OXIGENRIS
a OPA Hotas


OPA INTERNATIONAL
Maurice Rowdon
Dachiell Oddson
November 16, 1985
Dear Billy,
It was grand talking to you and having your news. I am
delighted for you and your bride. Hopefully one day we
can rendezvous for a belated toast.
Maurice Rowdon and Laos Kozma are offering two summer courses
in Gubbio, one of the most remarkable medieval towns in Italy.
Laos is the maestro and I believe he is already known to Menotti.
He will be giving private lessons and arranging group performances.
I have seen him at work in Assisi last summer and I was struck
by his brilliance as well as his marvelous voice and powers of
interpretation. He has the extraordinary gift of seizing on
each singer's uniqueness. Maurice Rowdon is the originator of
Oxygenesis, a breath process which he took twenty years to
perfect. During the course Maurice and I will be giving students
private sessions in Oxygenesis, and also the substance of our
current OPA workshop (Oxygenesis for Performing Artists) here
in California. Maurice will enhance the students' stay with
lectures on the Renaissance in Italy which they will find
surprisingly pertinent to their lives. He has published several
books on the subject, most of which are available in American
college and public libraries. Incidentally, the passage on
Gubbio by Maurice, a copy of which I am sending you now, is
from his book The Collins Companion Guide to Umbria. He also
has years of experience in the theatre.
Both Laos and Maurice have lived in Italy for the greater part
of their lives and have farms--Laos' in Umbria, Maurice's in
nearby Tuscany.
As well as guiding students in the breath process I myself
will be teaching movement and dance therapy, with some reference
to health aspects, which will be collated with information !
about herbal and other methodologies by Doctor Alessandro
Grinfan, president of the pharmaceutical association in the
rural district of Venice.
Our courses will be held under the auspices of Gubbio's
municipal authorities. They will be giving us space in their
public buildings, with the promise of a particular palazzo,
now under repair, if we develop the project as a permanent event.
125 Crescent Road
San Anselmo, California
94960 USA


They are also offering some publicity facilities within Europe,
and the town's seventeenth century theatre for our stage per-
formances.
We would much appreciate help in locating American students.
You mentioned. that your friend in Charleston, the chairperson
of the Spoleto festival there, might be of some assistance to
Hotels in the area will be cooperating with us by offering our
students a reduced rate for room and board so that each student's
cost should not exceed more than one thousand dollars. So you
will see the total fee including airfare and the tuition will be
in the thousands rather than in the hundreds which, until we
are established enough to grant scholarships, restricts us to
students and professionals of some means.
I enclose:
one, a flyer for our current OPA Workshops in California.
two, a brochure for Laos' present school in Umbria.
three, a monograph by Maurice, Oxygenesis: The Secret of the Breath.
four, an excerpt from Maurice's book on Umbria about Gubbio.
We are currently planning for each of the courses to last one
month, but we are also discussing with the town shorter courses
if this facilitates the fee situation.
I shall possibly be away when you get this letter but a message
on my answering machine will reach me within a few days.
Looking forward to talking to you sometime soon. Take care
of ya' own self, dahlin'.
Fondly,
Doclu
Dachiell A. Oddson


THE OPFA INSTITUTE
hoGo
PRESENTS
OXYGENESIS
WORKSHOPS FOR PERFORMING ARTISTS
FoR
Actors and actresses, dancers, singers, performing
PERFO RMING
aratists of any capacity cannot achieve optimal
performance without the wondrous effects of BREATH
ARTISTS
FLEXIBILITY.
lechye
OXYGENENESIS is a new and revolutionary discovery,
com plete and permanent in effect. It induces a
new
level of energy, new projective power, new
sustainment. It can trigger off remarkable physical
changes as well as eliminate uneven performance.
It rejuvenates, invigorates, inspires.
Of all the techniques touching on performance,
OXYGENESIS is the most advancedof this century. No
form of workout, yogic exercise, body-method can reap
full harvest without it.
Improvement- of voice, speech, movement, presence
of mind, health, physical adaptability and resistance.
MAURICE ROWDON MA (Oxford), the originator of
OXYGENESIS, has published twelve books and written and
directed plays in London, Stoke on Trent and Munich,
besides teaching OXYGENESIS in four countries.
KAREN
MCCHRYSTAL MFCC has been fully trained in OXYGENESIS
and now incorporates it in her clinical work with
creative and performing artists.
For information on our one-day
workshops in San Francisco,
Contra Costa County and Marin,
call or write for information
THE OPFA INSTITUTPE
3618 Sacramento Street
San Francisco
KAREN
DIAURICE
Me CARYSTAL
Rowpon
PHOTO
PHOTO
MAURICE RouDon
KAREA OCCHRYS I TAL


