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In the early seventies, I had several initiations from the Karmapa. Evidentially, these transmissions from my  @Root Lama @ had ripen@ed over the intervening twenty years. On rare moments, it seemed like Karmapa was my mind. Are we all just emanations and projections of each other? 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In their compassion, they fashion better lives for all by appropriating and rearranging karmic strem&@ams. This is part of their practice... @ N. 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You 7@ll want to learn the Anuttarayoga Tantras; and Atiyofga. @ @She had no idea what these words meant... When she arrived at the Exploratorium, a science museum in a cavernous warehouse that rever@berated the slightest sound, monks from Drepung Loseling Monastery were starting the sand mandala. The Lamas were blowing the soprano saxophone-like gyalings, initiating the rituals for the sand mandala. Several monks inFF@ bright silk brocade robes and masks spun in an intricate dance. Other@ monks began painstakingly tapping out thin pipettes of colored sand, creating a sand painting. This intricate drawing, created over four days, illustrated the Amitayus mandala - the long ((@life mandala. All was bliss and joy! N//@ini was so happy to be there, she felt like she@ was coming home. Her vibrations were infectious to the monks, who invited her to lunch. Vegetarian sensibilities lay by the wayside in the exalted company of Lamas and TulKK@kus. Nini hardly noticed that she was eating a hamburger and fries, the mo @nk @s usual fare in the West. N)@ini spent the weekend attending the monks @ activities. These monks were Lamas and Tulkus from Drepung Loseling Monastery in Southern India. Their monastery had been the largest monastic colleFF@ge system in Tibet, previous to the Chinese invasion. The monks were m@asters of the Mystic Arts: sacred music, dance, sand mandalas; puja and tantric ritual. Their music sounded close to cacophony to Nini at first, with the double reed instrument, the gyaling, played in duet. The two ho@rns were tuned slightly out of phase so that their sonic vibrations created a beat pattern. Eventually, she realized the beat pattern was working@ to enlighten her body and mind. @ 3Bb0 .3],7(#7,w0?? ~ 033331@Nly@?Ws5W{@[ I!$033331@̑?@ly@Z?;M@V09e|ʨ/@ I$@uz@Pa 32b.N"L4,@Lx@`3033331@;;@$ @ F>.@NL0333ϧ;@;;@0&@6,LN,@Lx@`3033331@f+R+u2@%+4333VC@Dxs@%fffu@ @ F2333dJ@JM@w@f+R+u5@0&@6L4,@Lx@`3033331@ȍm@@$ @ F>.@̑5@0333ϧ;@ȍA@0&@6JLZffffff*@Lx@033331@G@'ffffff*@2/7@)Iň7@`v@ Fz{%$@Mp?@(\_7y@_VLQ@H$@6ML=ffffff*@lv@3x@ J-333/@R灰s@(\ţy@Rg~t@H$@6OL<ffffff*@Lx@`3033331@%u@)OV?Шbx@ F-333?/@t@(\Ry@Qu@H$@60L<ffffff*@Lx@`3033331@Q-u@%0@?@`l@ F-3339/@QNVu@333S]n@Q-%v@H$@6L4ffffff*@Lx@`3033331@Mav@$v@ F-333.@M섁*v@0333:@Mav@H$@6NL<ffffff*@Lx@3033331@4w@)N`}Ux@ J-333,@Nv@(\ty@4w@H$@6RL<ffffff*@Lx@3033331@Rgrx@)R.?0 Ax@ F-333/@Rw@(\y@RgǞx@H$@6QL=ffffff*@Lx@3033331@Ey@Q}?nx@ F-333}/@x@y@qy@H$@6CL<ffffff*@Lx@`3033331@Q-z@%C.?Mgt@ F-333/@QNvy@įu@Q-Ez@H$@6L4,@Lx@` 3033331@4z@$ @ F>.