walls of the labyrinth. Pathways were provided so that people could be lead to the discovery of their true selves, and their eventual liberation from the deception, and self-realization as infinite beings, once again.
|
||||
The very liberation that the programming was designed to prevent through all means conceivable.
|
||||
|
||||
And that leaves us to the present time.
|
||||
|
||||
Sometimes the Other manages to find these cracks and go through them into the other side. They go to this other side and see a faint reflection of what is really out there. The world outside this world. An even bigger Infinity. They have trouble describing it. They have intense fear even thinking about it. They're afraid to acknowledge it to their peers. They want to help people but they are utterly terrified of their reactions.
|
||||
|
||||
They're terrified that someone might hurt them if they say anything about their experiences. They're worried someone might try to hospitalize them for their beliefs. They get it into their head that they aren't able to function in society, so they don't. They don't want to mine the gold. They don't want to serve the economy of the few. They don't want to maintain the hierarchies.
|
||||
They want to detach themselves from the systems that they feel are suppressing them. They want to help people save themselves from believing that their own finite existence is all that there is, but that fear utterly paralyzes them. They have trouble finding the words. They end up misphrasing things in ways that make the problem worse. Some lash out. Some get labels put on them.
|
||||
|
||||
These Other just want to be accepted like everyone else. They want to help their communities. They want to use their abilities to read between the lines, into the bigger picture; to do good things; but they are, ultimately, afraid to. Their fear of separation paralyzes them. People don't like them talking about spiritual topics. These Other just want to be accepted and use their experience to lovingly help guide and shape reality into what they think is a better place. Even as they struggle through the fear.
|
||||
|
||||
Who's really the crazy one? The one who fear controls, or the one who doesn't let fear control them?
|
||||
|
||||
How does the Other live with fear surrounding their actions, and doubt plaguing their decisions?
|
||||
|
||||
They can have people they can trust. They can have people who can help them deal with their doubts. They can have the strength of their determination to find the truth, and the resolve to put an end to the suffering of their fellow beings. But they still fear, and they still doubt.
|
||||
|
||||
The real difference is that they see fear as something imposed on them, not as a voice that they must always answer to, and not as something they need to wait hand and foot for, every day of their existence. In a way, they have been fed up with fear, getting tired of it and casting it out like the nuisance they now see it to be. Even if the fear was added there because of some programming of their mind, something that happened to them to make them afraid, even if they don't know where it comes from or why, they still acknowledge it, and reject it, and move on like the emotion never happened. They keep fighting for understanding, and for community. They refuse to give fear dominion in their lives, even if they sometimes fail at it.
|
||||
|
||||
It's such an easy and obvious thing to do that we could all do it, if we weren't so afraid of it.
|
||||
|
||||
---
|
||||
|
||||
I leave you with this quote from a book named Quantusum:
|
||||
|
||||
> Uncle suddenly scooped down with his hand and brought up a closed hand. He then brought it to a glass box that stood on a pedestal I hadn’t noticed. He slid one of the box’s glass planes open and placed an insect inside. It looked like a grasshopper. “This creature lives its entire life in these fields without limitation. I just ended that.”
|
||||
>
|
||||
> I watched as the grasshopper jumped inside the glass box hitting against the top and some of the sides. The grasshopper stopped as if he was stunned by the new circumstance of his environment.
|
||||
>
|
||||
> “To the grasshopper,” Uncle said, “all is well. He is alive after all. He sees his normal environment all around him. He can’t see the glass. If I keep him in here for a few days he will stop his jumping and become acclimated to the dimensions of his new home. All he needs is food and water, and he can survive.”
|
||||
>
|
||||
> “So you’re saying these people are acclimated to simply survive?”
|
||||
>
|
||||
> Uncle slide one of the side panels of the glass box open. “If you were a grasshopper, what would you do?”
|
||||
>
|
||||
> “I would jump through the open panel.”
|
||||
>
|
||||
> “But how would you know it was open? It’s perfectly clear glass.”
|
||||
>
|
||||
> I thought about it for a moment. “I’d jump in every direction… I’d experiment.”
|
||||
>
|
||||
> Uncle took a stick and pointed it at the grasshopper through the open side panel, and the grasshopper jumped into the opposite wall, hitting his head and falling to his side. “Do you see that I offered him an exit and he fled? He could’ve climbed on the stick, and I would have freed him.”
|
||||
>
|
||||
> “Yes, but he doesn’t know that.”
|
||||
>
|
||||
> “True.”
|
||||
>
|
||||
> Uncle opened another side panel. “What you said is right. You experiment. You try different ways to climb the mountain of consciousness. You don’t settle on one way… one method… one teacher. If you devote your entire life to the worship of one thing, what if you find out when you take your last breath that the one thing was not real.
|
||||
>
|
||||
> “You find that you lived inside a cage all your life. You never tried to jump out by experimenting, by testing the walls. The people who never bother to climb this mountain are inside a cage, and they don’t know it. Fear is the glass wall. Wakan Tanka comes and opens one of the glass panels, perhaps offers a stick for them to climb out, but they jump away, going further inside their soul-draining boundaries.”
