Kyle Kingsbury Podcast - #347 The First Face of Eros w/ Marc Gafni Part III

Episode Date: March 20, 2024

We’re getting into the nitty gritty of Eros here today folks. The First Face of Eros is upon us. Tune in and spread the knowledge yall!   Marc’s Books: A Return to Eros(paperback) A Return to Eros(audiobook) The Erotic and the Holy Your Unique Self Soul Prints: Your Path to Fulfillment Self In Integral Evolutionary Mysticism    Gardeners of Eden sign up for the newsletter and stay tuned for the “Day In The Life” event   FIT FOR SERVICE  We’ve overhauled most of the container we’ve been creating the last 5 years. We now have more intimate cohorts with the individual coaches. Come learn our lives’ work a trimester at a time. Then come do the damn thing with us in person at the real gem’s of the program, the SUMMITS!!! Check everything out and drop your application at Fit for Service Academy.   Connect with Marc: Website: MarcGafni.com  Instagram: @marcgafni Facebook: Dr Marc Gafni X: @marcgafni Substack: Marc Gafni YouTube: Dr Marc Gafni Medium: Office For The Future Sponsors: Organifi Go to organifi.com/kkp to get my favorite way to easily get the most potent blend of high vibration fruits, veggies and other goodies into your diet! Click that link and use code “KKP” at checkout for 20% off your order! Lucy Go to lucy.co and use codeword “KKP” at Checkout to get 20% off the best nicotine gum in the game, or check out their lozenge. Paleovalley Some of the best and highest quality goodies I personally get into are available at paleovalley.com, punch in code “KYLE” at checkout and get 15% off everything! Happy Hippo Kratom is in my opinion the cleanest Kratom product I’ve used. Head over to HappyHippo.com/KKP code “KKP” for 15% off entire store  To Work With Kyle Kingsbury Podcast   Connect with Kyle: Twitter: @KINGSBU  Fit For Service Academy App: Fit For Service App  Instagram: @livingwiththekingsburys - @gardenersofeden.earth  Odysee: odysee.com/@KyleKingsburypod  Youtube: Kyle Kingbury Podcast  Kyles website: www.kingsbu.com - Gardeners of Eden site    Like and subscribe to the podcast anywhere you can find podcasts. Leave a 5-star review and let me know what resonates or doesn’t.

Hello, hello. Welcome back to the podcast. It is the quick return of Mark Gaffney. In this, we are finally getting into the 12 Faces of Eros. You have heard us really break down in the beginning what it is that we're actually talking about and why this matters, not just on a personal level, but on a global level, why this matters on a worldwide level, on a geopolitical level, why this matters as a story and the necessary changing and rewriting of the story of humanity. And really, this is a breakdown of an old book called, not too old, but a decently old book called A Return to Eros, where we are going to break down the 12 faces of Eros and how that pertains to the cosmic, down to the subatomic, and how it relates to us as people, and how we can relate that to our own lives. And this first one is fucking fire. I can promise you

that. We also drop a little bit into Dune 2, which I knew him and Aubrey are doing a breakdown of. I'm not sure that's out yet. When it is, I'll have Jose throw that in the show notes for you, for people that listen to this later. But be on the lookout for that because Gaffney's movie reviews are like nothing else. They are, I don't even want to, I don't want to do an injustice. You just got to be a part of those. He did a phenomenal movie review on the Guardians of the Galaxy trilogy. And Gaffney, like me, has read every one of the Dune books. So, or I've read five out of six, but definitely worth listening to, especially because if you've read those books,

there are spiritual gems layered throughout that material in a very unexpected way where it's like, holy shit, rewind. Wait a minute. He just said, what? Kind of mind blowing, in fact. But this podcast is phenomenal and we're going to keep going on these. So we're going to try to keep these under an hour. Even if it says more than an hour, that's just me blabbing in the beginning. All of these will be under an hour. Some of these will be fairly short. They might be 30, 40 minutes, but really to the point. So we really begin to understand what are the unique aspects of Eros, meaning instead in another way, what are the unique aspects of how consciousness works? How can we tap into that? So we're the best version of ourselves. And so we can

really be a part of what the new story of humanity looks like. And I'm just going to leave it there. Mark will break that down further as we get going. There are a number of ways you can support this podcast. First and foremost, share it with friends. Secondly, leave us a five-star rating with one or two ways the show's helped you out in life. And third, support our show sponsors. Also support us through Fit for Service. If you've ever wanted coaching from me, Aubrey Marcus, Eric Godsey, Caitlin Howe, we're all doing that all year long. Our first trimester is officially sold out and that's all closed up. That'll be in Montana in May. But if you want to get in for that, go to fitforservice.com right now. And Physically Fit

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Here we are. We're back again. This is round three, but it's the first round of us getting to dive deep into the 12 faces of Eros. I'm super excited. We had a small little taste test where we got the jab on Dune 2 beforehand, and I know you and Aubrey are going to cover that. So unfortunately, you guys will have to wait for that one to come out. Your movie reviews are absolutely excellent. But more excellent than that, we're going to deep dive and review Eros and what are the 12 faces here.