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MAURICE ROWDON received his first introduction to
breathing systems over twenty years ago from the
hatha yoga master Selvarajan Yesudian and Elizabeth
Haitch (author of INITIATION) at their school in
Ponte Tresa, Switzerland.
He has published four novels on various aspects of
self-development (Hellebore the Clown, Of Sins and
Winter, Perimeter West, Afterwards), two histories
(The Fall of Venice, The Spanish Terror), two
biographies (Lorenzo the Magnificent, Leonardo da
Vinci), a study of animal intelligence (Elke and
Belam), two books of personal impressions in Italy
(Italian Sketches, A Roman Street) and a guidebook
to Italy's most mystical province, Umbria.
Rowdon has lived much of his adult life in Italy,
where his studies of the Italian Renaissance convinced
him that Christendom had destroyed most vestiges of
ancient initiation techniques, and that the Renaissance
was a masked attempt to revive these, quickly smothered
by the Counter Reformation as heresy and witchcraft.
At Oxford he concentrated on theories of perception
and the philosophy of science, specialising in the
work of Immanuel Kant.
This led him to his conviction
that western science was derived from certain strong
trends in mediaeval Christian and Islamic theology
which declared substance to be graceless and inert,
while only the human mind was, truthfully alive (i.e.
linked to the divine).
When he was introduced to rebirthing techniques five
years ago he felt that while these were effective and
potent in his case, as a climax to twenty years of
daily pranayama, such a rigorous approach to the
breath, carelessly administered and without precise
directives could harm others.
He also felt that with
the growing use of hyperventilatory and cathartic
methods, largely derived from Reich's practices,


MAURICE ROWDON received his first introduction to
breathing systems over twenty years ago from the
hatha yoga master Selvarajan Yesudian and Elizabeth
Haitch (author of INITIATION) at their school in
Ponte Tresa, Switzerland.
He has published four novels on various aspects of
self-development (Hellebore the Clown, Of Sins and
Winter, Perimeter West, Afterwards), two histories
(The Fall of Venice, The Spanish Terror), two
biographies (Lorenzo the Magnificent, Leonardo da
Vinci), a study of animal intelligence (Elke and
Belam), two books of personal impressions in Italy
TItalian Sketches, A Roman Street) and a guidebook
to Italy's most mystical province, Umbria.
Rowdon has lived much of his adult life in Italy,
where his studies of the Italian Renaissance convinced
him that Christendom had destroyed most vestiges of
ancient initiation techniques, and that the Renaissance
was a masked attempt to revive these, quickly smothered
by the Counter Reformation as heresy and witchcraft.
At Oxford he concentrated on theories of perception
and the philosophy of science, specialising in the
work of Immanuel Kant.
This led him to his conviction
that western science was derived from certain strong
trends in mediaeval Christian and Islamic theology
which declared substance to be graceless and inert,
while only the human mind was truthfully alive (i.e.
linked to the divine).
When he was introduced to rebirthing techniques five
years ago he felt that while these were effective and
potent in his case, as a climax to twenty years of
daily pranayama, such a rigorous approach to the
breath, carelessly administered and without precise
directives could harm others. He also felt that with
the growing use of hyperventilatory and cathartic,
methods, largely derived from Reich's practices,


