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In the last month, we explored the relationship of the heart and the mind to consciousness. This post brings what we learned to practical use by applying it to a three-part experiment. To get the most out of this experiment, avoid reading the instructions of the next step before completing the present one. A six-minute classical piece is divided into three parts. We aim to listen to each part (approximately two minutes) while being aware of ourselves.

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Begin with the first experiment: listen consciously to the first piece while maintaining your sense of “I am.” Aim at duration. Do not suffice with intermittent attention, but pay the same attention to being aware of yourself as the musicians must pay to playing their instruments. When associative 'I's come – 'I's about the music, 'I's about the weather, 'I's about tomorrow – dismiss them and reaffirm your effort to Be.

[/et_pb_text][/et_pb_column][et_pb_column type="1_3"][et_pb_audio admin_label="Audio" audio="https://beperiod.com/wp-content/uploads/2016/07/Bach-largo-experiment-1.mp3" title="1st Experiment" artist_name="Johann Sebastian Bach" background_layout="dark" background_color="#a6433b" use_border_color="off" border_color="#ffffff" border_style="solid" border_width="4px"] [/et_pb_audio][/et_pb_column][/et_pb_row][et_pb_row admin_label="Row"][et_pb_column type="2_3"][et_pb_text admin_label="Text" background_layout="light" text_orientation="left" text_font_size="15" use_border_color="off" border_color="#ffffff" border_style="solid"]

Before moving to the second experiment, take a few moments to assess your success in the first. Did you deviate from your aim? If so, which 'I's distracted you? Even if you feel you were successful, it is unlikely that you had no 'I's at all. Unnamed 'I's will reappear.

The second experiment builds upon the first. Aim to Be throughout two more minutes of the same classical piece, but now add the help of your mind. Each time you catch yourself lapsing from your aim to Be, intone (internally) the command 'hear.' This will serve as a mental reminder to leave distraction and focus on hearing the music consciously.

[/et_pb_text][/et_pb_column][et_pb_column type="1_3"][et_pb_audio admin_label="Audio" audio="https://beperiod.com/wp-content/uploads/2016/07/Bach-largo-experiment-2.mp3" title="2nd Experiment" artist_name="Johann Sebastian Bach" background_layout="dark" background_color="#61ad7a" use_border_color="off" border_color="#ffffff" border_style="solid" border_width="4px"] [/et_pb_audio][/et_pb_column][/et_pb_row][et_pb_row admin_label="Row" make_fullwidth="off" use_custom_width="off" width_unit="on" use_custom_gutter="off" padding_mobile="off" allow_player_pause="off" parallax="off" parallax_method="off" make_equal="off" parallax_1="off" parallax_method_1="off" parallax_2="off" parallax_method_2="off" column_padding_mobile="on"][et_pb_column type="2_3"][et_pb_text admin_label="Text" background_layout="light" text_orientation="left" text_font_size="15" use_border_color="off" border_color="#ffffff" border_style="solid"]

Before moving to the third experiment, assess your success in the second. Did the same 'I's distract you? Was it helpful to counteract them by intoning 'hear'?

The third experiment builds on the previous two. Aim to Be throughout the final two minutes of this classical piece, again intoning 'hear' whenever you find yourself lapsing. But for this third experiment, attune your efforts to your breath. While listening to the music, be aware of your breathing, and when you find yourself losing the thread of consciousness, intone 'hear' on the exhalation. This will add a physical element to your effort and harness your body to your aim.