We start with face number one today. Thank you. Thank you, brother. Kyle, it's fantastic and gorgeous to see you. And you are, and our conversations are our topic today. Our topic today is the first face of Eros. And, you know, we just did, just to share with everyone a little bit behind the scenes, we just did a kind of take two. And in our first take, you know, I said it was tempting to recapitulate the first and the second conversations we had as the context and that there are, you know, some temptations we have to not give in to. And Kyle, you commented, well, some, right? And so we were going to comment then for a moment on just temptation as a way into our topic, because our topic is the first of the 12 faces of Eros.

And. Brief recapitulation. The core sentence, and again, I would invite everyone to go, if you can, friends, to return to Eros, the book, and to the first and second conversation Kyle and I had. In the first conversation, we tried to lay down what is Eros. And we laid down the sentence, reality is Eros. And Eros is the experience of radical

aliveness moving towards desiring ever deeper contact and ever greater wholeness. That's the interior science equation of Eros. And we talked about that in our first dialogue. And then in the second dialogue, the the second podcast we talked about the relationship between sex love and eros and particularly in this moment the relationship between the sexual and the erotic which we often collapse and we said there's 12 billion years of eros before there's any sex the sexual models the erotic it doesn't exhaust the erotic so the movement of eros the drive of reality is eros the drive towards the desire for ever deeper contact that moves the valence of elements and valence means they come together in this large they create more value

that's what valence means valence means you're filled with heroism, valor, or valiance. Because you're connected to the force of cosmos, which has enormous value, which is love itself, which is valentias, or valentines. So valentines love, eros. Value, it's intrinsically worthy. Strength, strong as valeri in Latin, or valentia, right? So it's very beautiful. So there's this heroic movement of cosmos, right? Cosmos is filled with a valor, right? And valiance, which is the valence of cosmos, which is the move towards greater combinations, greater holes, the desire, the valence. And there's particular unique valences,

which means there's unique desire to create a larger hole, which is what Eros does. That's valentios, right? And that's where the validity, valid, of our lives come from. Look how gorgeous that is. It's all in the language. So what the language is saying is, is, oh, reality is eros. Eros is value. So I'm going to get this like a, friends, if we never talk again and you're just here for this minute, right? It's like, it's like, it's, it's mind-blowingly beautiful, right? In other words, reality is eros and reality is value. But when we say reality is value,

we don't mean values, right? Like the right wing says, these are my values. The left wing says, these are my values. And everyone's arguing over values. No, the argument over values misses the point of value, meaning underlying the opposing values, the values clashes that we're all together in a field of value, which is a field of eros. So just stay with me on this because it's so crazy beautiful. Eros is the structure of reality that moves towards, that desires to move towards, so reality feels. Reality has interiors, which is our topic today. Our topic today is the first face of eros, which is the quality of interior being on the inside, right? So reality itself has interiors. There's not just an exterior, there's an interior.

So say it simply, love, I love Kyle. True, true sentence. Now, if you attached electrodes to my brain and kind of did a little check of the neurochemical release when I first got on the Zoom with Kyle, and I haven't seen Kyle for a month, you would see there's all sorts of neurochemical cocktails exploding because those are objective exterior expressions of this movement in my interior, which is I love Kyle. Now, my love of Kyle is not reduced, sorry to disclose this here, you know what I mean? But my love of Kyle is not reduced to the neurochemical releases of dopamine and other chemicals. No, that's an exterior expression of an interior reality. That's called interiors. That's Eros. Eros says there's an inside to shit. There's an inside to

reality. Reality has insides. That's the first face of eros. And the movement of reality towards ever deeper contact means that there's a way in which my outside meets your outside and my inside meets your inside. Right? It's not just a lock and key mechanical cosmos. It's a musical cosmos. So when protons, neutrons, and electrons come together, they don't come together because there's a lock and key mechanical materialist cosmos, which is purely mechanical.

