A White Horse


A Black Horse


(Using the Right Hand)


(Using the Left Hand)


Ideals & Values
Tension & Control
Understanding & Fulfillment


Dreams at Night
Real Magic
Spiritual Awakening


Notes from a Spiritual School, 782. It is far better to put your roots into channels of real friendships and material concerns than to try to find stability in internal fears.

783. Some people are, in the end, completely at the mercy of their superegos.

784. Relationships with women are best approached as casual friendships. A woman's concerns, likes and dislikes most often have nothing to do with you.

785. You can often tell the character of someone's fears by whom they tangle with. Is their opponent a child?

786. It is almost impossible to gauge the deepness and effects of another person's fears. Their best days might be, if in you, your worst.

787. Friendships aren't based on similarities; rather they are based on seeing yourself and another person as separate individuals based in a physical world.

788. When someone asks you whether they should do such-and-such, ask yourself what you would think of a monkey at the zoo who ran away from all the other monkeys to ask you whether it should do such-and-such.

789. Pretending you are good is a big burden. It is superego work.

790. Kindness, acceptance and approval is the only climate in which growth can occur. These conditions must be present when your frozen fears are awakened.

791. A vicious part of yourself feeds off of what is real inside you. What is real has to feel hurt completely in order to get over feeling hurt. Don't feed the part of you that attacks your own nothingness.

792. Gurdjieff stayed with Joe for two years, mooching to the nth degree. When Gurdjieff left, he said to Joe, "Too bad, Joe. You got nothing out of it." But Joe is one of the kindest men anyone has ever met.

793. Feeling bad is good! [The subtlety of this prescription is phenomenal]


(Dream) Dartmouth College is so beautiful. I'm dragging Adam and his girlfriend all over to show them things most people don't know about. The murals in Baker Library, for instance.

"Come on!" I cry out, "We'll get in before it closes."

I have about four friends I'm taking with me. The first thing I do is grab a librarian because you need all the help you can get.

"I don't remember all the passages," I tell her. "We want to see the murals."

We tumble into one elevator after another, and in the first big room we get to, see about an acre of incredible Persian rugs. The tour goes on for about half an hour, and we never actually get to the murals!

"The library is closed," the jolly old lady says. It was a curious sort of barracks we had just walked by. I wonder who all those people were. "The library is closed," she suddenly announces, and we find ourselves in the outpouring throng.

I make absolutely no attempt to stick with Adam and his friends — Instead, I hop into a car with David Tickton, who shows me a thing or two about running over puppies.

As we get into the peasant village, he slows his car down near a porch and throws salt or something out at the dogs up there.

One dog attacks the car (although I don't actually see it from the passenger side), and as I look back, I see a bunch of villagers converging on what can only be a dead puppy.

Oh, Christ! Some of the villagers are coming after us, and David has opened his car into a cafe! We're sunk!

I guess the only thing to do is just take it! Two villagers walk up behind David as we sit at the table, and they kiss him on the back of the neck! What is that all about? Talk about killing somebody with kindness!

David just looks at me and grins his silly grin and shrugs his shoulders and shakes his head. (Fin)


A Mottled Horse


(Using All of Life)


Cultural Demands

Emotional Hijacking

Sexual Fixation


You have stumbled into a new wing

of the «seishin byooin»,

and you can slip away on the black cat!


This is a new section of taxi1010.com,

for the understanding of negative emotions.

You will always find beautiful artwork here,

and some nice ideas.




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Copyright © 1999-2012

Richard Ames Hart


Amoret Phillips