[/et_pb_text][/et_pb_column][et_pb_column type="1_3"][et_pb_audio admin_label="Audio" audio="https://beperiod.com/wp-content/uploads/2016/07/Bach-largo-experiment-1.mp3" title="3rd Experiment" artist_name="Johann Sebastian Bach" background_layout="dark" background_color="#436ebc" use_border_color="off" border_color="#ffffff" border_style="solid" border_width="4px"] [/et_pb_audio][/et_pb_column][/et_pb_row][et_pb_row admin_label="Row" make_fullwidth="off" use_custom_width="off" width_unit="on" use_custom_gutter="off" padding_mobile="off" allow_player_pause="off" parallax="off" parallax_method="off" make_equal="off" parallax_1="off" parallax_method_1="off" padding_top_1="0px" column_padding_mobile="on"][et_pb_column type="4_4"][et_pb_text admin_label="Text" background_layout="light" text_orientation="center" text_font_size="12" text_text_color="#c9c9c9" use_border_color="off" border_color="#ffffff" border_style="solid" custom_margin="0px|||" custom_padding="0px|||"] Performed by the Advent Chamber Orchestra with David Perry and Roxana Pavel Goldstein (downloaded from Wikipedia). [/et_pb_text][et_pb_text admin_label="Text" background_layout="light" text_orientation="left" text_font_size="15" use_border_color="off" border_color="#ffffff" border_style="solid"]

Consciousness is separate from mental, emotional, or physical activity. Nevertheless, thoughts, emotions and sensations can be harnessed to support consciousness. In the first experiment, we tested the naked power of our consciousness. In the second, we harnessed to it the power of our minds. In the third, we harnessed to it the power of our bodies.

What did you learn from this experiment? Share your observations in the comment section below.



  1. Marcella Berardi

    In the first two minutes I heard music without thinking that I was hearing music, I just was aware of me, I was I. It seems to me that no distractions interrupted me but one coming from the music itself and I reaffermed my aim. So I consider this not a complete success but a success.
    In the second experiment the mind was an obstacle rather than an help because I was advised to use a command when necessary and inevitably I needed it. In this second exercise it happened more times than in the previous experiment that I had to reafferme the aim to be conscious.
    The last exerperiment was different, I wanted to success and I made an effort to spend the time being consious but this was the trick! My attention was captured by the will to do it correctly using the help of the mind and of the breath, but I lost my first aim, I was continuosly counting time to finish my prouf without failures so I failed.

    1. Evgueni Z

      Marcella, interestingly I had a similar experience to yours. Adding mind and body seemed to add additional “modalities” to the distraction, as oppose to reducing it. My focus shifted from the music to monitoring when I should insert the word “hear”, and later to controlling the breath in addition. It felt more difficult to focus on the music, however I assume the experience was supposed to be richer by aligning two centers to the exercise. It looks like the alignment didn’t happen in my case.

      1. Marcella Berardi

        Probabile the intention was not to use the intellectual and the moving centres to increase conciousness but to learn how to be unified harnessing them. It could be different for lot of us according to our different nature. I’d like to know the opinion of some of you.

        1. Asaf Braverman Post author

          Marcella and Evgueni, the challenge is paying attention to the music without losing yourself and paying attention to yourself without losing the music. This is divided attention. It can be achieved either by direct effort (as in the first experiment), or by focusing part of our awareness to aligning the mind (as in the second experiment), or by focusing part of our awareness to the body (as in the third experiment).
          Each moment brings a different challenge and to maintain divided attention we must adapt our efforts to the moment. With this in mind, I encourage you to repeat this exercise a couple more times at different moments of your day. Do it first thing in the morning, and then after lunch. Observe how your attention differs at different times of the day. Depending on your state, one of these three methods will be more effective.
          Once you do this, please respond to this comment and share your observations.

    2. taha

      I believe that the purpose of this experiments is to take the habits to divide the attention in the real life,for example when you are talking to some in the 3D world you should pay attention to what he is saying and keep the conversation going and in the meantime don’t lose your awareness of consciousness!!it is not easy to do because it makes you a little anxious not losing the one of them but i guess with the practice we could achieve that level!!it is a challenge for in real life because when i am in the middle of a conversation i lose my self awareness and start melting in the conditioning of life or of the conversation i am having!!i try to watch my be aware of my self and watch my self talking from behind but lose the focus with the external world!!

    3. taha

      that was an interesting experiment i believe!!
      my question is why we can’t just focus on the breath and not losing to train for the awareness without and external and be in pure naked consciousness first and then try to add and external subject and try to keep your consciousness away from emotions,feelings and physical!!
      when i try that in the real world with someone i can’t show any emotions to them or any feelings while they are talking and i like that experience because it helps me try somethings new and i am not the old person who always get melted in the conversation with its emotional echoes!!
      i hope to hear from all of you if you had the same experience in the physical world!!

