(Q - Fabergé: Hello Michel, I'm going to continue on the same subject. I didn't follow the beginning of the vocal, I just arrived.)<
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MB: I did it on purpose, I did it on purpose.
We started a few people, I was all alone with CatsEyes, I've been dreaming of it for years.
And then, gradually, we opened the door.
It was intentional.
(Q - Fabergé: So, I'm coming back a little bit because I heard the subject just before. On the method, you responded to Saïd and Aladore. You responded to Saïd that the good sentinels seem to be essential to fully understand the method And then, you suggest to Aladore, the opposite, that the terrain is not essential to define the method. is two different things?; defining the method and understanding it could be two different things?)
MB: So, wait Fabergé, I don't remember saying it like that to Aladore. Can you explain a little?
(Q - Fabergé: I can quote what you said. So, it's more to speak, but to respond, the method is given by the field and it gives the cadence, but its parameters are really too difficult to detect And you answer: the method given by the field, question mark Are you really sure And then, there is an exchange where Aladore says: thoroughly and you answer: not? me. So I have the impression that when you don't answer that…)
MB: It's because I'm less convinced than him that the method is given by the field. The method... a method is something that can be taught. We're going to teach someone a method to play the piano, to cook, to do whatever you want. It's a method. Or a pile-up, good thing, whatever you want. There is a method. You explain it, you teach it, you ask your student to practice until he acquires this method. There, the terrain has no impact on that. It’s really a method, it’s a technique, it’s a method.
(Q - Fabergé: Ok, so we understand the method with the book, finally, we understand, we define the method with the book and we manage to explain it, to understand it with the field, with the good sentinels.)
MB: If we teach you to play a method of music, a method of piano, you will learn to play the piano, the day you sit down in front of a piano, you play. That's the principle of the method, it allows you, once you are in situ, to operate.
(Q - CatsEyes: Is that what the first 9 do?)
MB: No, no, no… That’s what the last 2 do.
(Q - Nlc: The method is at the end. We had understood it for a long time. Michel, regarding the review, can I give you the idea that I get from it or not?)
MB: I completely agree. Afterwards, I don't have to comment, but go ahead and give.
(Q - Nlc: I consider that the important thing is to turn your head. Afterwards, I don't know how to do it yet, but after having reviewed all the passages in review which have been done, in fact, the only thing that we can see about the person who is doing the action is that he walks straight ahead, turning his head. So, I don't think we need to worry. interested in what the person sees on the sentinels, but we must be interested in what the person who is reviewing is doing, in fact. And so, this action of turning the head. That's it for me.)
MB: Okay. And the action of turning your head, is it supposed to be sufficient in itself?
(Q - Nlc: I imagine that we must deduce something behind it and apply it, or continue the process. But for the moment, I'm stuck at this level.
MB: Okay. Well no, you're not blocking. You think.
(Q - Nlc: I'm thinking yes!)
MB: It's not blocked there. It's a thought.
(Q - Nlc: This is an entry point into my thoughts to follow, that's it.)
MB: Yes, we agree.
(Q - Roc: You have to walk with your head sideways.)
MB: That’s what you do every day Roc!
(Q - Nlc: Except that apart from taking a tree, I don't see what this method can bring us.)
(Q - Roc: It's even dangerous.)
MB: Why? Are there trees in your area?
(Q - Nlc: Ah yes, a few, yes. There are even stones.)
MB: Ha… It’s a busy area, then.
(Q - Nlc: Enough, yes.)
MB: I like these minutes of silence. I feel that these are silences that are very evocative for some.
(Q - Fabergé: So, I'm coming back a little bit because I heard the subject just before. On the method, you responded to Saïd and Aladore. You responded to Saïd that the good sentinels seem to be essential to fully understand the method And then, you suggest to Aladore, the opposite, that the terrain is not essential to define the method. is two different things?; defining the method and understanding it could be two different things?)
MB: So, wait Fabergé, I don't remember saying it like that to Aladore. Can you explain a little?
(Q - Fabergé: I can quote what you said. So, it's more to speak, but to respond, the method is given by the field and it gives the cadence, but its parameters are really too difficult to detect And you answer: the method given by the field, question mark Are you really sure And then, there is an exchange where Aladore says: thoroughly and you answer: not? me. So I have the impression that when you don't answer that…)
MB: It's because I'm less convinced than him that the method is given by the field. The method... a method is something that can be taught. We're going to teach someone a method to play the piano, to cook, to do whatever you want. It's a method. Or a pile-up, good thing, whatever you want. There is a method. You explain it, you teach it, you ask your student to practice until he acquires this method. There, the terrain has no impact on that. It’s really a method, it’s a technique, it’s a method.
(Q - Fabergé: Ok, so we understand the method with the book, finally, we understand, we define the method with the book and we manage to explain it, to understand it with the field, with the good sentinels.)
MB: If we teach you to play a method of music, a method of piano, you will learn to play the piano, the day you sit down in front of a piano, you play. That's the principle of the method, it allows you, once you are in situ, to operate.
(Q - CatsEyes: Is that what the first 9 do?)
MB: No, no, no… That’s what the last 2 do.
(Q - Nlc: The method is at the end. We had understood it for a long time. Michel, regarding the review, can I give you the idea that I get from it or not?)
MB: I completely agree. Afterwards, I don't have to comment, but go ahead and give.
(Q - Nlc: I consider that the important thing is to turn your head. Afterwards, I don't know how to do it yet, but after having reviewed all the passages in review which have been done, in fact, the only thing that we can see about the person who is doing the action is that he walks straight ahead, turning his head. So, I don't think we need to worry. interested in what the person sees on the sentinels, but we must be interested in what the person who is reviewing is doing, in fact. And so, this action of turning the head. That's it for me.)
MB: Okay. And the action of turning your head, is it supposed to be sufficient in itself?
(Q - Nlc: I imagine that we must deduce something behind it and apply it, or continue the process. But for the moment, I'm stuck at this level.
MB: Okay. Well no, you're not blocking. You think.
(Q - Nlc: I'm thinking yes!)
MB: It's not blocked there. It's a thought.
(Q - Nlc: This is an entry point into my thoughts to follow, that's it.)
MB: Yes, we agree.
(Q - Roc: You have to walk with your head sideways.)
MB: That’s what you do every day Roc!
(Q - Nlc: Except that apart from taking a tree, I don't see what this method can bring us.)
(Q - Roc: It's even dangerous.)
MB: Why? Are there trees in your area?
(Q - Nlc: Ah yes, a few, yes. There are even stones.)
MB: Ha… It’s a busy area, then.
(Q - Nlc: Enough, yes.)
MB: I like these minutes of silence. I feel that these are silences that are very evocative for some.