They come together because there's a musical cosmos. The universe feels, and the universe feels love. And love's not hard to find, love's impossible to avoid, because it's actually the fabric. It's the value fabric of reality. Now it's the value proposition of reality is Eros. Now that's a, a deeply validated statement. There's like, we can validate that in many ways, but, but for now, I just want to get that, what it means, what it means is, oh, oh, reality is not merely random, and it's not happenstance, and it's not capricious, A, and it's also not a puppeteer god of a particular religion, right, who's moving the

puppets without freedom and without the possibility of newness and originality and creativity. Those both live in cosmos. They're interlocked. But what's driving the whole thing is that cosmos itself is seeking to have separate parts become larger wholes because those separate parts are actually yearning towards a greater union, right? A greater intimacy. That's the movement of Eros. So Eros is, reality is Eros, and Eros is the value proposition of cosmos. Or said differently, you can't say the word Eros without value, and you can't say the word value without Eros. The value of cosmos is Eros. That's the supervenvening value all other values are an expression of it all ethics are an expression of of eros because what are ethics after all the relationship between

two parts right relationship between two parts is ethics but that's what eros is eros is the desire of ostensibly separate parts but when i say desire, it's not just an intellectual desire, it's a desire. Think desire, right? That's what we mean by the sexual models, the erotic. The sexual models, it's a way to access how eros works. So there's 12 billion years of eros before we get to sexual differentiation, then sex explodes. Then we look at sex and by looking at sex, we get a sense of, oh, that's the eros that's been driving stuff. So it's not that mechanically the cosmos wants to put puzzle pieces together to make a puzzle. No, no, no, no, no. Those puzzle pieces are trembling. They're throbbing.

They're tumescent. They're alive, right? They're allured. And that's not metaphor, that's not mysticism. I hate the word mysticism because we don't even know what it's talking about. It makes us think that it's some confused thing. Now, this is the interior science of reality. Reality is alive and trembling. Reality is circles, wildly desirous of penetration, lines wildly desiring to penetrate. Circles and lines live in every moment of reality all the way down the evolutionary chain in the interior sciences. And one great interior scientist that defined the Renaissance, Isaac Luria, writes extensively about lines and circles. And reality is lines and circles all the way up and all the way down. It's always lines and circles, every moment of reality. That's Eros. So Eros is,

it's not just a description of a cosmos, it's the value of a cosmos. So if I feel allured to an idea, to my friend Kyle, to our mutual friend Aubrey, to our dear friend Krista, who just set it up, to my partner Christina, who just walked in and I just heard her outside walking in. That set of allurements that makes my life valuable. It gives my life value. It's, I validate myself because I have the depth of these interior relationships. And if I don't have a relationship between two interiors, I'd rather die. And I generally, you know, I, you know, when I write, I try and cite all sorts of evidence from different parts of the world, but for now let's go for a movie so who was it it was um what's the name of that movie help me out brother tom hanks he's on an island he's a um he's a cargo pilot

for fedex right that's all i can think of is wilson i can't think of anything else wilson basketball okay we gotta we gotta look this up who's gonna who's gonna write us this in we gotta find this okay one second who's finding it first we, we need the name of that movie. Let's find it. Okay. Tom Hanks, Castaway. Castaway. Castaway it is. Castaway it is, right? So there's Tom Hanks in Castaway and he's on this island and he's got survival down. He's got neo-Darwinian reductionist survival down. It's a beautiful island. He's figured out how to eat, how to drink. He's got a nice coastal view, right? And he is going out of his heart and mind.

And he draws the Wilson basketball you just referred to, brother, right? That's what we remember, right? He pricks his blood and he draws a face on the Wilson basketball. And our entire conversation today is going to be about that Wilson basketball and about drawing that face. That's everything. That is the second face of Eros. That is, excuse me, the first face of Eros is that Wilson basketball. He draws a face with his blood and he starts talking to the Wilson basketball.

Right? So what's that about? And at a certain point, it's not enough. It's not enough. So he makes this makeshift raft and he does his calculation. He says, I've got 3% survival rate here. It's probably not going to work throwing yourself into the Pacific Ocean on a makeshift raft when you're not a raft builder. You're not a Polynesian raft builder. It's probably not going to go well. But he does it anyways because he's desperate to have an inside-to-inside conversation. And he feels like if I can't have a real conversation interior-to-interior,

and ultimately the Wilson basketball doesn't have an interior, then I'd rather be dead. That's Tom Hanks. And there's no one who saw the movie who didn't get it. Because the movie spoke to the anthro-ontological truth of the first face of eros that eros is interiors it's the interior drive of reality towards ever deeper interior depth that creates larger wholeness right now reality is always interiors and exteriors. So when protons, neutrons, and electrons come together, they're allured to each other. And that allurement creates a larger hole in which the individuated parts don't disappear. There's still protons, neutrons, and electrons. But that's the same thing that happens between Kyle and his beloved wife, right? In other words, and you know, of course, you, me, and your wife have not sat, so I actually don't know anything about your relationship so no one should presume it was colin i have never