      1. Asaf Braverman Post author

        Thanks for joining the discussion Taha. Since the present is dynamic, our efforts to be present must also be dynamic. This three-part experiment offers three different possible efforts we can make in order to Be. If one type of effort works, stay with it until it loses effectiveness and then use something different.

        In this regard, the particular Bach piece used for this experiment was chosen because it embodies this back-and-forth between efforts. The two violinists change roles again and again. Now one plays the lead and the other accompanies, then the other takes the lead and the first accompanies. This poetically mirrors the need to adapt our efforts to match the moment.

  2. MarisaM

    Thank you Asaf for this wonderful exercise and the aim to be. I found harnessing the exercise to the power of the body very powerful. There was a circulation in the body that came more readily. It was good to feel the breath being more relaxed at this time. Wonderful.

  3. Melissa Sweet

    Each time, I was pulled away from myself into the music. This always happens when I listen to Bach. The music, itself, transports me. But isn’t this the aim of great music? My mind did wander some, though, and saying ” hear” pulled me back. The third time, a very loud motor bike passed near me and I felt very angry at having the music interrupted.
    The big question for me is: ” When I lose all sense of “I” when I listen to music, do ” I” actually exist” ?

    1. Asaf Braverman Post author

      Melissa, since you are a musician and have a strong affinity to music, your challenge will be to keep your sense of self more so than attending to the music. Do not let yourself merely be an emotional center listening to music; make an effort to add as much of your being as possible to the moment. By directing part of your attention to the breath (as in the third experiment), you should be able to anchor your sense of ‘I’ and prevent it from being pulled away.

  4. anselmo

    In the 1st experiment i had a lot of “i”s trying to deviate me from my purpose, like: “is it already finishing?” or “what i am going to write about this?”.
    In the 2nd the comand helped me lessen the quantity of “i”s from the intellectual center. It also helped to be more focused on the exercise. It was the one i was most successful.
    In the last, i observed something close to what Marcella and Evgueni described. I was distracted with so many things to pay attention. Breath, remember myself, command and listen to the music.

    1. Asaf Braverman Post author

      This is a legitimate observation, Anselmo. It means that for that given moment, the optimum effort was using the command ‘hear.’ Too little (as in the first experiment) and your attention wandered away; too much (as in the third) and your attention also wandered away.

      We must keep our fingers on the pulse of the moment to determine what is the optimum effort.

  5. Thomas Neuschatz

    Thanks for the sincere observations, everyone. Presence seems more accessible when two or more centers, in this case the intellectual and instinctive, are intentionally directed toward consciousness. Allowing the emotional responses to roll out without stimulating imagination also helps enjoyment as well as Presence.

  6. Jack

    1st Ex. I started out really feeling the music. I love Bach. I then thought I then thought Be and then I am on my breathing out several times . Also had thought, am I doing this right? More distractive thoughts about method and saying Be on out breath. Then I reread assignment for #1 and did the exercise over. I had not read either of next assignments. Again I started out really feeling the music for about 30 seconds.Thoughts again, am I doing this right. These are i’s I am familiar with, wanting to be right, competitive. It’s good that I am seeing them more. I don’t like them. They suck my energy and consciousness.
    2nd Ex. Stayed focused on Aim for @ 40 seconds, then some distracting I’s, but the use of hear helped me to hear the music consciously.
    3rd Ex The use of hear and observing breath definitely helped more to stay conscious. I still had a few i’s, well guess I’m doing it right now.

  7. Nisha Ria

    First exercise pulled me straight in to the music , there was distraction but only related to music. During the second exercise,I had to use the command a couple of times to bring me back in to the aim and third exercise was a challenge. Observing breath, watching my thoughts and to use the command where needed, became a task to stay focused on the aim and music took a backstage.

    1. Asaf Braverman Post author

      Nisha, it sounds like you had a similar experience to Anselmo’s in the comment above. It is legitimate that you found the second experiment most effective.

