(Q - Exalastro: All joking aside, during the last vocals, we have, for me, an instruction manual, not a cooking recipe, an instruction manual, you really give us
stages through which we must obviously go through the questions or the stages are all as vague for the moment, I will not necessarily, ... but there was during the last vocal a point between enigmas which gave us a geographical movement and
others which induce certain things. There was the word induce, which was used and then displacement Today when we say the first 9, because the energy we have been putting in for 6 months a year is finally happening.
that on the last 2, we stop to say to ourselves that the 9 solutions, the first 9 puzzles are available on the Internet, everyone is capable of being able to manage to get there and reach the zone.
But when we stop, I have the impression that there are like 2 parallel things, there is this plot that we can quite easily in the first decryptions in the first layers, understand, we move forward and then it there is, and yes, the key which was not to be thrown in the trash once we had used it, it seems that there is a sort of 2nd layer and I will not use the word remainder.
Now the definition is clear, there is no longer any point in asking the question, but there is like a 2nd layer, there is like something, and yet, we still repeat today that the first 9 take you to the area.
You know that people are in the area and the last 2 puzzles today are the gear change, the click and everything that follows with the numbers which are not the super solution, but the start of something. Finally, you need the imagination of a pirate with a touch of literature, all that, we have these stages, but there you go, I have no questions, see what do you react to these words of say, isn't there like a second parallel plot?
Why do we put this energy on the first 9 are a little easily swept away, let's say, it's on the Internet, manage yourself. This notion of movement that we can easily see and which would still have elements like a key which would not be thrown away. We have elements like a compass and a direction, we have lots of little things like that, a becalmed nave, we have lots of little things that we could have explained at one point but which still remain there.
And is it these famous automatisms, reflexes when driving on icy tracks that we are going to have at one point, there you go, it's this vagueness that I have today.)
MB : Yeah, I understand the meaning of your remarks well since in fact it's not a real question but I would say, I repeat again, well I'm sorry but I'm rambling, note you can forgive me, we're dealing with a literary, so you are talking to me about a certain number of points, I will give you an example, I will take the example of the compass, the compass for example, and then there are lots of things eh, like that in hunting is a term that can be taken in different ways.
For example, when someone tells you, you tell them something stupid and then say, but you've lost your compass, I don't think you were looking for the needle.
I think you understand the thing, it's an image, I'm not saying that the compass as it is mentioned in the hunt is an image, don't make me say what I didn't say, but I simply mean by this, that a good number of terms used by Max Valentin are in the literary sense of the term, sometimes in a pictorial way and sometimes in a way which is conducive to misleading you into, if not into error, the less to leave you thinking that there is a hidden meaning behind something that is in fact completely transparent. So it is this state of mind that I am trying to awaken in you, which consists of saying I do not take the texts nor I take them at face value, nor I make it my duty to analyze them to a degree unsuspected, to the 2nd degree, to the 3rd degree, to the 4th degree, by seeking an infinitely hidden meaning, by seeking a totally abstruse meaning, accessible to the greatest but totally inaccessible, to the majority of people, …
We have to get out of this, we have to say to ourselves that we are indeed dealing with someone who used words, voluntarily, from time to time to drown out the participants, to draw them into things by letting them think that it was complicated, which is different from false leads and I am talking about traps, but not false leads and at other times, using extremely simple terms which in reality have a very important meaning.
That’s the literary technique, that’s it!
(Q - Exalastro: And that makes sense with your famous one, either the question that we cannot ask ourselves or the famous visible or readable element which…)
MB : exactly!
(Q - ??: and what have we been missing for years?)
MB : Exactly, you don't think I said that well.
But when we stop, I have the impression that there are like 2 parallel things, there is this plot that we can quite easily in the first decryptions in the first layers, understand, we move forward and then it there is, and yes, the key which was not to be thrown in the trash once we had used it, it seems that there is a sort of 2nd layer and I will not use the word remainder.
Now the definition is clear, there is no longer any point in asking the question, but there is like a 2nd layer, there is like something, and yet, we still repeat today that the first 9 take you to the area.
You know that people are in the area and the last 2 puzzles today are the gear change, the click and everything that follows with the numbers which are not the super solution, but the start of something. Finally, you need the imagination of a pirate with a touch of literature, all that, we have these stages, but there you go, I have no questions, see what do you react to these words of say, isn't there like a second parallel plot?
Why do we put this energy on the first 9 are a little easily swept away, let's say, it's on the Internet, manage yourself. This notion of movement that we can easily see and which would still have elements like a key which would not be thrown away. We have elements like a compass and a direction, we have lots of little things like that, a becalmed nave, we have lots of little things that we could have explained at one point but which still remain there.
And is it these famous automatisms, reflexes when driving on icy tracks that we are going to have at one point, there you go, it's this vagueness that I have today.)
MB : Yeah, I understand the meaning of your remarks well since in fact it's not a real question but I would say, I repeat again, well I'm sorry but I'm rambling, note you can forgive me, we're dealing with a literary, so you are talking to me about a certain number of points, I will give you an example, I will take the example of the compass, the compass for example, and then there are lots of things eh, like that in hunting is a term that can be taken in different ways.
For example, when someone tells you, you tell them something stupid and then say, but you've lost your compass, I don't think you were looking for the needle.
I think you understand the thing, it's an image, I'm not saying that the compass as it is mentioned in the hunt is an image, don't make me say what I didn't say, but I simply mean by this, that a good number of terms used by Max Valentin are in the literary sense of the term, sometimes in a pictorial way and sometimes in a way which is conducive to misleading you into, if not into error, the less to leave you thinking that there is a hidden meaning behind something that is in fact completely transparent. So it is this state of mind that I am trying to awaken in you, which consists of saying I do not take the texts nor I take them at face value, nor I make it my duty to analyze them to a degree unsuspected, to the 2nd degree, to the 3rd degree, to the 4th degree, by seeking an infinitely hidden meaning, by seeking a totally abstruse meaning, accessible to the greatest but totally inaccessible, to the majority of people, …
We have to get out of this, we have to say to ourselves that we are indeed dealing with someone who used words, voluntarily, from time to time to drown out the participants, to draw them into things by letting them think that it was complicated, which is different from false leads and I am talking about traps, but not false leads and at other times, using extremely simple terms which in reality have a very important meaning.
That’s the literary technique, that’s it!
(Q - Exalastro: And that makes sense with your famous one, either the question that we cannot ask ourselves or the famous visible or readable element which…)
MB : exactly!
(Q - ??: and what have we been missing for years?)
MB : Exactly, you don't think I said that well.