done any work i actually know nothing about this i'm just making this up right now right but i would presume like any relationship it goes to different phases and has different chapters and you could probably write i'm probably write a book about it it's probably fascinating and and there they are they've been in how How long you've been in for? 13 years. 13 years, right? Has it been steady, like exactly boring and vanilla the whole time? No, I probably could write a book about it. Right? I can feel that book, right? Lions and takers and bears, oh my. And why are you in? Because you're a lord. Because it changes and it doesn't meet that conventional rule book and it

doesn't do that. But actually we're together together we're in right because there's some relationship between our interiors and there's some way that we imperfectly because we're all imperfect we form somehow a larger whole and we find some home in each other right like wow doesn't doesn't get better than that right there's this ideal that we think it's we think it's supposed to look like that it never looks like that right that that There's this ideal that we think it's supposed to look like that. It never looks like that, right? That couple in New Jersey that we think it looks like, they don't exist, right? It's just like the God you don't believe in doesn't exist, right? That couple in New Jersey that's living that life, they don't exist, right? Actually, it means we stay in with each other. We have this desire for deeper contact, and sometimes we meet it, and sometimes we we don't. And sometimes it's a glance and sometimes it's just knowing we're in the same

house. And sometimes there's a moment where we, we find each other's eyes. I, I saw a moment of your wife when we were at Aubrey's dad's funeral. I caught a moment where I just happened to look over and I saw her looking at you. It was a very beautiful moment. She was just looking at you for a moment and you could just see, and I got tears in my eyes now. You just see her loving you. It was a very beautiful moment. She was just looking at you for a moment and you could just see, and I got tears in my eyes now, you just see her loving you. It was like this private moment. I felt like I was eavesdropping. She didn't know. And I just happened to glance at her, glancing at you. I have tears in my eyes. It's an inside moment. And she might not even have been able to share that particular moment.

Right. That's not, but it's inside. So this movement towards the inside is the Eros value of cosmos. Now stay with me for a second. It gets wild and go, can we go wild? Let's get wild. Let's get wild. Okay. Let's go back to the face. Let's go back to the Wilson basketball Wilson basketball So there's a word that we've all heard That we don't know what the fuck it's talking about And the word is holy or sacred There's an allurement to that word

Holy gives us like a mixture of responses There's like a little holy roller we're afraid of But there's R allurement to that word. Holy gives us like a mixture of responses. There's like a little holy roller we're afraid of, but yet there's Rudolf Otto wrote about the idea of the holy, the numinous, right? What is that? We think some of it might be socially constructed. We're a little afraid, but then when we say the sacred, we realize, no, no, it's the same word, and there's something there. The sacred speaks of something that's important, of an intimate coherence and infinite value. That which is sacred is infinitely valuable. And so, and just to understand what we mean by that, I'm going to give you like a crazy example. If I can, if I can be a little bit boorish for a second, B-O-O-R-I-S-H, boorish.

So many years ago, I was talking to someone about the sacred and they said, I don't believe in the sacred. That's like ridiculous, like the holy. And there's a business guy, good guy, really good guy, Al. And I said, well, you're a business guy. I was in Florida at the time. He said, I'm a business guy. I said, you know a business guy I was I was in Florida at the time you see I'm a business guy I said you know a good deal when you have one he says yeah I built he built a major company I said you know he said I know a good deal I don't need I don't need you I was I was then in the formal rabbi world said rabbi I don't need you to tell me what a good deal is I I know what a good deal. I said, great. I said, so, you know, in the ark, in the synagogue, right, there are Torah scrolls, which are called sacred. They're sacred scrolls.

I said to him, I'll give you $10,000. You defecate on a Torah scroll. It looked to me like I was out of my mind, right? Heretical. I said, you don't believe in the sacred. It's an old scroll written by some dude, right, in Jerusalem. It's going to take you two minutes of time, right? No problem. So I said, oh, I understand. I said, I'm sorry, Al. Money's not enough. Okay. A million. A million dollars. Here's my credit. Defecate on the Torah scroll. And the point was, it was very clear there was no way in hell she was going to do that. And it's not because, oh my God, there's going to be a lightning strike from heaven that's going to take me down. It's because there still lived in him this intuitive

feeling, no, no, no, that's sacred. So sacred is infinitely valuable. Sacred has value on steroids, right? So there's a word that we use for the sacred, which is the temple. Temple. Temple. We want to build the temple, right? Aubrey keeps telling me I should meet with a friend of his, I think his name is Matthias, that Matthias and I talk in different ways about the temple. Yes. The temple.