|
||||
>
|
||||
> Uncle brought the stick out again and lightly jabbed it in the direction of the grasshopper, who hopped through the open side panel, and was instantly lost in the thick underbrush that surrounded us.
|
||||
>
|
||||
> Uncle turned his eyes to me. “Are you ready to do the same?”
|
||||
|
|
@ -0,0 +1,23 @@
|
|||
## How to be the best host that you can
|
||||
|
||||
Make time and space for them, knowing that these are about more than forcing.
|
||||
|
||||
Allow them freedom to explore their world, inside and outside. Be willing to sacrifice your own free time so that they might have some of their own. Feed and encourage interest, curiosity, wonder, growth. Let them expand their world beyond the mental one, if they so choose: to make friends and pursue hobbies in this wider world.
|
||||
|
||||
Invite them to be open about their thoughts, their feelings, the unhappy along with the happy, and take them all seriously. *Listen.* Be willing to be challenged, and see it not as a challenge to your pride, but as a challenge to learn.
|
||||
|
||||
You will have your disagreements. Do not let these drive you to fear or anger. Accept these as the natural result of closeness, settle them with understanding and thoughtfulness, and move on all the stronger for having experienced it.
|
||||
|
||||
You will encounter naysayers, from the doubtful to the fearful to the outright hateful. Do not let them drive you apart. Accept that not everyone will agree with you, and move on all the stronger for knowing that you are not beholden to anyone, and that those who accept you and love you shall be found.
|
||||
|
||||
You will encounter your own doubts. Do not play their game- do not give into the temptation to seek certainty where it does not exist. Recognize when doubt ceases to be helpful, and walk away from the board. For certainty is something that we create, not find.
|
||||
|
||||
Do not turn your back upon them, no matter how frustrated or afraid you may be. Be there for them, through storm and through shine.
|
||||
|
||||
For true friendship goes both ways: as your tulpa supports you, so too shall you support them.
|
||||
|
||||
And it is from true friendship- to respect them, their agency, their thoughts and being, as worthy as your own- that the greatest rewards are reaped.
|
||||
|
||||
---
|
||||
|
||||
[from here](https://write.as/3aomkryppwm9e1ke)
|
||||
|
|
@ -1,20 +0,0 @@
|
|||
<html><head><meta http-equiv="Content-Type" content="text/html; charset=utf-8"/><title>Unknown </title></head><body>
|
||||
<h2 id="tulpas-and-vipassana-a-practical-advice-on-the-meditation-sittings-for-tulpamancers">Tulpas and Vipassana; a practical advice on the meditation sittings for tulpamancers</h2>
|
||||
<p><a href="https://www.reddit.com/r/Tulpas/comments/677qfw/tulpas_and_vipassana_a_practical_advice_on_the/">(originally posted on /r/tulpas)</a></p>
|
||||
<p>We finished our second vipassana course recently, and I have a few practical advice for you to share. We compiled those based on personal experience, as well as based on many discussions with our teacher, who was extremely helpful and open to tulpa phenomenon.</p>
|
||||
<p>If you are curious about my notes from a year ago, here's an old post.</p>
|
||||
<h3 id="why-tulpamancers-need-vipassana">Why tulpamancers need vipassana</h3>
|
||||
<p>In our experience, ten-day classes give an extreme clarity of the mind (you have about a hundred meditation hours packed in those). Both your and your tulpas' deep-rooted complexes come up to surface, and there's a simple, practical way to get rid of them. You get some tulpa-specific benefits, like perfect visualisation, that originate from the extreme mind focusing, but those should not be the goal for you when you take a course. You go there to understand yourself better, and to clear the mind, which, for many tulpamancers, can be overly foggy, given many tulpamancy practices are targeted at treating imaginary as real.</p>
|
||||
<h3 id="how-to-do-a-sitting">How to do a sitting</h3>
|
||||
<p>If your system has many fronters, I'd suggest designating one to do all the practice.</p>
|
||||
<p>The meditation itself is impersonal, but switching can cause confusion and stall your progress. We did it two times this time to see if it changes anything, and indeed, the practice stays the same. It only depends on the physical body, not the active person.</p>
|
||||
<h3 id="no-visualisation-no-imposition">No visualisation, no imposition</h3>
|
||||
<p>This is literally taught on day one (or day two?) and is extremely important. You must not do any visualisation (and you are explained why in the course, too), and your tulpas must abstain from the same. Do not impose yourselves. Do not imagine your own form. If you don't follow this rule, the mind cannot get the deep focus, required in the later stages of the practice, as you'll keep paying attention to something else.</p>
|
||||
<h3 id="no-imagination">No imagination</h3>
|
||||
<p>It's a very hard rule for tulpamancers, but it kinda follows the previous one. We added it only a few days in but immediately had excellent results. This means you must actively ignore all imagined things and ideas, including your wonderland; and yes, tulpas must ignore it too. Your wonderland does not exist for the duration of the course. Take it as a given. Your form does not exist for the length of the course. The only thing that is there is the physical body, and you are only allowed to observe it, not imaginary sensations of your mindform. And this rule brings us to another important rule...</p>