it was time to bring order into the field, and
initiate a detailed study of the breath in western
terms.
He began teaching his synthesis of breathing systems,
Oxygenesis, four years ago. He worked in Italy,
Britain and Sweden befare bringing his technique to
California in 1981, where he joined forces with Karen
McChrystal, licensed therapist, to form CREATIVE
PROCESS CONSULTANTS. in.San Francisco.
Oxygenesis
Oxygenesis
O YA O
O YA O
E Oxygenesis involves the breith and "V02
Do you. for air, find yourself short
- Max" or maximum oxygen utilization
of breath, fer constricted in your chest,
3 capacity, Maurice Rowdon holds' that' the
hyperventilate easily?
breath is no longer understood, even in the
Oxygenesis involves VO2 Max or maxi-
East, and that its reintroduction as the chief
mum. oxygen-utilization capacity. Proper
restructuring mechanisim .in our physiolog*
breathing does not come "naturally." Op-
ical system is' overdue. Proper breathing
timal performance in any field cannot be
does not come "naturally." Nor does
achieved without axygenetic breath. In-
utilization-capaciry.
athletes, a quick reaction, anacrobic take-
de Thoughts and feelings are synthetic. The
over and minimal recovery time depend on.
moxygenetic breath reaches the zone where
: breath flexibility.
the power of decision lies, and where dect-
de sions. are made before theyreach the
: Smoking is an attempe to achieve proper
4 cerebral cortex. Thoughts and feelings are
breathing on the part of somcone whose
the end-results of these decisions, not their
breath is. chronically "turned-in." But the
source:
habit only increases this state of isolation,
: : Oxygenetic effects are: therefore 2 specific
as it momentarily soothes it.
a evolutionary process involving the whole:
à personality. A striking rejuvenation' fre-
The simplicity-of the breath masks an ax
a quently results. For breath-flexibility is :
traordinary. variety of effects. These are not
essential for the. optimal functioning of the
only physical and rejuvenating but quicken
Cimmune system:
the whole personality. A person undergoing
- Without breath-initlation, kundalini prac- *
his. introductiort to techniques of this inten-
tices and. prolonged meditation may lead to A
- sity. requires careful and sustained
guidance:
grandiose hallucination, agoraphobia, de-
Maurice
- pression_and physical distresses/The sensory
Rowdon, (Oxford), has
deprivation involved may also excite a
published twelve books and is' on the board
nécessary counter-reaction (anger, irritation,
of thé Rimana Health Foundation, England
F vehement self-assertion, intense sexuat fane
for the collation of new therapies. Sessioris
reestablish. sense-connection.
in Berkeley and San Francisca
E * tasy,etcto. A pérson undergoing. his introduction to.
tf techniques of this intensity requires cireful
Contact: CREATIVE PROCESS CON-
Crand sustained guidance Maurice Rowdon,
SULTANTS, 3618 Sacramento, San Fran-
M.A: (Oxford) has published twelve: books
Faand practiced Oxygenesis in four countries."
Sessions in Berkeley and San. Francisco.
Contact: CREATIVE PROCESS CON-
SULTANTS, 3618 Sacramento, San Fran-


maurice
not really knowing (or even really caring at the moment)
what the connection really is of the physiology of the
breathing with psychology" or "emotions" i do share
with you the following:
my friend who worked with me in breathing before back
in cincinnati talked with me on the phone last night
and she said that after five years she's still trying
to get her breathing right
it's quite probable that any release of grief or other
forms of tender emotion, which since last session i'm
experiencing mostly from the solar plexus and often
it's from that spot on up into the chest area in a
general dispersal : - that this warm mooshy soft sadness
kind of stuff is quite simply related to a sense of
loss or denial,
experiencing and internal
self
Rfoapternal
regulating, o a : the tensing or the holding has
probably been partly, or part of, well, i'll get to my Ihnea Orinwerd Gfe
aa later, in private or with some one who understands,
but right now i've got to gear up and function :
so, anyway, by way of keeping in touch, this note is
to say: the "from within" is happening consistently
in me belly, and it feels right, and i'm
the
fire breathnam, about ten, twelve,
and getting
shoulder
AretgRs
cautiously back into the
stand while favoring
my back a little :
thanks for getting me back with the gentler feelings
again, and i look forward to our next session and
the shorter time span in. between . e
Swz
weo. NOV. 14
SpM
eeexelty


MAURICE ROWDON is a British writer and has published
twelve books.
His novels include HELLEBORE THE CLOWN,
OF SINS AND WINTER, PERIMETER WEST (about West Berlin)
and AFTERWARDS. His biographies include LEONARDO DA
VINCI and LORENZO THE MAGNIFICENT. His history works
include THE SILVER AGE OF VENICE (which he made into
a 55-minute BBC film) and THE SPANISH TERROR, a study
of sixteenth-century religious persecution. His travel
books include ITALIAN SKETCHES, A ROMAN STREET and THE
COLLINS COMPANION GUIDE TO UMBRIA. His latest book,
ELKE AND BELAM, was on animal intelligence.
His publishers include Putnam, Regnery, Praeger, St
Martins Press. In Britain they include Chatto and
Windus (2), Heinemann (1), Gollancz (2), Weidenfeld (4),
Collins (1), Constable (1), Macmillan (1).
His first play, set in the Northwest Territories of
Canada, was directed by Peter Cheeseman, and featured
Anton Vogel and Robert Powell.
Rowdon later directed
this at the Mercury Theatre in London with the same
cast. His second play, MAHLER, with Vladek Sheybal
in the title role, was produced at the Arts Theatre in
London under the direction of Peter Watson. Rowdon
later directed it himself at the Studio Teater in
Munich, Germany, where he was director of English-
speaking productions for a time. While on the
governing board of London's only Black ensemble he
wrote CHRISTOPHE which James Earl Jones took on option.
Rowdon has an MA from Keble College Oxford and after
leaving Oxford he became Lecturer in English Literature
at Baghdad university (Irag). He later began living
in Italy, where he still has a farm. For the past
three years he has been resident in the San Francisco
area.


