Markdown lines 46–192 · Part 1 of 2
[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