      There will be moments, such as when you are negative, in which you will find you need more than mere intellectual commands in order to Be. You will find that the pull into identification is so strong that your counter-pull must be more forceful. In those instances, I recommend experimenting both with commands and with the breath.

  8. Dean Whittingham

    1st experiment

    In the first experiment my I’s in relation to my comfort (or lack thereof) of my body in sitting kept creeping in, so did my I’s in relation to explaining to the group my observations, and other I’s in relation to a text I had just received were also present and wanting attention, and so too I’s in relation to asking how much longer to go?. I decided to change posture and try again, this time the same I’s in relation to explaining to the group my observations came back again a few times, but also other I’s in relation to my memory of my deceased Grandad who was a musician and played several classical instruments surfaced a couple of times, again the comfort I’s crept in, and so too the I’s asking, how much longer?.

    In both attempts I kept trying to go back to an instrument once I noticed a distraction – the first time though I was scattered as I had not chosen an instrument – the second time I purposely chose the lowest toned instrument (a cello I believe?) and would follow that. The second of these attempts had slightly more success than the first

    2nd experiment

    I again chose to focus on the cello, and each time a distraction came I said ‘hear’ in concert with the cello notes, which left me a little scattered and nowhere to latch onto in a part where there seemed to be no cello and so I was grabbing onto any instrument I could find. Some of the same I’s kept coming back..the one in relation to explaining to the group my observations, my comfort I’s, and the I’s asking ‘how much longer?’

    I did the 2nd experiment a second time and this time also decided to ‘get into’ the music as it were. I moved with the music and found an emotional element came in. The same distraction I’s came back but not as often and their duration was shorter lived. But I found here that I had more effect with ‘moving’ with the music rather than just using the word hear. I also noticed a new I also surfaced at this point which was concerned whether or not anyone was watching me because now I was moving to the music.

    3rd experiment

    This time I started by breathing in time with the music and saying hear on the exhalation, and I also ‘moved’ with the music. This was going quite well for maybe 10 even 15 seconds but the same I’s came flooding back with increased ferocity as the piece went on, including the newer I which was asking if anyone was watching me.

    I decided to try the 3rd experiment, also a second time, but this time with the door closed so no one could see me, and I also chose to stand up and move with the music, both by moving around to the music and also with my hands as if I was a conductor. Again, the same I’s were coming back, but I found with breathing, saying hear, and moving, I was able to find a way back to awareness a bit more often. On this occasion I did not try to pick one instrument to hold on to but rather was able to pick and choose an instrument and could follow it with awareness for a few seconds.

    In all, what I observed with these experiments is that my comfort I’s (my stomach is tense, my bottom is tense etc) my impatient I’s (how much longer to go?), my vain I’s (this is what I will explain to the group), and, is anyone watching me, and so forth, were always the main I’s, especially the I which always thinks it needs to explain something to the group. I also observed that the longer I was aware at any given time the ferocity and potency of any distraction got greater, and the duration of any awareness got smaller as the piece went on, and the frequency of any awareness also got less as the piece went on, but, the depth was greater on each successive exercise and attempt, and was especially deeper when I moved, breathed, and intoned all at the same time.

  9. Dean Whittingham

    After reading others posts I also observed that I had also been distracted by the requirements of the exercises, for example ‘intone hear’ and ‘follow your breathe’, but I had not observed these during the exercises – it is as if by reading others experiences of these requirements themselves being distractions that I am able to now state that those same distractions did indeed exist for me, I just didn’t notice them at the time – I also observed by reading others explanations of their being distracted by the requirements to intone and follow the breathe that there is an I or a group of I’s that feels or seeks relief from obligations, duties, and requirements which are obviously above and beyond those requirements we are accustomed to or comfortable with

  10. Valéria Prado

    In the first exercise I was worried if I was doing the way Right. I could not concentrate and listen to music so aware.
    In the second exercise allowed myself a Higher Concentration, Using the Power of the mind directly influencing the exercise got greater success. By observing an exercise of the proposed bypass my mind followed the command “hear” and I was able to focus in consiente way, trying to connect the “I am” a song.
    In the third exercise, I noticed a feature my of my day to day, the anxiety. She was present during the entire exercise, to try to be consiente in music and aware of my breathing. I decided to repeat the exercise, first I focused only on my breathing to achieve calm, then put the third treho the music. I noticed then that my desire to be conscious during the music became real to follow the instructions of the mind with the Command hear. My breathing was normal, and I could hear the music conscious way. It was possible oberservar that emotion can help consiencia him, since he gets the balance between mind and body to be aware of itself.