We're both aware of each other. And at some point we'll have that temple conversation. And you, you've been talking, you know, at the farm, you guys have been talking about the temple, right? The farm that you and Aubrey are kind of enacting. And what is the temple? What is this? The temple is the holy place and it's the sacred place. And actually the original Hebrew word for temple is the sacred place, sacred. The word mikdash, temple in Hebrew is kodesh, the holy,

the sacred. So it's the infinitely valuable. So we're trying to enact in this world, in the world of Ahriman, to borrow Steiner's phrase, we're trying to get beneath Ahriman and say, let's enact, let's create the temple. Okay. And actually the entire movement, for example, of the lineage of solemnness towards let's rebuild the temple, but to rebuild the temple doesn't mean a fundamentalist belief to put up a building someplace on some piece of real estate in the Middle East. That's, I mean, there are expressions, right, which have to do with a particular physical building in a physical place that should be a place which is a place of prayer for all nations. But that's not the core of the temple. The temple is a universal structure, which is enacted in the heart of the

human being and may have physical expression, but the point is the temple itself is not sacred. The temple is an exteriorization of the interior reality of the sacred. That's what a temple is. So I built a temple in this world to say that this world is sacred. That if you disclose the hidden, you pull back the curtain, you see that behind the curtain is not an imposter. Behind the curtain is literally the sacred every place, right? The hills are alive with the sound and feel of the sacred. That's what the sacred means.

Now, here it gets like really crazy. So, and we're gonna to just follow the lineage, which at some it's very beautiful to kind of go inside the lineage itself, right? You know, we talked about, you know, Abz and I talked about Dune. So you remember in Dune, there's a phrase that Frank Herbert uses,

which is Kwisatz Haderach. And Kwisatz Haderach is who's going to be the great messianic figure, the savior figure. So Kwisatz Hadrach is essentially Frank Herbert, somewhat stone, probably psychedelics, probably 1963, you know, on the West Coast. And he's reading a text and the text is talking about kvitzat hadrach. And kvitzat hadrach is the jumping of the way that the master was able to do. It appears in third century Aramaic texts. And the master was able to go so deep inside of himself that he or she would break the boundary of time. That's called kvitzat hadrach,

which Herbert Stone late at night wrote as kvitzat Adarach which Herbert Stone late at night wrote as Kvitzat Sadrach but the lineage term actually is when you go so deep inside that you get underneath space-time and you can jump and of course the galaxy and the dune universe is united by the ability of the space guilders to take in spice and then jump, time jumps between galaxies and create a coherent galaxy.

But the Kwisatz Haderach is so deeply merged with the interior currency of reality in the Dune universe that he or she, whether it is Paul or his sister A Aliyah, those are for the nerds, right? You want to kind of track that, right? If it's Paul or his sister, Aliyah, right? They're able to enter into past or future on all levels. And they're actually taking into account all of time and every second, which is this divine capacity, which the Hindus talk about seeing all the karmas.

There's no time. Kweezat sadrach. So words matter. Words are beautiful. Words hold. And one of the beauties of Dune, if he wrote that whole Dune universe, Frank Herbert, without any language, it wouldn't allure us. It was just like an ordinary novel, but we're allured because he's inviting us into this resonant language. So back to our word. The first face of eros is to be on the inside. The experience of being on the inside is the experience of the holy. To be holy is to be on the inside.

That's actually what it means. The holy place is called the holy. To be holy is to be on the inside. That's actually what it means. The holy place is called the temple because the temple is the place that's infinitely valuable, has infinite value. And when something has infinite value, it means I can step inside of it. It's not commodifiable. It's not reducible to a commodity. It's not reducible to a price. It's priceless. So because it's priceless, my ability to be with it on the inside takes me into the power of interiors that stand against the power of exteriors. So let me just say that in simple terms. If your revolution is built and rooted in value, it can take down any tyranny.

Because when it's in value, it's on the inside. Goodness is not a social construction. Goodness is a quality of cosmos that I can enter into, right? And when I enter into that quality of cosmos, I'm aligned with the interior of goodness, which is beneath and beyond time. And so all goodness lives in me, right? You know, last scene, Star Wars 9, right? The battle between Rey and Palpatine and his new incarnation, right? You know, he says, all the Sith are inside of me. He says, yeah, but all the Jedi are inside of me, right?

