Introduction to Laurie Monroe / Bob Talk / Meditation (1995)

[6.9-12.3] Good evening. We have a large group here this evening. AJ had to requisition extra chairs, [13.0-21.5] but we have one chair that's empty, and that's the chair traditionally occupied by Robert Monroe. [22.1-30.5] There's no way to fill the space that he has left in our lives and in our hearts, [30.8-37.6] but Bob had things to do and be elsewhere [39.4-43.7] beyond the joys and the limitations of this physical reality, and [46.3-49.6] he prepared carefully for his departure by [51.2-56.1] choosing the person that he wanted to undertake the stewardship of the Monroe Institute and [57.3-61.4] ensure that the Institute and the Hemi-Sync technology [62.6-68.9] continue and flourish. Would you please welcome Miss Laurie Monroe-Chasek? [89.0-94.4] Welcome. I'm not used to wearing one of these, okay? Welcome everybody. [95.7-101.6] I really appreciate everybody being here, and I've got to say I'm very excited about being here this week. [101.6-107.7] I'm excited about learning and sharing and just being with everybody and getting to know all of you. [108.1-115.7] Is there anybody here that's a first-timer? Great. We have something in common. [117.0-121.1] I've never been here either. [121.1-143.4] So, embarking on a new era through this transition, and through this we will have, I think, many new [144.4-151.4] opportunities to embrace, and I'd like all y'all support in this, okay? [151.4-154.1] I want y'all to share your ideas, [156.1-158.1] your thoughts, everything [159.4-167.7] to help this grow and flourish. I've got to say I think the the Monroe Institute's [169.7-174.6] mission is vital to humankind at this point in time. [175.8-178.7] Very vital, and [178.9-181.0] Bob left us with the tools [182.1-188.4] to carry on his mission, and I'm asking everybody here [188.9-192.4] to be together and work together [193.3-198.9] to co-create the reality of his vision, okay? [199.4-203.6] That is the most important thing. Now, I'm just going to [204.6-206.9] leave this up here so it's in here somewhere. [207.4-216.0] Y'all are not going to be able to read this from out there, but during the week I want you all to read [216.7-222.4] the vision and the mission statement of the Monroe Institute. I welcome your comments, [224.9-231.4] whatever, if you want to elaborate on it, whatever. But I will ask you one favor, please put it in writing to me [231.7-234.2] so we can review it properly and [234.9-240.2] and devote the time necessary to it. I want to meet with each and every one of you, but [240.8-243.8] I'm not going to remember everything, okay? [244.3-250.7] We're going to see a film tonight that was, I guess it was in 1991, [251.7-254.6] that was provided to us by Jeff Boak. [257.9-262.8] But before we do that, I want to do a couple of things here. Where's my podium? [263.2-267.3] First of all, I don't know if y'all noticed that little thing on the back, [267.3-275.0] but I'm going to pass one day on this side and one day on this side. And I want you all to read it and [277.1-286.8] hopefully you're in agreement with it. And if so, sign it. Sign it anywhere. Sign on the top, sign on the side, sign on the bottom. [287.6-292.3] Whatever feels comfortable to you, and I will wait while you do this. [298.1-306.7] The other thing too, throughout the week, this is a collection, okay? This is still my fee here. [307.5-312.4] So throughout the week, you're going to have several creative thoughts, okay? [312.9-318.0] They may be like just one idea that comes to you. It may be a message. [319.3-325.1] What I want all of you to do is write them down. You may get the thought when you first wake up in the morning. [325.9-328.9] Write it down, a little piece of paper, and put it in the jar, okay? [329.6-334.7] Because at the end of the week, what I want to do is share some of these thoughts, whatever, with everybody. [334.7-341.6] Also, compile all of them and maybe get a copy of all the thoughts out to each one of you, okay? [342.2-349.4] So this will be sitting here next to Bob, since he's going to be helping you create these thoughts. [350.7-354.0] Okay, I guess we need to move some. [354.9-359.1] We're one of the pioneers in the use of sleep learning technologies. [359.5-363.5] Is that how you first got into the use of sound for accelerated learning? [363.6-370.2] Well, I was rather peculiar thing all the way back in 1956, and that's a long time ago. [371.9-377.9] My company had been active in network radio programs and broadcasting. [378.8-384.6] And then in 1956, we found that we had a choice of staying in New York [385.3-391.2] and doing something else, or in turn going to the West Coast and being heavily involved in [392.2-394.2] video production and TV production. [395.0-402.1] So we began to look for some other alternative than being stuck in TV. [403.1-407.9] One of the things that we got into was because we had an extreme experience in sound. [407.9-411.4] If you can bear in mind that we were very professional in sound. [411.4-416.8] We produced our own music, we wrote our own music, we created our own sound effects, and [416.8-422.4] naturally we did all that whole compound process in order to produce programs. [422.4-423.3] It was all sound. [424.6-432.7] So we had a number of professionals in whole the retinue of sound people who in turn, [434.3-436.1] let's say the state of the art in sound. [436.1-438.2] So we tried to figure something else to do with sound. [438.8-441.4] And one of the things that came up was to learn. [441.4-446.4] Well, to learn with sound was very common, but how to learn in another way during sound [446.4-447.1] processes. [447.7-451.2] And that came up with the idea of let's learn while we are asleep. [451.9-456.1] Our next step was, well, how do we help people learn during sleep? [456.1-458.6] Well, we have to get them to sleep in the first place. [458.6-463.9] So what we did is utilize our methods