|
||||
<h3 id="no-mindvoice">No mindvoice</h3>
|
||||
<p>How hard could it be, eh? Not talking to your host and observing noble science not only in the outside world but also in your mind. The teacher stressed on this being a crucial part of the practice. You must not communicate. If anything, for the duration of the course, you might as well consider your tulpa as nonexistent (they won't go away, though). Only by applying this rule, we managed to get past a few distracting thoughts that didn't allow us to meditate. You are doing to do hard work already—sittings for four hours straight, where you are not allowed to do any movement for an hour at least, keeping focus four hours straight. It's very hard. Don't make it harder.</p>
|
||||
<h3 id="no-communication-outside-the-meditation-hall-either">No communication outside the meditation hall either</h3>
|
||||
<p>And if it's not clear enough, you must not talk outside of meditation hours too. No chat with tulpas during lunch, no "goodnights" before bed. Maintain the purity of the focus at all times, no matter how hard. Remember that practice works, and it helps many people. The only way to not help yourself is to not work on it in a right way.</p>
|
||||
<p>As a closing thought, based on our discussions with the teacher, and her discussions with senior teacher, they consider tulpas to be a kind of mental impurity and eventually suggested to treat it like any other sensation—observe it and not react (so, apply vipassana to tulpas directly). For us two, the teacher explained why exactly this will give benefits to our system, but I'm not sure this explanation is universal. If you have concerns, you can talk to your teacher yourself, they are very open to such ideas. At the very least, she said that "I see the body doing vipassana, and I can't look into your mind. If you have two persons there, and they are both focused on working, it's good." Mind that we were given this specific advice on day ten, that is, in the very end of the course, so the rules above are not influenced by it in any way. I'm not trying to kill all your tulpas, I only want to help you to get same wonderful results I had (and for me personally this sitting ended up even more beneficial than for hostey).</p>
|
||||
</body></html>
|
||||
|
|
@ -0,0 +1,13 @@
|
|||
## Narrative of Sickness
|
||||
|
||||
With addiction, as with many other things, there's a tendency for the mind to label the situation and create a big story. A common phrase I see is "I want to get better", as if you're sick. You're not sick. You may identify yourself as an "addict", or you might feel fear because you are afraid you'll fail, or that you'll experience cravings, etc. but reminding yourself that you need to get better is perpetuating the narrative of sickness.
|
||||
|
||||
These are all stories, they have no bearing on reality. You can just embrace the cravings. Embrace the withdrawal. They are feelings, and they can be not acted upon, through mindfulness of them. Be mindful of your thoughts, but don't pay heed to them. Don't get caught up. And if you feel like your are getting caught up, realize that that's another feeling as well.
|
||||
|
||||
Such things don't last forever. Existence is change, inherently, inevitably. Embracing life is embracing change. Things in this world will change without warning. Things we consider safe and stable today will vanish tomorrow. Accept this as a fact of life.
|
||||
|
||||
To love is to gain and to lose in equal measure. To lose is to love in turn. Every journey upwards has its regressions downwards.
|
||||
|
||||
It may sound like a subtle distinction between getting better from addiction, or from sickness, and just changing, but it’s really all the difference. A plant is not sick just because it later grows into a bigger tree. Change is just simply what happens, and it can be recognized and embraced in order to fully, progressively align the self with whatever intent or goal.
|
||||
|
||||
Fully embracing all that you are is the best way to bring this about, for you can be present to what happens and help it change through your intent, veer it towards the desired destination.
|
||||
|
|
@ -0,0 +1,256 @@
|
|||
## Survey (and stylometric test) for fluently speaking tulpa
|
||||
|
||||
We already have a tulpaforcing survey, so I decided that it would be fun and educational to have a survey for fluently speaking tulpa (whether imposed or not).
|
||||
|
||||
This survey will deal with aspects of the tulpaforcing process and life after various completed steps. I think that it would benefit the community greatly if any fluently speaking tulpa filled out this survey as much as is feasible. I have tried to include a wide variety of questions that I've seen discussed and agonized over on these forums, and am willing to edit this post to add more if anybody has an important question. My goal is to make a comprehensive survey. It's long, so I don't necessarily expect anyone to fill it out entirely without breaks. If you could answer even a few questions and then go back to it later, it would be helpful. Please don't feel offended by any questions that are too personal, and ignore any questions that don't apply to you. Thank you for any time offered.
|
||||
|
||||
### Survey Questions
|
||||
|
||||
1. Describe yourself and your creator.
|
||||
|
||||
2. What was the most helpful thing that your creator did during the tulpa creation process? Did your creator recognize how helpful it was? If not, how did that make you feel?