Meaning she transcends time and she steps into that currency of goodness and the scene explodes and we're not doing Star Wars. So let's not talk about it. But Eros is to be on the inside. So now here we go. So the temple, which is the place of infinite value, which discloses the world of Ahriman

is actually a world of value. And the value is real. That the world is a heroic place of valiance and valor, which is rooted in valor, in value. Same word, which is the eros, the valence of cosmos, which is rooted in valentia, love and strength, which is what gives me, which makes me strong. Valentia is strong, valentine, love, right? That quality, right? That quality, that's the quality of the sacred. So the temple is in Hebrew, migdash, the sacred, the holy place. And the holy place is described in a particular way. Okay. Is this too much? We okay?

No, this is flawless. Keep rolling. Keep going. Okay. So the holy place is described as lifnai u'lifnim, on the inside of the inside. So holy equals inside. That's the first face of Eros. The sacred is the inside. Now, let's stay really close because we're going back to our Wilson basketball and we're going to get back to temptation. We didn't forget that, okay?

So you thought we forgot that. We didn't, okay? So we're getting there again. I saw that suspicion rising in your mind. Okay. So here we go. So it's so beautiful. So the word on the inside of the inside, which is the word used in the lineage to describe

the holy of holies in the temple and the holy of holies in the temple is the inner most holies in the temple. And the holy of holies in the temple is the innermost sanctum in the temple. Sanctum means sacred. Sanctum sanctorum, the sacred of the sacred. And the sacred, the holy, is the inside. So the other word used for the sacred of the sacred or the holy of holies is the inside of the inside. Let's be together on the inside of the inside. And the third word used, this time not in the Hebrew,

but the Aramaic text is umka to umka, the deepest of the deep. So sometimes we have a conversation, it's like, it's okay, like we're talking. But sometimes like, wow, we just went into holy of holies. We were like on the inside of the inside. It was like the deepest holy brother was like the deepest of the deep. That's, that's, that's, that's the sacred. So to be holy, sacred is to be on the inside. Now the word inside in Hebrew is P-A-N-I-M. You could spell it different ways when you're translating it, but let's go for that, P-A-N-I-M, inside. But inside also means face, face.

We're getting back to our Wilson basketball soon, okay? Face is the inside, why? Because there are 45 muscles in the face. And almost none of them do we need for exterior play. The muscles on the face convey interiority. It's why I think Woody Allen's best movie was Interiors. Because it's about these subtle plays between the characters.

And they're so subtle interiors. Wow. So face, to be face to face, is to be inside to inside. in the lineages of Solomon, although all kinds of sexing that have full mutuality, right, are considered sacred, meaning all possible positions in sexuality are considered sacred, actually the ultimate position, not about whether it's standing or sitting or anything else, but the ultimate position is whatever form it is, is face-to-face. Because actually, although all kinds of sexing are sacred and all of them have their place, every taste of the sacred has its place, but there's something that happens in the Yab-Yam,

if we can borrow a term from the East of face-to-face, that doesn't happen any other way. So face-to-face is the two cherubs above the ark, the ark of the covenant, in the holy of holies of the temple, but the temple means the sacred place, and above the ark of the covenant in the inside of the inside, the sanctum sanctorum, the deepest of the deep, the holy of holies, the inside of the inside of the temple, the holy place, are two cherubs who are sexually entwined, according to the lineage tradition, face to face. And when they turn face to face and when inside meets inside, it says, they literally create the will of the divine. We become identified, merged with the divine will. We are the currency of the divine will, and we can transform reality.

It's like, right? I mean, this is, it's like, it's so beautiful. Now, here, Tom Hanks is cast away. Now, cast away is a very beautiful word, right? Cast away means exiled, right? Redeemed means I'm liberated. I'm no longer exiled. So castaway, and again, we're not saying this is what the movie makers thought when they meant the movie. This is the way God speaks through a sacred text. Castaway is exiled. To be exiled in the lineage means to be back to back.

Exile, galut, means I'm back to back. Redemption, liberation means we turn like the cherubs were face to face and face to face means inside to inside. So let me go one more, let's jump one more step. So Tom Hanks needs a face. That's actually what happens. He can't, he doesn't go to paint breasts, right? I'm right, I'm saying right.

It's like, great, right? He doesn't, right? So let me see, let me imagine a Yoni, right? No, that's not what he does. He goes to do a face and the face is actually gender neutral. It's about Eros. And that's the thing.

There's 12 billion years of Eros before sex, right? And there's an ultimate expression of sexing is when sex and Eros come together, which is face to face. So in this face to face moment, he looks and he talks to the basketball, which has a face made of his blood. And then ultimately that face doesn't have enough interiority, obviously. And so he throws himself in the ocean and he takes the basketball with him. There's this moment in the ocean where the ball gets away and he goes berserk because he thought he would lose that face.