in order to induce sleep. [464.5-468.5] Then we had the next problem is how we keep them asleep and how do we wake them up. [468.5-471.0] That started all the way back in 1956. [472.4-472.7] My... [473.3-477.3] It was very interesting in as much as I was the CEO of the company. [478.9-485.0] I was the one mostly filled with very deep interest in the project. [485.0-487.0] So I became the chief subject. [487.0-491.2] So I must have run 150 tests with these various sounds. [491.8-498.5] These changes of consciousness in 1958 were a direct result of being the subject in all of that [498.5-500.9] early sound experimentation. [500.9-502.9] So that's how it all began. [502.9-506.5] But remember, we had a lot to go on. [506.5-510.8] Music creates emotions and always has been. [510.8-515.2] And we had been in music composition for years. [515.2-517.1] We know that sound created... [517.1-519.8] I mean, sound effects created certain types of emotions. [521.2-525.0] A shot, for example, a scream creates a certain type of emotion. [525.7-527.2] So we have an authority sometimes. [527.2-534.5] What we did is evolve from those sounds basic carrier frequencies that would in turn do that. [534.5-540.1] You were talking about how music and certain sounds can evoke an emotional response in people. [540.6-544.4] How did you discern which frequencies you wanted to use? [544.4-547.4] Were these direct effects from previous experience? [547.4-548.8] Was this stuff you just made up? [548.8-549.7] Where did it come from? [549.7-550.8] Well, that's a good question. [551.8-555.1] We had some pretty good analytical people in connection with that. [555.1-561.8] One of the prime sources, of course, was all of the various patterns in music that had been [562.5-566.1] all the way back into the classicists and all the way back into the primitive music. [566.9-573.3] Gave us a lot of information as to what would be the ones that would evoke [573.8-575.7] different types of emotional patterns. [575.7-581.6] Never mind straight states of consciousness, but emotional patterns. [582.2-586.0] And then from that, we began to isolate. [586.0-587.2] And this took a lot of work. [587.2-589.9] And this went on past and into the 60s, [590.7-598.1] where we began to isolate various frequencies that would do certain functions in terms of [598.1-599.9] creating this frequency following response. [600.0-608.0] The obvious ones would be, for example, when you needed to be contemplative and think about [608.0-614.7] things. We had found a certain area of frequencies that would be workable in that respect. Then [614.7-626.0] we, in turn, had another pattern, for example, that would allow you to be light in mood, be [626.0-633.6] happy as a word or frivolous as another way. You went through a long, long course of taking [633.6-639.3] something that was automatically seen to be that way in music, for example, and converting [639.3-645.5] it over into something useful that could be repeatedly used. [645.5-650.7] So you were able to take these familiar sounds and extrapolate out certain frequencies that [650.7-652.7] were really like the essences of those sounds. [652.7-658.7] That's right. It wasn't until recent years that we came back to a very fundamental thing. [658.7-666.0] That fundamental is that what we really are doing in order to help people learn these [666.0-671.4] patterns or these processes, what we're doing is actually dropping them into various stages [671.4-677.6] of sleep where they can learn that. It's fascinating. An EEG study of some of our [678.2-685.8] very prominent exercises indicate that we are dropping people into stage two, stage three [685.8-693.8] sleep, even sometimes stage four sleep, all indicative in a brainwave pattern. Of course, [693.8-700.4] there are other waveforms on top of that, but the fundamental pattern is that of the [700.4-707.1] sleep state. Even in stage four sleep sometime back, we had a subject in the Bootham lab, [707.1-713.9] one of this visiting researcher was looking and saw this stage four sleep signals on the [713.9-717.8] monitor. He thought that's very interesting. Suddenly, the subject of the room started [717.8-722.8] talking and the receiver says, well, he can't do that. He's in stage four sleep. You can't [722.8-727.9] talk in stage four sleep. Our monitor says, well, listen. So he pushed the button and [727.9-732.1] says, yes, what have you got to report? It is all stage four. As I say, there were [732.1-736.7] these other waveforms. The moment the subject started to talk, these other waveforms [736.7-740.7] appeared, but the moment he stopped talking, bang, he's back down into stage four [740.7-744.5] sleep. This is one of the things that fascinated me when I first heard about what you call [744.5-750.1] focus 10, which is mind awake, body asleep. How do you achieve that? It's very [750.1-753.8] easily obtained and these are things incidentally that are not new to people. [753.8-761.1] We're just away from the loose canon concept and teaching individuals how to do [761.1-765.5] this willfully and consciously so that you can get into these various stages of [765.5-769.3] sleep and use them constructively and productively. That's what it is. [769.3-773.9] It sounds like there's two things going on. One is a focused attention in one area [773.9-780.1] and a deep relaxation in another. That's pretty well put. The net result is that [780.1-784.5] you do not, quote, lose consciousness. That's the whole point of what we do. [784.5-790.2] Your body can really be asleep and the evidence shows it, but you, the mind does [790.2-793.9] not lose consciousness. It's, quote, awake, but not in the wake in the sense [793.9-799.1] that we ordinarily just use the term. So what does that open the mind up to? [799.1-806.1] Well, it opens the mind up to, it takes a cap off of its ability because it can [806.1-811.4] perceive in ways that it's not dependent upon totally the five senses for input