    1. Asaf Braverman Post author

      I am glad to hear you could verify the value of these tools Valeria. Regarding noticing anxiety in the third exercise (which you know to be a day to day feature of yours), it is useful to see that this exercise invites us to “put our fingers on our own pulse,” so to speak, in a way that we rarely do during our day. So many of the ‘I’s we observe during the exercise are there all day, but pass unnoticed. Only when we make a concentrated effort to Be, do we see them.

  11. Jacob Gauthier

    I have a habit of using breathing as a way to focus my attention when I am trying to remember myself. So, on the first experiment I was already using breath to stay focussed. I noticed a little way in that I was not actually hearing the music. Perhaps my breathing habit has turned into an imagination of self remembering. I focussed on the music and shortly after the Is came. I recall 3, vanity (I am doing very well), worry (I am doing this right? Should I be still, move, look at the screen, the wall?), and impatient (is this almost over). I also noticed that at some point the Is tried to come back quietly, as if the volume knob on the speaker in my mind was turned down. They were there, but quiet and at first I didn’t even notice.

    On the second experiment I repeated “hear” in my head through the whole piece. This helped me focus on the music much more, though Is still came. This time a memory related to music replayed in my mind.

    On the third experiment I felt my attention shift from my breathing, to thinking “hear”, to the music. Part way through I thought “maybe this is where I need to split my attention” so I tried, but this is not a skill I have mastered. In retrospect, I was also analyzing what I was doing, rather than just doing it.

    1. Asaf Braverman Post author

      The effort to listen to the music while being aware of the breath is like walking a tightrope. If you lean too much to either side, you fall. But unlike walking a tightrope, you can recover instantly.

      It is good you named the ‘I’s that came (vanity, worry, impatience). The way our vessel is built, we cannot stop ‘I’s from coming as a stimulus to each moment. But we can be aware of them (as during this exercise) or we can be heedless of them (as in much of the rest of our day). Once you verify this, you realize that if you want to become aware of the many ‘I’s, you must set precise aims. Without an aim – any kind of aim – we are completely at their mercy.

  12. Tim

    In the first experiment I was relying on Susan Zannos’ house of cards to guide me, saying to myself that ‘directed attention’ of the ears must equate to the hearts of spades (moving center, directed attention towards something outside). This was very flat and rudimentary listening on my part. This was immediately compared to the jack of spades (moving center, attention being applied without you knowing it) and I confirmed to myself there was nothing else I was listening to without me knowing it. This sounds odd but to me it makes sense, I wasn’t super imposing something on the sounds coming from the head phones. Somewhere along the way there was a wondering if the hearts from house of emotion would come through – I have found in the past music to be extremely moving, to the point of tears.

    In the second experiment the use of the word “hear” was a short pronunciation of the word and many I’s entered. One “I” was about ‘am I doing this right’, another “I” was about what I would say to the group via post, and another “I” was fearing I wasn’t progressing rightly in the work, generally speaking.

    In the third experiment, because the use of the word “hear” was attached to exhalation, the word dragged out longer in my mind, matching the length of the exhalation. This had a more powerful affect, as if listening to someone behind me whisper “heaaaarrrrrr”. This could be just my own personal association but the long hear was more effective than the short hear. Tying it all in to the breath or the body may have helped as well because the music’s resolution became a little more robust in #3.