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Diackieaun Cuuservatvire
19-21 Lee Ruau
London SE3 9RQ
Dear Mis Ayling:
i've just settied in this uistrict and am resuming my ieaching of a breathing
technique which I caii Oxygenesis. i took this to Northern California in 1980 and
have been doing one-to-one sessions and workshops there for many years. Since i
work from time to time in the theatre i have a speciai interest in the periorming
artist's needs--especiaily the moments of stress or crisis during performance.
But everyone to some degree needs to perform, SO I've used my technique for
stress management among professionais of aii kinds.
ienciose a few sampies of nandouts etcfrom the time i was teaching at my
San Francisco office, a rundown of my publications on both sides of the Atiantic
and the plays, theatricai and teievision, which I've written and/or directed.
Iam thinking in terms of haif-day or one-day workshops, in a series which
can iead to one-to-one sessions when and if peopie feel they are ready for them.
The basis of my system lies in the principie that the abdominal muscies
invoive effects on the autonomic nervous system, blood circulation, digestion etc
while the thoracic area invoives emergency breathing, fight or flight attitudes and
aspiration/inspiration. Until the two systems are coordinated no proper
breathing can be undertaken, and even in singers this condition is frequently not
met. As an exampie a few years ago I did a course at the Assisi Music Festival
(AMOR) for music students worldwide where only singers were expected to
attend my ciasses. By the end there were over 120 students---but mostly
orchestral conductors, pianists and soio instrumentalists, namely those who
needed to perform musically in the fullest sense and weren't under the
impression, as the singers were, that these were simply more exercises.
There is currently a school of thought in California which says that there
are really two nervous systems. The deeper or more primitive one operates on a
subtie leveifar below consciousness while the other, medically recognised one


works by means of electrochemical impuise etc. It is the deeper of the two
systems that Oxygenesis tries to reach. Muscular relaxation isn't enought to
support the nervous or immune systems. Only 'cellular' relaxation, which is
controiled by breath alone, is a starting point for self-revolution. Oxygenesis isa
designed to evoke the complete artist-organism rather than simple local effects
which are too far from interpretation to influence performance.
People who have done a full course of one-to-one Oxygenetic sessions
sometimes speak of feeling cioser to animais than ever before---equal to them for
the first time. This is because they've begun to share the habitat as opposed to
being cerebrai observers of a 'landscape'. The artist can't thrive on such
distance.
It would be pleasant to discuss this further with you should you find the idea
of a workshop in this subject feasible or interesting.
Yours sincerely


