your nose with my heel!”
4. As a result, the way the stalker thinks comes to be paradoxical. And, once the decision is found, they blow their whistle three times, with the greatest of ease, to signal an attack while others keep treading water for years.
5. And here’s what I think is the most important part. When going through the PM and trying, one by one, all templates, the stalker ponders them and kind of tabulates the scale of their perception and thinking. The stalker’s perception and thinking become like a ruler graduated with evenly spaced points, as opposed to an unevenly graduated ruler with many gaps, something typical of ordinary people. This allows their consciousness and psyche to be fairly objective instruments that sense profoundly and accurately both the beauty of dawn and the beauty of the Ninjutsu formula. They no longer care what to take in and what to think about. Their understanding becomes comprehensive.
Playing through the Tuning Fork cards can be divided into these steps:
1. The Stalker tries to understand the meaning of the card they’re playing. They rack their brains trying to figure out its cabbalistic meaning and essence. They try to figure out the Kabbalah charades as they apply to the card being played and its inner concept, seeking to find the card in real life. At this point, they constantly look around for the card, trying to understand whether they see it in a given object or phenomenon.
2. The stalker gets to know the card’s inner essence, amassing the knowledge of what the card is in real life. They begin to project the cards they’ve found in real life onto their psyche and thinking. This period is the time when they make startling discoveries and reassessments, which are often ineffable. Describing them in words is as difficult as describing an orgasm. You have the words, but they’re useless to people who’ve never experienced it.
3. Once the stalker acquires a practical understanding of the card from their inner experience, they get to catch on to a kind of supermotto or superconcept inherent in the card and fit that supermotto to their inner state, keeping it inside for a long time.
4. After the stalker gets the hang of using this prism of perception, they’re surprised to discover that the prism allows them to confidently find black in snow white and blindingly white in velvety black. After all, even artificial 999 gold contains 0.1 percent of impurities, in which, if you look at them closely enough, you can make out almost any element that’s in the periodic table. From that time on, the stalker is a kind of magician — a joker card, which can have any value, suit, or color.
5. With some stalking experience under their belt, the stalker becomes, in the eyes of other people, a kind of jester, going beyond what is understandable to those people.The stalker simply grows out of their pathetic outlook. That’s why what you can see of the greatest people is only the tip of the iceberg while their contemporaries think of them as clowns or weirdos.And nothing but time and distance can set things right, in each of the worlds.
The following is a list of the Tuning Fork cards, each with one possible meaning.
Two of Hearts — confrontation or interaction at the level of feelings. Examples:
1. Interacting emotion; e.g., a singer’s
2. Interaction with emotions; e.g., sympathy
3. One interacting with an emotion; e.g., one who sympathizes
Two of Diamonds — confrontation or interaction at the material level. Examples:
1. Interacting matter; e.g., a seller
2. Interaction with matter; e.g., a kick
3. One interacting with matter; e.g., a real doer
Two of Spades — confrontation or interaction at the level of ideas. Examples:
1. Interacting idea; e.g., a politician
2. Interaction with ideas; e.g., a debate
3. One interacting with an idea; e.g., an opponent
Two of Clubs — confrontation or interaction at the level of structures of probabilities. Examples:
1. Interacting structure; e.g., a petty clerk
2. Interaction with a structure; e.g., filling out a form
3. One interacting with a structure; e.g., a client
Three of Hearts — a system at the level of feelings and emotions.
Examples:
1. System of feelings; e.g., theater and opera
2. Systematization of feelings; e.g., teaching the art of acting
3. One who systematizes feelings; e.g., a physiologist
Three of Diamonds — a system at the material level. Examples:
1. Systematic (organized) matter; e.g., a house
2. Systematization of matter; e.g., cleanup
3. One who systematizes matter; e.g., an installer (+) or cleaner (−)
Three of Spades — a system at the level of ideas. Examples:
1. System of ideas; e.g., a library
2, Systematization of ideas; e.g., school studies
3. One who systematizes ideas; e.g., a thinker or scientist
Three of Clubs — a system at the level of structures and probabilities. Examples:
1. System of chances or rights; e.g., a municipal institution
2. Systematization of rights; e.g., driver training (the traffic code)
3. One who systematizes a structure; e.g., a programmer
Four of Hearts — Naturalness at the level of feelings. Examples:
1. Essence of feelings — any instinctive emotion triggered by an entity: fear — hospital; jealousy — register office; hunger — cafeteria; courage — conscription office
2. Naturalization of feelings — manifestation of instincts in society; e.g., protection of females
3. Natural emotion — a stalker going on an instinct such as fear, jealousy, hunger, or courage
Four of Diamonds — the natural quality of matter. Examples:
1. Essence of matter — any natural object such as a tree
2. Naturalization of matter; e.g., recovery from disease
3. Matter experiencing naturalization; e.g., a sportsperson on vacation
Four of Spades — naturalness at the level of ideas. Examples:
1. Thought
2. Formalization of ideas; e.g., programming
Four of Clubs — naturalness at the level of circumstances, routine, and chances. Examples:
1. Routine as an object; e.g., a form to fill out
2. Routine as interaction; e.g., filling out a form
3. Routine as a role; e.g., a job duty
Five of Hearts — the portal of feelings. Example:
1. Portal of feelings as an object; e.g., a stage
2. Portal of feelings as interaction; e.g., a