    1. Asaf Braverman Post author

      Thanks for sharing these experiences and reflections Tim. Once comment I have on the description of your second experiment, is to realize that although many ‘I’s entered, as long as you were able to see them, you were maintaining some level of consciousness. I say this, because we often err in thinking that being conscious means having no ‘I’s. Our vessel cannot avoid producing ‘I’s, and in most cases, if we think we are succeeding in having no ‘I’s, we are being heedless of them, not stopping them. So from my point of view, your description of the second exercise indicates success, success in seeing the ‘I’s, in maintaining an observer.

  13. Thomas Neuschatz

    Jacob, it sounds as if you saw quite a lot about mechanics while doing the exercises. This is part of the joy of making efforts, realizing we are not what we observe. There will always be ‘I’s wondering if we are doing it correctly. This distraction is often a sign that we are moving in the right direction, bringing enough irritation to the lower self to elicit an unusual type of thought to side track us.

  14. Dean Whittingham

    After reading Asaf’s replies to some of the other posts, I decided to try the experiment again. It is a different time of the day now (morning).

    I decided this time I was not going to report my observations to the group and so I made it my aim not to concern myself with this.

    Having made this aim, it seemed to have a different result, which I can now freely share.

    This time, I still had to struggle a little with the same I which seems so determined to share its observations with the group, but, I was able to stop it with much more ease and quicker than yesterdays exercises. I was able to follow my breath and the movement of my body to the music and observe myself doing this whilst observing the music, far more often than yesterday. I also found that using the word BE instead of HEAR seemed to have more impact.

    And in stark contrast to yesterday, not only did I not experience the impatient I, I observed that the piece was over in no time, as if it had only been going for 30 seconds. Which makes me wonder if I was really aware at all or not, yet I can still remember (as I am typing now) the divided attention of the sensations, movements, and the music, but it feels almost timeless.

    1. Dean Whittingham

      I tried it again, with the same aim again(not to report it), and with the aim to really focus on my breath.

      This time I observed that whenever my breath was no longer breathing in time with the music, and became shorter I was also identified, and again, usually with the same I which feels compelled to want to report my observations to the group (boy oh boy this is one tough I)

      1. Asaf Braverman Post author

        Thank you, Dean, for gleaning so much nuance from this exercise. I will respond here to a few points you mention throughout your comments.

        Regarding being distracted by the requirements of this exercise (mentioned also by others), it is natural to have these ‘I’s with any new exercise. If we repeat it often enough, we gain experience with using mental commands to focus (such as ‘hear’ or ‘Be’), as well as with using our breath to aid divided attention. The more experience we gain with these tools, the less such ‘I’s will bother us.

        The overall aim of this three-part experiment is to help make practical observations on the challenge of divided attention. What effort does it take to be aware of myself listening to music? There is not a single answer to this question. One moment, I can listen consciously by merely wishing to. Another moment, I am swept away by ‘I’s and must apply a more active internal pull (such as using commands or the breath). Once we realize that the same applies to any situation during our day, we get a more objective picture of what this work entails, and where we are along its path.

        You discovered that the ‘I’ that wonders “what am I going to tell the group?” is a persistent interruption. Interesting to note that at least two other comments shared the same observation. You also discovered that counteracting this ‘I’ by deciding not to share your observations made a difference. This is a good example of how, through trial and error, we learn to work with ourselves. We become acquainted with our habitual ‘I’s, and learn to form attitudes that neutralize them.

        Regarding moving to the sound of the music, although it helped you (probably by forcefully harnessing the moving center to the task at hand), I did not propose this method because it cannot be applied to most other situations in our lives. Using the breath, however, is almost always applicable, and also invisible. Visible efforts turn against themselves by stimulating our vanity. Invisible efforts are generally more genuine.

        Finally, your observation of the “piece being over in no time” during one of your experiments is significant. The different brains experience time differently. Higher centers experience time differently. Repeating this three-part experiment during different times of our day reveals how we gravitate from one brain to another, and how our state changes. Located in one part of ourselves, a two-minute Bach piece will be boring and endless. Located in another part, it will be meaningful and timeless.

        Thanks for sharing, Dean.

        1. Dean Whittingham

          “One moment, I can listen consciously by merely wishing to. Another moment, I am swept away by ‘I’s and must apply a more active internal pull (such as using commands or the breath). Once we realize that the same applies to any situation during our day, we get a more objective picture of what this work entails, and where we are along its path.”

