A conversation between Janet Sussman and Doug Mackey (Oct 2010). Continued from Part Four.
D: The basis of the light body, you have said, is in this aspect of smriti, where light gets stored stored in memory, which is some aspect of the spatial dimension. It’s stored in a kind of random-access memory. It doesn’t have any attributes. It’s initially addressed in a random location. At this point it’s kind of quantized. Until it receives this initial stamping, does it have any quantization initially or does the act of sticking it into storage create a quantization?
J: It’s both. The light is quantized and it’s not quantized. The part that is quantized is the part that can get addressed, stamped and organized.
D: Light as we know it is both particle and wave.
J: The quantum piece of it turns into these things that we’re talking about. The un-quantized part always remains.
D: That would be closer to the sound value.
J: This is the part that I’m still grasping, because I don’t quite understand it yet.
But as I do see that sound precedes light because sound doesn’t need any organization to function. Light needs organization, matter needs organization, but sound does not need organization to function. Sound can function without organization because of its nature.
The God-intelligence, the God-force, being itself made of sound, doesn’t need any organization to function. It can create organization, but it can stay in an unorganized state and function. It can be chaotic, it can be anarchical; it doesn’t need organization but it enjoys experimenting with it. The God-intelligence takes pleasure in organization. That’s why things get organized. But it doesn’t need organization to function. By the same token sound doesn’t need organization to function.
The light takes in the sound and downloads the sound into it and then it speaks to itself with that sound. The God-intelligence replicates itself through light, because replication is organization. When you’re in organization you’re in the light realm, not the sound realm.
When people lose their sanity, what they’ve really lost are their organizational capacities. They are back to anarchy, essentially. They’ve lost the organization, which means that the light intelligence isn’t communicating properly with itself. What causes that? In many cases, trauma causes it. Trauma is a kind of interference pattern in the light organization. There’s trauma you have as a person but there’s also universal or cosmic trauma.
The sound can live in this undifferentiated state. For it to form music, it creates sequences. Sequences are built from algorithms. These algorithms are much more complex and also simpler than some other type of dimensional mathematics that describe this, but an algorithm is the closest thing we’ve got. An algorithm is a pattern.
D: Algorithms sound very complicated but when you study computer science, for example, the basic algorithms are very simple ideas, such as repetition, where you repeat something. You can make that more complicated by changing it every time you repeat it. Maybe you play half a step higher every time. You change it a little bit and then you create a form. You get a pattern out of it. Plug in a mathematical equation and fractals and beautiful forms, amazingly complex, flow out of that. But the basic algorithms are easy to understand.
J: Right now, because we’re in the third dimension, our light intelligence translation process is kind of flat. When it pops out into the fifth dimension it becomes more intelligent and simple because it’s closer to what it really is. Fractals are getting close to that truth.
D: You’ve got this principle that within this particular algorithm there is an embedded structure which replicates the higher level of the structure from what it started from. You can travel into it infinitely and get manifestations of that same design.
J: The universe is a big mirror. It’s a mirroring aspect where it mirrors itself. That’s what parallel realities are; they’re fractal mirrors of this reality. They’re not distortions; they’re mirroring with slightly different characteristics.
D: You’re never going to locate the original of the pattern, because every manifestation of the pattern has a little variability to it, because there’s never anything the same in the universe, like snowflakes.
J: Or leaves, or you or anything else.
D: You have these correspondences and these mystical signatures, which indicates some kind of principle of organization, a higher order, a template of some kind, which underlies the distinct manifestation.
J: That’s what the crop circles portray. They’re portraying those patterns, those tattoos. That’s what these extraterrestrial folks are trying to show us, that these things are pre-existent of our creation of matter.