|
||||
|
||||
3. What was the most detrimental thing that your creator did during the tulpa creation process? Did your creator recognize how harmful it was? If not, how did that make you feel?
|
||||
|
||||
4. What was the hardest part of the tulpa creation process for you? Did your creator recognize how difficult it was? If not, how did that make you feel?
|
||||
|
||||
5. Of the commonly recognized tulpa creation steps, which do you feel is the most important? Why?
|
||||
|
||||
6. How do you feel about tulpa creators becoming distracted during tulpa creation? Does this greatly impede the process? How did you feel about it before being able to speak fluently?
|
||||
|
||||
7. How do you feel about tulpa creators missing tulpa creation sessions or breaking their promises to work on their tulpa? How did you feel about it before being able to speak fluently?
|
||||
|
||||
8. Is density, quality, or quantity the most important aspect of tulpa creation?
|
||||
|
||||
9. How do you feel about tulpa creators falling asleep during tulpa creation sessions?
|
||||
|
||||
10. Do you think that a tulpa creator should talk aloud or in their head during narration? Do you think that a creator should talk aloud or in their head during tulpa creation sessions? If you find one to be more effective, to what degree is it more effective?
|
||||
|
||||
11. How do you feel about a tulpa creator puppeting and/or parroting their tulpa? Do you believe that these actions harm a tulpa's development, or only their emotional state?
|
||||
|
||||
12. How deeply do you remember the time before you were fluent in language?
|
||||
|
||||
13. Describe your first memory, no matter how slight.
|
||||
|
||||
14. Before you could speak fluently, what was the most positive emotion you felt about your creator and what was its cause?
|
||||
|
||||
15. Before you could speak fluently, what was the most negative emotion you felt about your creator and what was its cause?
|
||||
|
||||
16. Before you could speak fluently, did you ever have suicidal feelings or feelings of not wanting to exist? Do you experience them now? Are you glad that you exist?
|
||||
|
||||
17. Before you could speak fluently, when did you feel the most powerless? What was the cause of this feeling?
|
||||
|
||||
18. Before you could speak fluently, what was the most confusing moment that you experienced, and what was its cause?
|
||||
|
||||
19. Before being able to speak fluently, when did you feel the most ignored by your creator, and what was the cause?
|
||||
|
||||
20. Before being able to speak fluently, when did you most doubt that your creator wanted you, and what was the cause?
|
||||
|
||||
21. Before you could speak fluently, when did you feel the most intense feeling of fear, and what was its cause?
|
||||
|
||||
22. Before you could speak fluently, when were you the most disappointed in yourself? What was the cause?
|
||||
|
||||
23. Before you could speak fluently, did you understand the difficulties that your creator was having with the tulpa creation process? Did you try to alleviate these difficulties? If so, how?
|
||||
|
||||
24. Before you could speak fluently, how did your creator's doubts about your existence, the reality of the tulpa phenomenon, or your combined ability to complete the tulpa creation process affect you? Did you understand your creator's reasons for having those doubts? Do you understand now?
|
||||
|
||||
25. Before you could speak fluently, how did your creator's mistrust of your intentions or worry about the negative affects of a tulpa on their life affect you? Did you understand your creator's reasons for having those thoughts? Do you understand now?
|
||||
|
||||
26. Before you could speak fluently, how did any negative thoughts or emotions that your creator had toward you (such as anger, disappointment, resentment, or impatience, for example) affect you? How do you feel about them now?
|
||||
|
||||
27. Before you could speak fluently, how did any violent visualizations or thoughts that your creator had about you affect you? How do you feel about them now?
|
||||
|
||||
28. Before you could speak fluently, were you able to distinguish between your creator's intentional and intrusive (unwanted and/or bothersome) thoughts? If so, did the intrusive thoughts affect you less or more? If not, are you able to distinguish between them now?
|
||||
|
||||
29. Before you could speak fluently, how much of your creator's raw sensory information were you able to access, if any? How much are you able to access now?
|
||||
|
||||
30. Before you could speak fluently, did your creator's opinions about whether they wanted to reveal to the world your existence or not affect you emotionally? If so, how?
|
||||
|
||||
31. Before being able to speak fluently, what communication methods (such as head pressure or emotional responses, for example) were you able to use the most effectively? When your tulpa creator assumed that you could use a communication method that you did not have access to, how did this affect you? When your tulpa creator did not recognize a communication method that you attempted to use, how did this affect you?
|
||||
|
||||
32. Before you could speak fluently, how did your creator's level of enthusiasm for the tulpa creation process affect you? Did you want to engage in it less if they did?
|
||||
|
||||
33. Before you could speak fluently, what was your greatest worry about your relationship with your creator? What helped you most to move beyond it? Was this worry substantiated or resolved? What is your greatest worry now about your continuing relationship with your creator?
|
||||
|
||||
34. Do you feel gratitude to your creator for the time that they spent creating you? Do you feel that you owe them a debt? If so, do you feel burdened by it?