Sasue 118
lept '85
THE SUN/15
blonde, terribly thin, with big eyes and thick black
portant my mind would grasp hold of something
eye shadow. She's a canny dresser: Beatle boots, a
it could be anything il and obsess about it in such a
tiger-skin blouse, tight gray jeans. She walks with a
way that I could not focus on or derive joy from
scowl, and chain-smokes. We work together at
whatever I was doing. This was not a constant state,
Metro News, as telephone solicitors.
or else I would have gone nuts (I suspect it's one way
What draws me to her? Her meanness, and her
that many people do go nuts), and I did have plenty
youth. Behind her bored look is a fear that she'll be
of joy in my life despite it. But it was an insidious,
found out.
vicious and frequent syndrome. I would obsess about
I've heard she has a three-year-old son.
any little thing - from, "Did I remember to put the
* I watch her out of the corner of my eye as she
dust cover back on the record player?" to worrying
dials, and imagine us living together in a trailer full
about an unkind word that I might have said to a
of cigarette smoke, listening to Madonna on the
stranger last week and this little thing would
radio, her child crawling on the floor, me washing
become SO magnified in my mind, and would gain
the dishes, in bliss.
more and more charge from the energy l'd put into
Id can think of this for hours.
alternately feeding and resisting it, that it would ut-
Sparrow
terly destroy my capacity to bei in the moment. Even
Denver, Colorado
when I consciously knew that the subject of my
obsession was of no great import (which was almost
I am obsessed by everything. Life never leaves
always) it didn't help. Often my obsessions com-
me alone. That's what an obsession is, isn't it? It's
promised my ability to function in the world, but
something that just never leaves you alone. You
not seriously. Most of the time they merely com-
can'tstop it, shake it, or get rid ofi it. It sticks to you
promised (and greatly so) my quality of experience.
like burrs in a dog's ear or gum in your hair.
My obsessive years were from about age sixteen
Obsessions are strange because they start out as
to twenty-five. About two years ago I told my
something else. What does the larval stage of an
therapist that I needed some way to discharge excess
obsession look like? Is it beautiful or ugly? Probably
tension, because I was having trouble falling asleep
both. I wouldn't be asking these questions if I
at night, and I was constantly feeling the need to
weren't obsessed with beauty and ugliness. Both
chew vigorously on something, like one of my
fascinate me, draw me inexorably. I can spend im-
sweater sleeves. She suggested a kind ofbreath work
mense amounts of time studying the beauty and
called Oxygenesis. (She didn't tell me the name at
ugliness in a face, a landscape, a corner of light and
first, or I might have left.) Briefly, it consisted ofly-
shadow, often marvelling at how one can change
ing flat on my back on the floor and being led
into the other in a millisecond.
through various breaths, or breathing rhythm pat-
Iam obsessed with curiosity. What is really going
terns. Sometimes I'dfalli into an extremely deep sleep
on here? Just what is this? I am obsessed with the
during these sessions and sometimes, wide awake, I OXYG EnEsis
moon, with love, with the wind, with lost people,
would suddenly jolt up, as if shocked, for no par-
with light. Nothing that has ever happened to me in
ticular reason. My therapist said that this, was a
my life will leave me alone. I can't despite all good
"clearing out of old trauma in my system.'
intentions seem to let go. of anything! Maybe
After about ten ofthese sessions, which general-
everything won'tl let go of me. In any case, I do move
ly lasted about one and a half to two hours and
around and move on -I do all the letting-go things
sometimes more, not only didl stop needing to chew
that people do butl Iam jammed with pictures and
and start being able to fall asleep at night, I noticed
fragments of a life in untidy profusion. I'm trying to
also that my tendency to obsess had faded out. Cross
put together the puzzle from these pieces without
my fingers; it's never béen back. At fifty dollars a ses-
ever having seen the whole picture on the front of
sion, the breath work totalled five hundred dollars,
the box. Some of the pieces have sharp edges, and
which was quite a chunk for me, but many times
stick me untillbleed no matter where or when I pick
worth it. The losing of my obsessions has been one
them up. The bits won't leave me alone, and every
oft the greatest blessings of my life.
day there are more of them.
Mark Polonsky
Yet - and this is the funny part my biggest
Berkeley, California
obsession is freedom. And this is a laugh because I
know that the moment I am not obsessed by
anything at all is the moment I will be free.
few years ago, though I was too old to develop
Renais Jeanne Hill
such an ambition, I wanted' to collect polo shirts
Seattle, Washington
with all sorts of animals on them - alligators, foxes,
swans. I even wanted an L.L. Bean shirt with
nothing on it. I wanted one with a pony on it. I
wanted one with somebody else's initials on it.
Idon't think I've ever met anyone who obsessed
About this time, I got an unexpected windfall that
in exactly the way I used to, though I'm sure there
enabled me to indulge this childish wish. I bought
are many poor devils out there who do or have. For L
eight or ten polo shirts of all sorts.
years, obsessing ruined my life because whenever I
Nobody I see every day pays any attention to
was either having fun or about to do something im-
fashion, SO they went unappreciated, except by me. I


