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."Carlos went on to say that, judging from their artistic expression, the obsession of thesorcerers of ancient Mexico with transmitting their knowledge to those who surrounded themhas no parallel anywhere else on Earth.The agreement they made with their pupils haddifferent parameters from our Western, 'rational' agreements.The prehispanic reality includedaspects we would not consider normal, because they had to do with energy fields that are notin use anymore.As an example of one of those fields, he mentioned the emphasis on dreaming, which was ofconsuming interest to prehispanic people.Remnants of it can still be found today in isolatedtribes in the country.He concluded by saying that, due to the lack of synchronicity among the emanations alignedby ancient and modern concerns, it is almost impossible to cross the interpretive barrier thatseparates us from those cultures.So, as ordinary men, we will never fully understand theirartistic creations."Fortunately, a sorcerer has special tools, because he has learned how to make his assemblagepoint flexible.He can connect his attention with the modality of awareness of other times, andhe knows how to adjust his concern with that of sorcerers who have departed."Don Juan was an expert on prehispanic cultures.For him, old stones didn't hold any secrets.He sometimes brought me on a tour through the buildings of the museum of anthropology inorder to make me experience a verification of these special agreements for myself."Then Carlos told me about one of those visits, when he himself witnessed the specializedways in which sorcerers contemplate the past."That morning, we had discussed historical topics; I was trying to convince him of theseriousness of my theories, and he was openly making fun of me.I got into a very heavymood.Before enteringthe museum, he manipulated my luminosity and made me enter a different state of awareness.His maneuver had the effect of charging the art works with life.Everything was there: theluminous egg, dreaming, the warrior's way, the movement of the assemblage point.it wastremendous!"As I verified the authenticity of the teachings, I made a swift and thorough assessment of myposition as a researcher.I understood that, in great measure, academic institutions hadprogrammed me, not to impartially gather information, but to corroborate a certain descriptionof the world, and this position prevented me from surrendering entirely to knowledge.So,when I did my fieldwork, I was not so much an impartial seeker of truth as an ambassador foranother way of life.This generated an inevitable collision which often translated into distrustand mutual suspicion."As I was leaving my experience in the museum and returning to my habitual view, I could nolonger understand, or even remember, my previous state of euphoria.But strangely enough,from that moment on, my academic point of view began to change.I learned how to seethings as they were, without conceptual veils.Until then I had been an investigator at theservice of a system of agreements - the Western culture.Suddenly I began to feel more andmore comfortable with the idea that, under the anthropologist's skin, there was an ordinaryman involved in the task of finding his destiny."I asked him to give me some concrete example of how sorcerers interpret old monuments.In response, he asked me:"Have you seen the atlants of Tula?"I told him I had, and he explained that those impressive figures of the Toltec age are adescription of the party of the nagual.He maintained that the sixteen priests in bas-relief,which are in the four columns, behind the statues, represent the complete group ofwarriors, divided into four teams, one for each of the cardinal points."They are cosmic travelers, and their mission is to flow with the energy of infinity.Theobjects they carry with them symbolized each of their functions.These priests are a party inmid-flight, an image of the final objective of the path, which is to reach the third attention."For a long while, he continued giving his own interpretations of various archaeologicalobjects.His stories were so graphic; he gave me the sensation of walking with him on themillenary paths of a prehispanic city.I could almost distinguish the enormous andimpenetrable Olmecan heads there, at the end of central square; the human warmth of thesmiling Huastecas statuettes which looked at us from the niches of the pyramids; the delicateMayan stelas, talking nearby.Carlos affirmed that the simple act of contemplating some archaeological pieces in a state ofinner silence is enough to project the observer's attention to the position of the ancient artists.Hence, some of those pieces work as veritable traps of attention."Many of them were designed like that with deliberate intention.Their purpose was notornamental or symbolic.Each one of their proportions and designs contain a detonator ofpsychic states and flows of energy.Those pieces are, you might say, catapults for theassemblage point.No professional investigation will ever be able to figure them out, becausetheir creators were not in the least interested in adjusting themselves to rational criteria.Toalign with them, we have to have the guts to meet the challenge, and perceive in terms ofsilent knowledge."He maintained that, because of their intent, the creations of prehispanic antiquity are truedeposits of the second attention, an oasis of power in the middle of the dry sterility into whichcurrent civilization has thrown man."By encouraging me to present the heritage of ancient Mexico to the world at large, Don Juanbegan a kind of journey to the roots in order to validate aspects of the teachings which hadremained hidden right up until today, and return to man the true dimensions of his being."As seekers of knowledge, we can have the full benefit of the old seers' intent today, in orderto continue their work with renewed vigor."Somewhat shyly, I asked Carlos if we could meet in some museum or archaeological site,where he could give me a practical demonstration of the keys to sorcery.But he didn't approve of that suggestion [ Pobierz całość w formacie PDF ]