@JKz@0333ϧ;@4/{@0&@6L4,@Lx@`3033331@ٛ}|@$ @ 2R63><@Arial Special G1@Bold@ArialSpecialG1-Bold@Arial Special G1 Bold @Bold Italic@ArialSpecialG1-BoldItalic@Arial Special G1 Bold Italic@Italic@ArialSpecialG1-Italic@Aria[l Special G1 Italic@Regular@ArialSpecialG1@Arial Special G1-,w#7,7(],?,Q0??n۶mM@1n ndncnenhn?cnfnhncngnencnhn cninhncnjnencnkngncnlngncnmnhn@cnnndn)Zcnondncnpnhn(@cnqndncnrndncnn5 x#+ZN@@tN@jf |@jf |@@t [I 7 7(B7-,+ZN@@t |@@t |@jfN@jf],7(#7,w07(@Lx@0?d? N@@t |@jf[Ih $ (@#(a (a (a (a b\ B/B@' ףp= ?>/B@' ףp= ?B/B@' ףp= ?E/B@' ףp= ?H/B@' ףp= ?0/B@' ףp= ?H/B@' ףp= ?L/B@L/B@4/@B@'@1/    "@'@b0@Italic($@+ 0@Italic($@)+ 0@Italic($@+ %0@Italic+ 00@Italic( @+ 0b@Poignant, rant, rage, on Nini @s endless pages, Nini burns it all, the unfaced and unexpressed generations, the eaten and shaft subsets and monographs of (just crafts, [not art {from a woman}]) invalidation, codes of fu,@rtive laughs behind men @s backs, the split x@personalities the voice attacks brittle snow the separate karmic reams and light streams of everybody in her world...  @Help me Nini, take it on, @ eventually she will become th@e Bodhisattva karmic-burner pawn, the scapegoat, the mirror, mylar, holographic contexts, a maniac a walking messianic moment of all unexpressed familial foments of OneMind Family. TB@ NiUni Tantrini and Her Horses,  @Lust for Light. @ @ .b ],7(#7,w0??!~ N@@t |@jf [ IJN@x@\µV|@d,h@z@Pa btN BL<(@Lx@`3N@ps%BwA@Zq@ F̌AW@l[t333Mw@s"@6>L<(@Lx@`3N@)\er%>DB@q@ F̌W@)\as333ぼw@)\©r"@6BLh(@Lx@`3N@R[r%s5B@.@'I@@>0@%;Q@ ףPk%Lf$B@\/u@ FL9W@> ףHl333e{@> ף~k"@6LL<(@Lx@`3N@> ףPJj%L#B@u@ F̌W@> ףHtk333#{@> ףi"@64LN,@Lx@`3N@q= ׃}h%A@ R@%%@[@g^@ F jW@q= ir@q= "hY&@361L=333333#@Lx@`3N@> ףPf51rl@\d@ F333Rq@> ףg\µV||@> ף}f0?6>K @ZapfEllipt BT@Bold@ZapfElliptical711BT-Bold@ZapfEllipt BT Bold @Bold Italic@ZapfElliptical711BT-BoldItalic@ZapfEllipt BT Bold Italic@Italic@ZapfElliptical711BT-Italicj@ZapfEllipt BT Italic@Roman@ZapfElliptical711BT-Roman@ZapfEllipt BT Roman-,w#7,7(],?,Q0??33333 q@r1n ndncnenhn?cnfnhnY@cngnencnhncninhnY@cnjnencnkngncnlngncnmnhn@cnnndn)ZcnondncnpnhnK7A`?cnqndncnrndncnn5 x#+Zpj8pjR9bqf:@)f@R9bqf:@)f@8 [I 7 7(B7-,+Zpj8)f@8)f@R9bqf:@pjR9bqf:@],7(#7,w07(@Lx@0?d? pj8)f@R9bqf:@[I h  $ (@# (a (a ( a  ( a  Bb0/  bo0@Regular($@+ n0 bZ@Nini was taught how to change karmas with colored light streams, and how to take on others v@ karmas so that they could alter their perceptions and more easily reach enlightenment. This was a service job, and sh5 @e often paid the price:@ . b  ],7(#7,w0??!~ pj 8)f@R9bqf:@  [ IJ؉M |=@NlI3@z@P  a    bNN TL< (@Lx@3pj@1)T?@x@ FjPx:433f@-p"@6YL= (@L x@p3pjY@?Xmx@ F`qj,f@p"@6<L< (@Lx@`3pj@%< ?7p@ Sz F`j9I@"@p"@67([ ],?,+Z033331@ȍm@@033331@Z?;N@@ vb'v2t;;V@~'vb'X@NN rNND~_@M Z@@t9a@Zf3d G6f@ɐkN>j@r@Xe@ vb'vsHJi@;J࿀؉X?@8p@\Ym@ vb'vzpVjVjp@@NbPN@@\@`؉x{@@t@NĮ|@b'vb'vu@ى؉z@@t@;;{@b'vb'vu@wSa@m۶ms@ppv@J$It@m۶m{b@m۶ms@~jw@J$Iu@Sa@5Huppv@@tm۶m{b@Ѹgt@~jw@ZZu@;;`@;;t@w@w2J v@R2RZ;c@!KMJ0G, G@H i4HhxW[ Q0??vT @@ -,w#7,7(],[(-1AUY] 0??؉?-,w#7,7(],?,Q0??N@s1n ndncnenhn?cnfnhnY@cngnencnhncninhnY@cnjnencnkngncnlngncnmnhn@cnnndn)ZcnondncnpnhnK7A`?cnqndncnrndncnn5 x#+Z#NĊ@pj@NĊ@pj@# [ 7 7(B7-,+Z#pj@#pj@NĊ@NĊ@],7(#7,w07(@j@0?d? #pj@NĊ@[%Bh &$ &@## &(!a !("a "(#a #( $a $!b(!/    '@      /    /    !/    /    /    /    /    /   ! /    /    /    /  '@/  @!@'@A/  '@/  @@/  @@/  !"@"@b/  /  /  /  g/  /  ,/  /{!  /  /  /  /"b0 @Bold(&@+  @Roman+ -@Italic+ - @Roman+" -0(&@+ n'0 @Bold(&@$@+ 0($@(-?+ "@B0($@(-?+ @(+ @(-?