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MAURICE ROWDON THE OKYGENESIS FOR PERFORMING ARTISTS WORKSHOP
The OPA Workshop represents an entirely new approach to the performing arts.
It concentrates on the physiology of performance, without which no actor,
dancer, singer or musician, however skillful and however successful can
flento
make full use of his or her Skills, overcome insecurity & achieve
performance that will create not simply approval but that "that out-of-the-
ordinary" quality that distinguishes the star from the pdayer. OPA work-
shops don't set out to create stars
they make them possible by the simple
2otservance of certain physiological principles without which neither the
artist's life nor the work can achieve magnetism or assurance. It's no
good stydying the psychologiy of interpretation if the where-withall for
interpretation is missing in the life. OPA workshops examine the physio-
logical necessities behind experience, before any question of interpreting
roles can be broached. PRAXNRINEXNEXEXYERNEXEXXXRXXRRXIRKRIknixgxkrk****XX
A OPA means "Oxygenesis for Performing Artists". Oxygenesis "is a breathing
system which releases the breath from a passive to an active role. If. the
breath isn't awakened, the human being isn't (either). Oxygeesis begins
from strictly physiological principles. While a great deal is known a bout
the metabolism of oxygen, and various aspects of the breath, little has
been done either by medical science or Oriental breath teachers to analyze
the key role of the thoracic and abdominal muscles intthe determination of
the breath. In a vast number of cases we have a muscular tension so great
in that area that the respiratory system, on which all action depends, may
become permanently distorted. Without first attending to the relationship
between the thoracic and abdominal muscles, we cannot establish a fully
functioning organism. Whatever gifts a performing artist may have the
performance cannot be optmmal if this situation has not been analyzed.
Oxygenesis shows that there is a connection between paradoxical breathing
and constipation, sexual reluctance, allergies, insomnia, low vitality and,
above all, a state of insecurity and fear. However well a performing
artist may periorm, if he or she is breathing in this way, insecurity will
never be beaten, bit will become a lifelong problem both in performance
and jn interpretation.
Breath flexibility means flexibility of feelings & therefore performance.
Without it bhere is strain, both life and work. Unless the strain is
2 banashed in the life the performance cannot be right. Interviews and
auditions, too, depend on the ability to master, monitor and manage energy
at will. This cannot be done without an understanding of the breat th.


P.2 OPA Workshops
Throat tightness, the sense of not being in full expression, a general
sense of physical restriction are due to the breath not having been found.
Restriction in work is physiological restriction. Once there is command
of the breath, once we know that proper breathing does not come na turally
(while distorted breathing does) the situation clears up as if by a miracle
A sense of well-being and self-reliance replaces the restriction.
The workshop is conducted by Maurice Rowdon and Karen McChrystal. Maurice
Rowdon originated Oxygenesis and has been teaching it for the last six
years in four countries - the U.S., Britain, Sweden and Italy. He haj
published 12 books in a variety of subjects - the lasest - on animal intel-
ligence. He has worked in the theatre as writer & director. His first
play Eskimo Trance was performed at the famous in-the-round Victoria Theatre
in Stoke-on-Trent, England under Peter Cheeseman whose stableat that time
included Ben Kingtley and
Powell (the actor who played Jesus Christ in
the Zepherelli Bilm), and several others who have internatinnal fame today.
Mr. Roudon's Mahler was produced in London's:West Ead ahdilater.atitheerar.atotheestre
Shudio Theatre in Munich, Germany, where he was director of English-speaking
productions. Maurice was also a director of Londoh's only Black ensemble,
"The Bark & Light Theatre". As a teacher of Oxygenesis he has jorked
extensively with actors, singers, dancers and directors.
A branch of the OPA workshops has already started functioning in Italy,
for singers, under the auspices of the brilliant tenor, La jos Cosma, who
has sung in most of the great opera houses of the Western world. This
course has taken place in the summer music festival in Assisi, which is
one of the most important international music festivals. This is an
advanced course for experienced singers. Next year in 1986 Maurice & Lajos
will be conducting a 6-week course for singers in the remarkable medieval
town of Gubbio in Italy. Both La jos & Maurice have homes nearby.
A performer of any kind is expected to project to an audience an intimate
message, whether through singing or dancing or acting or playing an
instrument; that is, unless his or her work connacts with our most intimate
feelings, it fails in its purpose. Even if intimacy disappeared from the
world, the performing artist would still have to purvey it.
Entertainment is a mass obsession today because of our need to see feelings
expressed which have been deeply inhibited and restricted by the kind of
society we live in. Plays and soap operas and films seem to say that feeli I