          “Regarding moving to the sound of the music, although it helped you (probably by forcefully harnessing the moving center to the task at hand), I did not propose this method because it cannot be applied to most other situations in our lives. Using the breath, however, is almost always applicable, and also invisible. Visible efforts turn against themselves by stimulating our vanity. Invisible efforts are generally more genuine.”

          Thanks Asaf. I am grateful for all your input. These comments were most significant for me not only because I am reminded of the fact that moving in public for work purposes makes our efforts vain and visible which negates the work, but the breath exercise part of this experiment helped to verify for me afterwards that in any situation, whether it is mundane things or highly engaged situations, my breath is a great indicator of whether I am identified or not; by this I mean, if my breath is short, hurried, shallow etc and I can catch this quick enough I also catch that I am identified and even sometimes can label it. Up until this week, I had always found the breath to be a stumbling block because whenever I applied it I had always approached it from the point of view of making it the central focus with attempts to slow down and get in the moment, which then effected the breath itself, changing it and always causing anxiety (as if I had no right messing with such an instinctive function) – now I can see it from a completely different angle in that catching it performing hurriedly is an alarm to my identification. Even as I am typing this response I have caught it many times being hurried and thus that I am identified too much with this response and not dividing my attention!

  15. Alen

    In the first listening, a couple of I’s appeared quite visibly. Counting the end of the music, thinking about relaxation and how my body is too tense and a small chore of the day. My attempt of awareness was through the Intellect.
    In the second listening, giving a command “Hear” was helpful but erratic. Finding a right place to give this command shock was hard, seeing I loose Myself frequently.
    In the third listening with attending to breath, somewhere in the middle of listening it was different, more emotional.

    In the first one I was in my head only, in the second the body was there more, in the third one I could feel. But not feel and immerse in the music, but with the quality of Self Remembering. My emotional center was more touched.

    So, with my Mind only, the body pulls away. With the command the body obeys more. When it does, attending to breath includes emotional element. That is the sequence I Observed.

    The music was all too correct in My opinion. If a pattern could be found regarding this exercise, could it be possible to make some lawful inexactitudes as a mean to help us?

  16. Hicham B.

    In the first experiment, while listening, the first I’s appeared after 5 seconds.
    The feedback about the experiment started forming in my mind: words and words then sentences.
    As I tried to chase them and direct my attention to the present moment they pop up again and again!
    In the rare moments where I was successful in being conscious I noticed that my breathing was erratic.
    In the second experiment, the number of conscious moments was increased by the action of my mind. However, the same distracting I’s were there.
    In the third experiment, which I did 5 hours from the second and first, it was quiet, no noise outside.Dividing my attention between the music and my breathing made it hard for the previous I’s to appear. I also noticed a longer and deeper state of presence. I had even the feeling that the piece of music took longer than the previous ones and hence I had to check if it really has 2 minutes! It is as if time is running slowly as compared to normal pace.Finally, for about 4 or 5 seconds before the end of the experiment I felt a strong connection to my body.

  17. Clifford

    The last experiment was interesting. I started to manufacture the “words” {hear) as a kind of anchor (much like counting the breath) then the term “intone” came to my awareness. I left the word “hear” alone and was then able to direct myself to hear wordlessly.

  18. Surya Pratap Singh

    Dear sir,
    In the first experiment i went into a meditative state with no I’s to distract me from my aim. In the second i again entered the meditative state but this time two I’s interrupted me. The word “hear” acted like a shock to the interrupting I’s and they subsided. The third experiment was not satisfactory because when i focussed on music and on me, the breath seemingly stopped intermittently and i had to breathe consciously. As far as i know the third experiment is similar to vipassana of buddhism which i have practiced intensely and i dropped practicing it few years back when i came to notice that my breath was somewhat becoming non instinctive and i had to consciously breath many a times. Although breath is a powerful tool to act as an alarm to be conscious it can be a crisis if done intensely without supervision of a master as happened with me.
    I need ur views on this Asaf sir…