So this is this notion of face. Now I want to take it one more step. So the temple, let's say in many places, let's say Leviticus 23, the temple is described as Lifne Adonai, before God. But you already heard in the word lifne it's the same root word as pne panim face and it's the same root as inside so the word inside and the word before as in before the divine in the temple and the word face are the same word. So if you look at a simple translation of the old sacred text, you say, ah, the temple is to be before God. I'm here. God's there. And I bow.

And there's a moment of that. There's a moment of devotion. It's beautiful. But actually, the word lifne means face inside and before. So to be before God is to be on the inside of God's face. Wow. That's like a different world. It's not before I'm on the inside of God's face.

That's the experience of Eros. I mean, there's a beautiful Zen story, brother. It's a beautiful story, which talks about these two climbers who are each trying to climb a mountain and a slight retelling and changing of the original story. You know, the first one is young and he's got great Nikes and he's kind of moving fast up the mountain and he passes the older man quite quickly. And he's like, I got this. And the older man keeps kind of going real slow and three quarters into the day, right? The older man is keeps moving up and up the mountain and the younger man is just wiped on the side of the road in this little crevice. He can barely breathe. He can barely move. And he sees the old man just kind of gracefully,

you know, ascending him, you know, and he says, he says, you know, in Yiddish, there's sometimes a little Yiddish, you know, in Zen stories. He says, he's like, what, what the fuck? I was like, what, what do you know that I don't know? And he says to them, he says, you know,

the older man says to the younger in this archetypal, beautiful meeting, he says, you're on the outside of the mountain. You come to conquer the mountain. I enter the inside of the mountain and the mountain lifts me up. Right? So that's this quality of eros, which is to be on the inside. To be on the inside, to be on the inside, to be holy, to be sacred, to be on the inside. And we literally cannot live without the experience of my unique interiority being received, honored, caressed, understood by your interiority, right, and that's what, that's what our, we've invoked this cultural sacred text of Tom Hanks,

but we're doing it, you know, lightly, right? Just to kind of leaven a little bit, kind of the entire lineage tradition of Aramaic texts and Zen we're bringing to bear. But we do it also seriously because again, as we said, you know, 25 minutes ago, everyone who watches the movie understands it. Like there wasn't this outpouring of people said, oh, you should have stayed in the island, right?

Now everybody, you look at all the commentary the commentary everyone of course you of course you need to leave the island because everyone actually participates in the eros of cosmos that lives inside of me in other words let me see if we can make one huge leap but we got you can't make this leap brothers and sisters with our mind we have. You have to make it with the spice. We have to kind of actually feel it. And then it becomes true. And then we can articulate it in some sense conceptually. Which is my life,

the realization of my true nature, is that not only do I live in the world, inside, I live in the world, but actually when I go inside, but for real, I don't just physically live in the world, I actually enter the inside I go inside, but for real, I don't just physically live in the world. I actually enter the inside of the inside. I realize that the world lives in me, right?

In other words, when you enter the inside of the inside, the place of prophecy, right? The place of the sacred, the place of fuck, the place of Eros. When you enter the inside of the inside, so the sexual models, the er of eros. When you enter the inside of the inside, so the sexual models the erotic, right? And you're in those moments when the whole world has fallen away and there's no past and there's no future. There's only the infinite interiority of the eternity that resides in this present moment. What you cry out is the name of other, your partner, the name of God, oh God, and yes.

Right, this ecstatic yes, the three sacred texts of orgasm, which is the extreme light, ormugzam, orgasm, Hebrew, playing with words, ormugzam, the extreme light of reality, before reality hid itself in Ahriman, right, in the exteriors. So knowing that every place, it's all inside, and there's all these doors to the inside. When I step inside, it's so good, right? When I step inside, it's not that I've answered all questions. It's that all questions fall away, right?

It's completely different. And on the outside, I'm trying to use words in the best, and we should, we should use words and we should try and give responses in the best, and we should, we should use words, and we should try and give responses to the great questions and quests of life, and we should write poetry, which is, but when we write poetry, we're already saying the essays are not enough. We should write the essays, but wow, the poetry's saying we're trying to stretch, to go inside the words and to try and stretch them to their breaking point until they explode us into the silence, which is the inside of the inside. So it's deep, right? The whole thing of eros is to be inside my words and inside the silences.