P.3 ÔPA Workshops
are the basis of life, that the human being is the center of life; mainly
it says all the things that are not true for our society. In film, people's
feelings influence the world. Those people initaate their own destinies,
which is the very thing we are starved of.
If you cannot breathe efficiently, if your respiratory muscles fail to serve
your nervous system as they should, you cannot have an undesstanding of
your own feelings, m.uch less project them. On the contrary, there is a
feeling of distance from oneself, a sense of estrangement from one's own
> body. OPA workshops set out to teach intimacy not as a psychologi cal
factor, or as a public expression, but as an internal connection which
derives primarily from the breath, this being the most intimate facet of
the human system.
Intimacy doesn't mean sharing or feeling with or for others. It doesn't
mean gregariousness, or even love of fellow men. Hatred is intimate. So
is anger. The human system is built and designed for such feelings, and
the power of intimacy depends on our physiological power to sustain and
support those feelings, so that they form a nat tural, sympathetic bond with
the outside world.
This sympathetic bond is intimacy, itself. It may be present in people who
shun the world - in their case the sympathetic bond is so sensitive that
it is all but shattered by contact with the world.
Oxygenesis holds that the seat of this sympathetic bond lies in the
abdominal msucles. When the abdominal function is missing (a ma teer which
can be detected immediately from the brdath), we become prey to mental
feelings. Anger ceases to be an organic event; it is now provoked not
by an encounter with the world, spontaneously, but by thought, artifically.
This feeling finds its way out of the nervous system with great difficulty
& has the lingering fuaction of a toxin. It is this mental feeling we
fear to express because we know that mentalized feeling is frequently cnnel
in content.
When the abdominal function is depleted, neglected feelings force their way
out thoough the mind, which becomes their only outlet. The V sympathetic
bond is missing, and this necessarily turns feeling inward.


P.4 OPA Workshops
Abdominal deve lopmaant on the other hand, produces easy self-forgiveness,
accepts all feelings as natural events and acts as a warning system on
feelings that might be dangerous in content. It makes attempts to placate,
please, flatter and appease the outside warld unnecessaryi It produces a
rhythm which naturally attracts others without effort.
This introductory workshop is a practical event. It deesnot. offer social
skills, counseling, touch therapy, love-yourself meditation, sharing,
group awareness. The performer cannot successfully use these things be-
cause they are emergèncy systems for distorted organisms. Group smiles,
group embraces, group allowing, group meditation are a flight from the
intimate work to be done inside the organism which is one and not several.
The performer is always in the last analysis alone with his own nervous system.
Todagy,it is the simplest function breathing, eating, drinking, digesting
evacuating, sleeping, making love, moving - that creates the greatest
problems : It is hhese problems that OPA workshops, whether dealing with ri
singers or orators, addresses
The greatest gift may be brought to naught by our failure to
grasp
the physiology of performance. In a sense the performer must be healthéer
than his audience if he is topportray sickness.
In the singer the voice is the barometer of the entire physiological field.
Everything about the life may be deduced from the voice. If the voice comes
from dysfunction, it will project disfunction directly and be incapable of
performing dysfunction. Performing is not about conveying experience (this
is Lee Strasberg & the Actor's Studio) but about symbolizing it physiologically.
Security in a state in the performer not related to the difficulty of the role.


Once activated, the breath is virtually a new organic function,
a new vehicle: for metabolizing, perceiving, imagining.
Most
people are passive breathers, quite unconscious of their own
patterns or the effects of these patterns on the body.
Most
people. believe that proper breathing comes
naturally,
performer this is a disastrously wasteful defect.
Onstage the performêr is alone with his nervous. system.
Yet he rarely pays attention to its key conditioning
factor---the breath. When he does it is usually in the
vaguest terms- -'diaphragmic' breathing, 'deep' breathing,
'natural' breathing, none of which convey the slightest
sense in terms of the physiology of the respiratory system.
Most people breathe simply to fuel the metabolistic system,
not to receive guidance, vitalize the imagination, support
themselves in emergency or stress, invigorate and inspire
and'rejuvenate.
Only when the breath is activated can
these things be achieved.*


To an astonishing degree the performance takes over
the performer, and leads a life of its own, once the breath
has been activated. 1
I1 Breath is the difference between life and death at every
given moment.
That is, it endows more life or more death
according to its appropriateness.
The popular fallacy is that we need to take in as much
air as possible and that we breathe 'shallowly'.
But
'shallow' breathing and 'deep' breathing are two sides
of the same coin. They are required by each other, and
encourage each other. Too much rather than too little
breathing is the rule in the west today.
Yoga and
prânayama will do nothing to alter this.
You cannot
do exercises beneficially on the basis of the wrong
physiological practices. 11
Oxygenesis examines the physiology of your breathing,
that is the patterns adopted by your respiratory muscles,
before any rhythmic, much less any intensive, breathing
15 is attempted.
Breathing exercises on the basis of
patterns adopted since childhood and entirely unexamined
are an absurdity. 1f
The physiology of performance is the physiology of
the breath.. Everyone has a unique breath, which has
to be discovered, and which, when discovered, is in the
nature of a physiological revelation. Exercises will
never achieve this."
For further information about
our workshops call (415)0 485.5453