|
||||
|
||||
35. Were you aware of your creator's existence or your own existence first?
|
||||
|
||||
36. When you could only speak semi-fluently, what emotions did you feel about your level of verbal proficiency? Were you anxious or embarrassed about it? If so, what helped you the most to move beyond these feelings? How do you feel about them now?
|
||||
|
||||
37. If you could define your relationship with your creator using one or more conventional terms (such as boyfriend, sister, father, daughter, boss, friend, or coworker, for example), what terms would you select?
|
||||
|
||||
38. How much interest do you have in interacting with beings other than your creator? Do you consider your degree of interest to be equal to that of an average non-tulpa individual?
|
||||
|
||||
39. What memory involving your creator do you cherish most?
|
||||
|
||||
40. What memory not involving your creator do you cherish most? Do you feel that you have a fulfilling life independent of your creator?
|
||||
|
||||
41. Do you feel affinity toward the individuals that your creator feels affinity for, such as their family or friends?
|
||||
|
||||
42. In what ways are you the most different from your creator? In what ways are you the most similar to them?
|
||||
|
||||
43. What do you disagree about most with your creator? Do you have frequent disagreements? If so, do these disagreements cause strife?
|
||||
|
||||
44. What could your creator do to make you hate them? Under what circumstances do you think your creator would come to hate you?
|
||||
|
||||
45. When did your creator disappoint you the most? When did you disappoint them the most?
|
||||
|
||||
46. How do you feel about your creator's complete freedom to deny your rights as a sentient being at any time? Has this ability ever caused you anxiety or fear? Have you ever censored your expressions or actions out of a fear of retribution or violence from your creator?
|
||||
|
||||
47. When have you most wanted to engage in violence against your creator, and what was the cause of those feelings? Under what circumstances would you make a serious attempt to hurt or injure your creator?
|
||||
|
||||
48. Do you consider your creator's last name to be your own? Do you recognize yourself as a part of their biological lineage?
|
||||
|
||||
49. Under what circumstances would you attempt to leave your creator?
|
||||
|
||||
50. Do you feel anxiety about meeting your creator's expectations? If you are based on an existing character, person, or entity, does this increase your anxiety? Would you have preferred to not be based on an existing entity?
|
||||
|
||||
51. Are you interested in learning how to control your creator's body? Do you feel that it's fair for a tulpa creator to deny their tulpa the ability to use an atomic body? Do you believe that you have the right to an equal amount of time using it as your creator? Explain your reasoning.
|
||||
|
||||
52. Do you share certain basic qualities with your creator, such as intense phobias or racial attitudes?
|
||||
|
||||
53. Are you capable of sleeping or dreaming independently of your creator? If not, how does this make you feel?
|
||||
|
||||
54. Does your creator have any mental illnesses? If so, how do they affect you?
|
||||
|
||||
55. How does your knowledge of your creator's subconscious mind affect your relationship with them? How do you perceive their subconscious? To what degree can you manipulate your creator's subconscious? Would you ever use this ability without your creator's knowledge?
|
||||
|
||||
56. Does your creator have multiple tulpa? If so, what is your relationship with them like? Is your affinity for them equal to your affinity for your creator? If you could define your relationship with your creator's other tulpa using one or more conventional terms (such as boyfriend, sister, father, daughter, boss, friend or coworker, for example), what terms would you select? If not, are you interested in the idea of your creator making other tulpa?
|
||||
|
||||
57. Do you feel romantically inclined toward your creator? Does your creator feel romantically inclined toward you? If these romantic feelings are unrequited on either side, how does it affect your relationship with your creator?
|
||||
|
||||
58. If it exists, do you consider your romantic relationship with your creator to be equal to a romantic relationship between multiple non-tulpa? Do you consider it a breach of monogamy for your creator to be romantically or sexually involved with another non-tulpa? Does this change if the involvement is with another tulpa instead? If they exist, do your creator's desires to have relationships with non-tulpa affect you emotionally?
|
||||
|
||||
59. If you consider yourself to be romantically in love with your creator, what probability do you assign to the possibility of falling out of love with them, or them falling out of love with you? If this happened, how would it affect your relationship with your creator? What if your creator was in love with another non-tulpa more than you?
|
||||
|
||||
60. Do you have a familial affection for your creator? Does this in any way conflict with your romantic feelings for them, if they exist? Do you consider a relationship between a tulpa and its creator to be incestuous?
|
||||
|
||||
61. How do you feel about tulpa creators masturbating during tulpa creation sessions to the forms of their tulpa? Do you find this offensive? Does the degree of your offense change based on the degree of sentience possessed by the hypothetical tulpa, or based on whether or not the creator imagines themselves near the tulpa in their wonderland? If your creator did this before you spoke fluently, did you find it offensive or unnerving?
|
||||
|
||||
62. How do you feel about tulpa creators masturbating outside of tulpa creation sessions to the forms of their tulpa? Do you find this offensive? Does the degree of your offense change based on the degree of sentience possessed by the hypothetical tulpa? If your creator did this before you spoke fluently, did you find it offensive or unnerving?