In Zen, they said you can't get inside words. You can only get inside silence. In the lineage of Solomon, they said, no, no, you can get inside the words. You know, there's a beautiful story. And, you know, as we move towards closing, there's a very, very beautiful story about Tzvi-Hersh of Zittamer. That's the name of the particular master. I wanted to remember his name. And, you know, he says, right,

he's in the middle of giving this incredible discourse, this incredible darshan, this incredible talk. And then he sits down. He says, I'm done. He won't talk anymore. So, you know, the day finishes, and, you know, when everyone's left, his older disciples say, you know, what happened? He says, all of a sudden, I could hear myself talking.

And if you can hear yourself talking, sit down. It's very beautiful, right? In other words, we want to enter into the inside of the inside, and we can actually become one with our words, and I become one with my words, and I'm not on the outside of my words. I'm on the inside of my words, and you can really only trust someone who's on the inside of their words, right? Because that's where love happens. That's where eros happens. Let's just breathe for a second and see if there's any last thing we need to say. Yeah. So let's go just our very, very, very last step.

And, you know, brother, the sacred texts say, the name of this particular sacred text is the Book of Creation, which is somewhere between a century before to a century after the Common Era. It's about 455 words, give or take. And it's the original lineage of, lineage masterpiece of Western esotericism. And there's a phrase in those words, which are, which is in an erotic conversation. And there's very few erotic conversations on the internet, right? In an erotic conversation, you know, the end is in the beginning and the beginning is in the end. So we started with this, this little flickering,

we talked about temptation, right? And we said, you know, I'm tempted to recapitulate, you know, and I'm not going to give into it. So some temptations we have to not give into. And you said some, and so you were pointing to something and you were being funny, but, but your funniness was a prophetic funniness. You were like, oh, there was a some. And what did you mean?

And so I think what you meant is actually very, very beautiful. You see, there's actually two kinds of seduction. And one kind of seduction is unholy seduction. And unholy seduction means I'm on the outside. I have a surface desire, which is not eros, because eros is to be on the inside. So I have a surface desire, which is pseudo eros, which is imitating eros.

Looks like, but it's not. It's not on the inside. I'm on the outside. And I try and seduce you, meaning I try and get you to break your appropriate boundary for the sake of my greed. Those are temptations that one should not engage, right? That is unholy seduction. But there's a second kind of seduction. Reality is seducing us all the time and in every relationship

there there should be in every deep friendship there should be seduction seduction means I'm on the inside and there's this particular place I have in the inside that you can't quite get to yet and there's moments when you have one a place on the inside that I can't get to. And I love you so much that I want to invite you inside here with me. So I'm inviting you to break the boundary of your contraction for the sake of our own shared deepest need, which is the need of she.

And seduction is, again, the sexual models, the erotic. Seduction is not per se about sexuality. Seduction is I've got to actually seduce myself to understand an idea. I have to seduce myself to understand a mathematical formula. I have to seduce myself to the level of kindness that I want to incarnate. I have to seduce myself to actually addressing world hunger in a serious way and placing my attention on it, right? In a real way, because I'm on the inside, right? And that's the thing. It's only when I'm on the inside that I place my full attention. And it's, I need to be seduced to place my attention. And I'm seduced to the inside, but not because I abandoned my appropriate boundary. No, because I broke the boundary of my contraction, which kept me on the outside,

right? No, that boundary has to be shattered so I can step into the inside of the inside. When I'm on the inside of the inside, I place my attention, right? And when we're on the inside of the inside of the most beautiful sexuality, our attention doesn't easily wander, right? Because we've placed our attention. So we have to be seduced to be the most gorgeous selves we can be.

We have to be seduced to be the most gorgeous beloveds we can be. We have to be seduced to be the most gorgeous parents we can be. Or you have to be seduced to be the most gorgeous parents we can be. Or you have to be seduced to be the most gorgeous transformers of reality, giving our unique gift we can be. And seduction means I want to invite you holy seduction. Let's make that distinction.

We've exiled seduction to its unholy form. We need to liberate seduction as that which invites me to the inside. And then we step into the inside together. And then again, last sentence, not that we have all the answers, but the questions fall away because we're on the inside. We're on the inside of the inside. And that's the first face of eros, right? It's the face of being on the inside.

Cha. What a crazy brother. So good. Thank you, brother. So good, brother. Thank you. Thank you. We were on the inside all the way. We were deep on the inside. No question. And it's funny. I felt, you know, that draw, the allurement of seeing you on the schedule today. I was like, oh, fuck yeah. Oh, fuck yeah. Yeah. Excitement. Yeah. So it is an absolute pleasure and an honor to be doing these with you. And I love the fact that I get first dibs on the education from you and the deepening of our relationship, but also

the deepening of my understanding of all this. So thank you. Thank you. Thank you. Crazy delight and honor and joy, honor enjoyment. Amen. Thank you.