+ @,("@+ @,+ -"0($@0($@&@0 @Roman($@&@  @Bold&@+ " @Roman&@+ - @Bold Italic&@+ 0@Italic($@(@>"0($@0#b@Holographic InterConnections @I have tried to create a holographic style of writing to express and describe the holographic interconnection of all reality. There is a continuum of non-linear narrative shared amongs#t the different books. Poetry, tech@nical information, and  @Commentary on the Text @ flow together in a holographic manner. I have used statements from other authors as a kind of commentary on channeled text, to help, both myself#, and the reader, better undGG@erstand the transmitted text. I have also tried to create nonlinear pag@e layout. It is my hope that patience from the reader will be rewarded with an enhanced understanding of the text. Like pointing out# symbols for Dzogchen, some of these images and pages are designed with resonance on min@d. Throughout the volumes of  (@The Holographic Model for Enlightenment, @ I }@ve tried to offer holography as a model for the organizat#ion of reality held sway by the karmic system. Along with concepts @of nadis and chakra systems, these are incomplete models, a listing of ingredients for recipes meant to be built upon by us all as Co-Creators of our World. I@f our #reality is composed of our collective thoughts, then in Co-Creating an uplifted world, models, maps of consciousness, will help us all develop a more potent la@nguage of being. Termas And Channeled Sources On that second journey# to Asia, I stopped off in Dharamsala and received a blessing from the Dalai Lama. That night, on a bus bumping down the hill toward De@lhi, I had a powerful,  @out-of-body, c@ dream experience. When I awoke, I wrote in my notebook#: (I) saw this book full of strange writing 0@which I knew to be Dakini script.....(I) think I @m being shown special information for initiations and instructions book. (The Tantric Cookbook) woke thinking of Lam Rim. The next evening,# in the air on the way<@ to Nepal, I transmitted: ...for another dream on last night @s bus had a Lama from Dharamsala Temple do energy transference into thee. Cultivate this Phowa friend.... The next day, I saw my friend  @Kadrom #a Marp@a @ at Nambkai Norbu :@s retreat in Kathmandu. She told me that Drepung Loseling |@s abbot in Lhasa had recently died. His name was Gen Lam Rim. Throughout that long journey and beyond, Lam Rim occasionall00@y came  #into my mind and spoke to me. Back home@, I completed most of text of  @Moving Mt. Meru @, then returned to Tibet for my third foray into the multi-dimensional realms. The vibrations of its caves and the proximity of cosmic rays # of the high Himalayan plateau @acted as an elixir for the resonance of words which poured through me upon my return to the States. Intuitively, seemingly at random, I opened  @Moving Mt. Meru @s 7@ computer file to the place a #bout tertons and termas, a@nd began writing  &@The Tantric Cookbook of Nini Tantrini. N@ Termas are sacred texts, hidden in Tibet for future discovery. Some of this @book @s writings transmitted through me, consistent to t #he manner Tibetans describe their mystical termas. While writing, I had many experiences of watching my ?