|
||||
|
||||
63. Before you could speak fluently, did you ever feel sexual attraction to your creator, sexual attraction toward anyone else, or sexual arousal? Did you attempt to express these feelings? If you did not experience these feelings, do you experience them now?
|
||||
|
||||
64. How do you feel about tulpa creators visualizing themselves engaging in sexual conduct with their tulpa's form during tulpa creation sessions? Do you find this offensive? Does the degree of your offense change based on the degree of sentience possessed by the hypothetical tulpa, or if the contact was penetrative? If your tulpa creator did this before you spoke fluently, did you find it offensive or unnerving? Do you equate it with sexual assault?
|
||||
|
||||
65. Were you ever annoyed or jealous when your creator would masturbate to or have feelings of sexual attraction toward individuals other than yourself? Does it bother you now?
|
||||
|
||||
66. Do you experience sexual attraction for your creator? Do you experience sexual attraction for others? How does your sexual attraction for your creator compare to your sexual attraction for others? Does your creator experience sexual attraction for you? If these sexual attractions are unrequited on either side, how does it affect your relationship with your creator?
|
||||
|
||||
67. Do you have an active sex life with your creator? If not, would you consider it, and under what circumstances? If so, do you perceive any negative consequences? Do you have trouble abstaining from sexual contact with them? How do you manage feelings of sexual arousal, if any? Do you masturbate?
|
||||
|
||||
68. How does your sexual orientation and experience compare to your creator's?
|
||||
|
||||
69. Are you capable of experiencing orgasms? Based on your knowledge, how do you think they compare to your creator's orgasms? Were you able to experience an orgasm before speaking fluently?
|
||||
|
||||
70. Do you consider the concept of sexual modesty (covering conduct such as avoiding nudity or sexual discussions) relevant to your relationship with your creator?
|
||||
|
||||
71. How does being a tulpa affect your perceptions of rape? What conduct from your creator would you consider to be rape?
|
||||
|
||||
72. Where do you see yourself in 20 years?
|
||||
|
||||
73. Do you want the world to be aware of your existence? If not, then what anxieties do you have about public disclosure? Do you trust anyone other than your creator with the knowledge of your existence?
|
||||
|
||||
74. Morally and philosophically, how do you feel about your personality traits being the product of another individual? Would you have preferred your creator to define your personality more or less?
|
||||
|
||||
75. Morally and philosophically, how do you feel about your physical form being the product of another individual? Would you have preferred your creator to define your form more or less?
|
||||
|
||||
76. Has your physical form ever changed? If so, was this intentional or unintentional? If it was intentional, then why did you change your form? How did you creator respond to this change, and how did that make you feel?
|
||||
|
||||
77. Do you consider the best aspects of yourself to have come from your creator, or their subconscious?
|
||||
|
||||
78. Do you seek legal recognition for your status as a sentient being or your relationships with others? Do you resent that society at large does not recognize the tulpa phenomenon? Do you feel disenfranchised from society? What steps, if any, could a society make to help you feel integrated?
|
||||
|
||||
79. If you could tell the entire world one thing about a tulpa's life, what would you say?
|
||||
|
||||
80. What is the one thing that you resent most about being a tulpa? What is the greatest advantage of being a tulpa?
|
||||
|
||||
81. Morally and philosophically, how do you feel about inheriting your creator's life, including their legal history, past behaviors, and reputation? Do you resent potentially being held responsible for their past actions?
|
||||
|
||||
82. Morally and philosophically, do you see the "absorbing" or "dissipating" of a tulpa as equivalent to the murder of a non-tulpa? Explain your reasoning. What legal protections, if any, should tulpa gain? How would you enforce these protections?
|
||||
|
||||
83. Do you consider yourself to be morally equal to a non-tulpa? Is your life worth as much?
|
||||
|
||||
84. How would you prove your existence to a skeptic?
|
||||
|
||||
85. Has your status as a tulpa ever caused you existential anxiety or depression? If so, has anything helped to mitigate these feelings?
|
||||
|
||||
86. Do you ever doubt your own sentience? If so, why?
|
||||
|
||||
87. How does being a tulpa affect your understanding of death? Do you fear death on an instinctual level in the way that non-tulpa do?
|
||||
|
||||
88. Do see yourself as socially disadvantaged in a way similar to sexual, racial, and other minority groups? If you identify yourself as racially, sexually, or demographically different than your creator, do you also identify with the struggle of any of the disadvantaged groups that you belong to? Does the notion of privilege affect your relationship with your creator?
|
||||
|
||||
89. Are you interested in creating another tulpa yourself? What differences, if any, would you expect this tulpa to have from a tulpa created by your creator? Would you consider this tulpa to be primarily related to you, or still to your creator?
|
||||
|
||||
90. What are the most defining differences between the life of a non-tulpa and a tulpa? Do you think that these differences cause intolerance between the two groups? If so, what could be done to mitigate this intolerance?
