>>6152
>The arrangement of the surrounding meanings (spirits).
When spirits "solidify" aka become physical objects or "sleep" they can gain different meanings from their surroundings applying their own truth. The monads can apply different "functions" to the other monads because they also have different awareness level. Some of them are applied via other conscious beings or just via the "background unconscious energy radiation" changed the outer layer. This is why I said that sometimes you are not connecting to the "spirit" itself but to a (con)temporary visage which is not yet the real underlying spirit but an another (semi)physical appearance which is a being that is chained between the "true spirit" and the "actual physical" and once you stop messing with it it will return to a nature that is closer to what it was. It is like dreams. Just because you had a dream you are a fireman you will not wake up tomorrow and go working as a fireman just because you had a dream about it. You will find it strange then go back to your original routines. You are just giving a "short dream" to the "spirit" and not actually a life changing inspiration so it stops doing it's stable existence and becomes a fireman because that dream was THAT GOOD (that the magician provided).
>The “setting”. “Stage arrangements”. The observer being the nucleus of this arrangement.
K let's go with theater analogies now. So there is a play. A predetermined play let's say Romeo & Juliet. You are the audience and you say people should be replaced with naked niggers with swatiskas and cowboy hats to make the play better. They will they you to fuck off and maybe ban from the theater for being a retard who does not respect the theater. As an audience member you can maybe give some minor advice and if the actors agree because it is a good idea they might do it or even you can become an actor in the play and might change a little but not in a way it ruins the play. Now if a producer tells you to change the play they might comply because he is the boss but you are probably still unable to tell actors that tomorrow they are not allowed to stay on the stage because the play will be done with naked niggers with swatiskas and if the owner of the theater finds out what retardation you are doing he might throw you out before you ruin the reputation of the theater. And now comes the funny part. If you are a well acclaimed famous producer who is well known for making surreal plays with these twisted meanings and everyone knows this and says Romeo and Juliet will be done with naked niggers with swatiskas on their forehead and cowboy hats on their butts then some might think that is not Romeo and Juliet anymore but they knew this would happen after they invited that weirdo producer in. And he can do this he is famous for this and this play will make the theater famous and critics will praise the bravery and the whatever the fuck because it was "TRUE ART". This absolute understanding of mechanics and energies can allow you to get away with these things. This is why even BO complained in the past how stage magicians are allowed to get away with many things like this because people are "expecting them to do it". At that level it is not Romeo and Juliet but the "art" of that producer. At that stage he is truly the nucleus of that place like the stage magician is the nucleus of his performance.
>The observer being the nucleus of this arrangement
No the observer is "part" of the arrangement becoming is it's "master" means that the whole thing becomes a "part of you". At that level you are the nucleus and not before. Just because an amoeba gets on a rock it does not mean he is the nucleus of the rock. He needs to consume and process the whole thing so he becomes the nucleus. The stage magician is no stage magician without the stage and the audience. They are a singular being at that level. An egregoric formation that the stage magician commands only because the audience expects entertainment. Spirits also comply for entertaining reasons.