@hands typing words seemingly beyond the formation of my own ego @s endeavors. I rarely had to search for the excerpts from my o#ther books, or the books written by others quoted here. I merely had to open@ a computer file or book, invariably going to the needed poem or quotations. In the five years since my riding accident, I had become used to channeling my hors#es, but this was something more. So@me of this book @s information is definitely beyond my conscious knowledge. For these reasons, I have avoided editing this text as much as possible. The excerpts in the beginning lead toNN@ redunJ#dancies, which I ask the reader to forgive. Since this book is# numeroub@s books combined, like collective voices of mind, different threads run through the narrative. It b@s holographic. Pick it up, open it anywhere and start reading. Each page its own book. If you don @t understand certain ^#p::@hrases, skip forward. Every word is for some minds... @ .$b  %],7(#7,w0??!~ ࿮%#pj@NĊ@ &[ VqRJ@ vbStq@;s@uz@z&'a*'d(efFg%0-'brN&L<%ffffff*@j@`3%<v,;@d@ FVj% 8@l('Jdg@?l$@66L4%(@'j@3.@(6j@ J@333~j@ n1@!`p@63L5%(@j@3@;@3j@ F'"E2@@Kj@ n=@!`p@68L4%(@j@`3C@(8@j@ F"E>@333~j@D@!`p@'66L4%(@j@`3I@(6j@ F"E@333s~j@J@!`p@64L4%(@'j@ 3O@(4j@ J"K@333~j@[P@!`p@63L4%(@j@3R@(3j@ J'HP@333~j@[S@!`p@61L5%(@j@3U@1@j@ FHS@Kj@[V@!`p@'66L4%(@j@3X@(6j@ FHV@3333~j@[Y@!`p@67L4%(@'j@3[@(7`j@ FHY@333j@[\@!`p@65L4%(@j@3^@(5@j@ J'H\@333~j@[_@!`p@64L4%(@j@3`@(4j@ FH_@3333j@-a@!`p@ '61L4%(@j@3hb@(1 j@ J@Ha@333~j@b@!`p@61L4%( '@j@3c@(1`j@ J@b@333j@-d@!`p@60L4%(@j@3he@(0j@ J '@Hd@333~j@e@!`p@6LF%(@j@`3f@$\9@%\9@@ F@e@o@@-g@ '!`p@6L4%(@j@`3hh@$@ F@Hg@P;@h@!`p@61L '4%(@j@`3i@(1j@ F@h@333s~j@-j@!`p@66L4%(@j@3hk@(6j@ 'F@Hj@333~j@k@!`p@66L4%(@j@`3l@(6@j@ F@k@333~j@-m@!G'`p@6d(Zw?@("@-?+ )0/*@nini's dream journalp)>@Californian FB@Bold@CalifornianFB-Bold@Californian FB Bold@Italic@CalifornianFB-Italic@Californian FB Italic@Regular@CalifornianFB-Reg@Californian FB*Zw?\@Italic($@-333333?+ +0&0 @Black horse+>.@Century Gothic@Bold@CenturyGothic-Bold@Century Gothic Bold @Bold Italic@CenturyGothic-BoldItalic@Century Gothic Bold Italic@Italic@CenturyGothic-Italic@Century GothiM+c Italic@Regular @CenturyGothic@Century Gothic,Zw?.($@-?0:(@nini'd ream journal 10 pt 110 k--,w#7,.7(],?,Q0??(q@s1n ndn-cnenhn?cnfnhnY@cngnencnhncninhnY@cnjnencnkngncnl-ngncnmnhn@cnnndn)ZcnondncnpnhnK7A`?cnqndncnrndncnn5 x-#+Z`'vb'v%@`'vb'v%@@e@@e@ .[-/. 7 -7(B7-,+Z`'vb'v%@e@e@@`'vb'v%@@/],7(#7,w07(@؉d@0?d/? `'vb'v%@e@@[-00],7(#7,w0??!~ `'vb'v%@0e@@ &[ /V;q@ٺ@nFځ|@@uz@1-,w#7,27(],?,Q0??4ef@@$IS@1n ndn1cnenhn?cnfnhnY@cngnencnhncninhnY@cnjnencnkngncnl1ngncnmnhn@cnnndn)ZcnondncnpnhnK7A`?cnqndncnrndncnn5 x1#+Z_$I$IL_$I$'@yY@$I$'@yY@$I$IL 2[132 7 17(B7-,+Z_$I$ILyY@$I$ILyY@$I$'@_$I$'@3],7(#7,w07(@<P˚l@0?d3? _$I$ILyY@$I$'@[1=h4 >$ (@#5678>(5a 99(6a ::(7a ;;(8a <<9b58/      !  '@3  6     /:b60($@$@0@Italic("@$@+ @0;bB78@ settling the great horse, the hysterical ruling body,  @Demand that you free Tibet, #@ rasped the Secretary at Drepung.  @Isn @t that what i @m doing, @ replied Nini, and sheXX@ through the a;constructions of bone and blood and love we call species, we sing time: .<b 8=],7(#7,w0??!~ _=$I$ILyY@$I$'@ >[ 3J` ߿J@h3@q@$I$|@z@P>4=a ???b7N>8LN=$@<P˚l@`3_$I*`H% a6@@%7 ae9@bg@ Fn]Z$IjMNnV V@$IF"@6L<?=$@<P˚l@`3_$I*`C%y`"M@x\@ F\=vQ$IjHF,H@$IA"@6!L<=$@<P˚l@`3_I$U<%!y 5K@?^@ F\5R$IjCFJ@I$9"@63L<=$@<P˚l@`3_$I,%3 _y6@$f@ F\)[iZI$՞7NnT@$I&?"@66L<=$@<P˚l@`3_$IT%6 @2@th@ F\IW[$I=+Nn,V@$IR"@6? 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