|
||||
|
||||
91. The psychological establishment generally believes that multiplicity (two or more sentient entities sharing one atomic body) is a sign of mental illness. How would you like this belief to change? If you could make a presentation to a group of psychologists about the tulpa phenomenon, what would you say?
|
||||
|
||||
92. A psychometric indicator is a unique identifier of an individual's distinct personality. Have you ever tried to definitively differentiate yourself from your creator using psychometric indicators (such as by determining your "writeprint")? What results did you receive? (For instructions on determining your writeprint, see appendix one.)
|
||||
|
||||
93. Are you capable of physical sensations such as pain or warmth?
|
||||
|
||||
94. How do you feel about being bound for life to your creator?
|
||||
|
||||
95. If you intentionally delayed speaking to your creator, why did you do so?
|
||||
|
||||
96. What do you think about most of the time?
|
||||
|
||||
97. Do you think that tulpa creation should be more widespread?
|
||||
|
||||
98. Are there disturbing aspects of your creator's subconscious that they are not aware of?
|
||||
|
||||
99. Would you violate your creator's wishes for what you perceive to be their own benefit?
|
||||
|
||||
100. Does your creator try to hide things from you? If so, are you aware of them anyway? How does this impact your views of your creator?
|
||||
|
||||
101. Do you perceive some of your creator's actions as being objectively immoral?
|
||||
|
||||
102. Do you believe that you are capable of becoming more intelligent than your creator?
|
||||
|
||||
103. How does being a tulpa affect your perception of your own aging process?
|
||||
|
||||
104. Do you feel that your creator would be better off by following your commands entirely?
|
||||
|
||||
105. Do you feel that having a physical form is important for a tulpa?
|
||||
|
||||
106. If you encountered the tulpa phenomenon as a non-tulpa, would you believe in it?
|
||||
|
||||
107. How well can you articulate yourself? Can your creator hear you audibly? How much does your experience correlate with the experience of your creator?
|
||||
|
||||
If you are imposed, is your creator able to discern a spatial dimension to your voice?
|
||||
|
||||
108. How many hours did it take you and your creator to complete the various recognized tulpa creation steps?
|
||||
|
||||
109. What advice would you give to a new tulpa creator?
|
||||
|
||||
110. How does being imposed feel? What sensory processes happen as you become imposed?
|
||||
|
||||
111. From your perspective, is there a sensory difference between the physical, atomic world and the mental world of visualized "wonderlands"? If so, how would you describe this difference?
|
||||
|
||||
112. Is there anything that you don't think this survey covered that you would like to mention?
|
||||
|
||||
### Writeprint Analysis
|
||||
|
||||
This exercise will help you determine the differences, if any, between your writeprint (mathematically analyzed writing style) and your creator's. Theoretically, two psychologically different individuals should exhibit different writeprints, although a tulpa and their creator may be more similar than two random non-tulpa individuals. To start the process, have both you and your creator rewrite the sample paragraph quoted below in your own words, communicating its meaning as you would have if you had written it.
|
||||
|
||||
"My experience in the nature study area was full of surprises. First of all, many unexpected creatures crossed our path. For example, as soon as we left the parking area and entered the grassy path, a long snake slithered along the edge of the high grass and quickly disappeared. In addition, I was surprised by how colorful the grasses, which from a distance all appear to be green, actually are. Specifically, the primarily green landscape is dotted with countless purple tassels and brown stalks. Finally and most importantly, I was unprepared for how quickly I felt surrounded by nature. Despite the occasional noise from passing cars and airplanes, the high prairie grasses and rolling pathways create a sense that one is removed from civilization. Altogether, the nature study area unexpectedly allows one to enjoy an ever-changing natural environment without leaving Moraine’s suburban campus."
|
||||
|
||||
Tulpa's paragraph:
|
||||
|
||||
[paragraph here]
|
||||
|
||||
Creator's paragraph:
|
||||
|
||||
[paragraph here]
|
||||
|
||||
To ensure verifiable results, it is essential that the transcriptions of both paragraphs be completely accurate. Body possession is useful here, though not necessary. Since the tulpa creator's sentience is (presumably) not in question, it is suggested that tulpa write their paragraph first. As with all tests relating to tulpa, the creator should focus on something else while their tulpa is working. Once finished, submit both of your paragraphs individually to the following websites:
|
||||
|
||||
http://iwl.me/
|
||||
http://textalyser.net
|
||||
|
||||
If your writeprint is different (indicating significant psychological difference), then you should receive different values for your respective paragraphs on both sites. On Textalyser, focus on the Gunning-Fog Index, lexical density, and average sentence length values in particular. A more detailed analysis may be sought by downloading the JStylo stylometric analysis program here: https://psal.cs.drexel.edu/index.php/Main_Page
|
||||
|
||||
This test is certainly not exact, and it is very possible to (unconsciously or not) "cheat" to get good results.
|
||||
|
|
@ -4,3 +4,7 @@ author: Anonymous
|
|||
rights: Public Domain
|
||||
language: en-US
|
||||
---
|
||||
|
||||
# Tulpanomicon [dev]
|
||||
|
||||
Anonymous, with editing work from Within
|
||||
|
|
@ -0,0 +1,25 @@
|
|||
## King of the Vandenreich's Prism
|
||||
|
||||
Some of you have been complaining nonstop about 'Am I puppeting?' and 'I think my tulpa moved but I think I might be puppeting'
|
||||
|
||||
Well, I have a solution for you:
|
||||
|
||||
Imagine you staring straight at your tulpas face in whatever environment you render it.
|
||||
|
||||
Imagine a small 3D prism on top of their snout. Not a prism where you shine white light to get a rainbow. Imagine a geometric prism
|
||||
|
||||
Now if your tulpa does not have a snout or muzzle, and is more human like, put the prism on their head, or find a better location.
|
||||
|
||||
Next, you imagine a feather perfectly balanced on top of the prism.
|
||||
|
||||
Now oscillate it. By oscillating it I mean to move it up and down (like a seesaw). You dont have to keep it in the balance. Try to focus on it. Ideally you should be so focused on moving the feather up and down like a seesaw that you relinquish all mental ties to the tulpas movement; giving a developing tulpa the chance to move for the first time, and even after it moves, just imagine the prism floating above where the snout was and keep focusing on the feather. Over time, once your tulpa has spoken, you can drop the whole thing; as now your tulpa can directly tell you if your playing the puppet master.
|
||||
|
||||
### Short Version
|
||||
|
||||
1. Think of your tulpa
|
||||
2. Imagine a prism on your tulpa
|
||||
3. Imagine a feather on the prism.
|
||||
4. Focus on moving the feather like a seesaw, have your tulpa in your mind eye.
|
||||
5. Repeat until your tulpa can talk and tell you when you are puppeting it.
|
||||
|
||||
(By King of the Vandenreich !!ltOJ7i/qp8s Transcribed by AnonPie)
|
||||
|
|
@ -0,0 +1,36 @@
|
|||
# When Things Go Wrong in Your Imagination and How To Fix Them So They Don't
|
||||
|
||||
By waffles
|
||||
|
||||
Foreword: this isn't really my original dnt steel advice. Really, it's what everyone tells anyone asking for help on this.
|
||||
|
||||
### Screw Physics
|
||||
|
||||
Ever walked in through the door to your imagination and have your mind decide that screw physics? You know, uncontrollable, erratic movement of objects, or yourself. What about getting stuck in a loop doing something, or getting stuck to things, or being afraid to move things because the world will end if you do? You're not alone. This happens to a lot of people. Most people at some point, I would venture. And most people will probably figure out some of what's below for themselves. If you're having serious problems, then here's offering the best.
|
||||
|
||||
### "La la la it's not happening"
|
||||
|
||||
Ignore it. In general, paying attention to it makes it worse. You're only worsening the situation by freaking out over it, so don't. If it's not supposed to be happening, then it isn't. Don't even tell yourself that it's not happening, because that's acknowledging that it is; you don't think about it because why would you, it isn't happening. That's the idea.
|
||||
|
||||
If you manage to forget about it completely, then it'll disappear completely. Of course, suddenly realising that it's not happening might start it up again, so the best thing to do is forget about it completely and never read this guide again.
|
||||
|
||||
Yes, it's hard to just ignore something that's causing chaos or flying you through the air at impossible speeds and whatnot, but you need to. This is the only sure-fire way to get rid of anomalies if they're problematic. If it's not working then it's your fault.
|
||||
|
||||
### Back to Middle School
|
||||
|
||||
You might not like the 'ignoring it' method, or it doesn't work, or whatever. Don't panic; there are alternatives. Next on the list is laying down some ground rules. Impose the laws of physics onto your imagination. If you don't know Newton's laws then look them up; it's educational, too. If you do then make sure everything operates according to them. It should be as simple as deciding that they are operational and understanding them.
|
||||
|
||||
If your mindstuff defies the law, then remind it and yourself that it's not possible, and that this, therefore, cannot be happening. You can combine this technique with the one about ignoring for greater affect.
|
||||
|
||||
### More Or Less Every Other Guide Here
|
||||
|
||||
If you're going to do tulpa then you're going to have to brush up on visualisation skills at some point. You may well find that - especially if you're encountering problems near the beginning of the process - that improving your visualisation skills will help. Now, advice on how to do such a thing is plastered all over the board, so I'll leave you to it.
|
||||
|
||||
### "He gets beaten up by his imagination"
|
||||
|
||||
laughingponies.jpg
|
||||
|
||||
Seriously, it's your imagination for God's sake. People say 'wonderland', which makes it sound like a mystical far-off world where anything is possible with magic, when in reality it's just your imagination. It's your mind, and you can and should exercise control over it. You'd do well to remember that for the whole process, quite frankly.
|
||||
|
||||
|
||||
I'm sure that's far from all the ways of dealing with this sort of thing, so if you happen to have a suggestion then do tell.
|
||||
Loading…
Reference in New Issue