The human nervous system is in crisis.
This has produced
chronically bad breathing patterns in the mass of mankind.
Few people today realize that these patterns stand between
them and the fulfilment of their. ambitions. No performing
artist can will himself to success or perfection without
an enormous strain on the nervous system which leads
ultimately to dysfunction, especially in success.
Many
performing artists rely on externals- to keep their nerves
intact---smoking, drinking, prescription drugs, compulsive
exercise. These are all efforts to bring the organism
into repose.
But only the breath can induce repose. I
refer to cellular repose as opposed to muscular repose.
It is cellular repose that provides certain artists with
their ability for effortless and captivating performance,
for the right timing and immediate recovery. All other
states of repose---induced by movement or exercise---are
transitory and superficial and will not support the
performer at a time of crisis or high demand.
In fact,
the more compulsive the exercise, the more distraught
the nervous system may become. External repose cannot
provide more than momentary relief for nervous strain,
whereas Oxygenesis Brovides means of instantaneous, return to
repose at any given time."
11 A performer must have ease and he must have intimacy.
He must belong to himself.
But without repose, which only
the breath can give, these treasures cannot be attained."
"Flexibility is the key to performance, and flexibility
depends on animal vigor, animal detachment.
I mean by
: animal' the fullest operation of the complete intelligent 11
being, as opposed to the operation of the conceptual faculty.
V If an actor or opera singer were to conceive his moves, his
lines, his business and his projection in terms of his breath,
he would already have crossed a great divide: the performance
would begin to look after itself in the most wondrous way.
For the breath determines, guides and informs, the organism.
In most people it has been reduced to a minimum fuelling
function.
In singing, the breath. is the very essence of
the whole procedure, and I don't mean the breath required
to make the sound-- -that is but a small part of it.1


INSERT
pilops
He has an MA from Oxfordfand was lecturer inEughish
titerature at Baghdad university, Irag:
He has
published twelve books, chiefly about Italian life
and the Renaissance, while the latest of them is
about animal intelligence. He is also the author
of a monograph called Oxygenesis: the secret of the
Breath.
Phu - 1 - . - cP
Pynsbin)?
ph: rm
iela
2of
asg
Hoe Le
sxygue
la h
appa
Ing
Aron
SPE
kisl
vign


OPA INTERNATIONAL
125 CRESCENT ROAD
: SAN ANSELMO, CALIFORNIA
94960 USA


T H E ) P A W O R K S H O P S


PREVIEW


This evening we shall be talking BUT OPA IS NOT ABOUT
CONCEPTS. It is about THE PHYSIOLOGY OF PERFORMANCE, and it urges
that THE ROOT of this is THE RESPIRATORY SYSTEM.
Introduction to KAREN and DACHIELL.
Dachiell and I have been preparing the GUBBIO workshop.
In 1986 this will be devoted to singers only. There are two
six-week worshops. I hope to establish Gubbio as a center,
and perhaps open others.
The one-day workshops we are doing here are an introduction,
designed to provide the basic tools. There is to my mind vast
ignorance of the respirtory system both in the western medical
world and even those practicing yogic techniquwes.
The popular fallacies-- -'deep' or 'shallow' or 'the complete yogi
breath'.
The toxicity of oxygen, and the breath-rate as a determinant
of longevity.
There is a misprint in the brochure:
a) No demonstration this evening.
b) The sentence on physiology.


1. 'Before Oxygenesis I didn't know exactly what my feelings were. 1
This may happen particularly to people who feel that their profession
is 'removed' from life. A lot of people feel that way about the
performing arts, including a great many performing artists. In fact
the profession is clos er to life than most others.
Drama couldn't have happened, historically- -not sung or spoken or
mimed or written dram a-- -without THE IDEA OF INCARNATION. This was
the great Hellenic idea, of profound influence not only on the spciety
Christ lived but on the way Christianity and therefore the West developed,
as well as on Buddhism (for the Greeks had a factory in Pondichery).
Today this concept of ONE PERSON INCARNATING ANOTHER MOMENTARILY
is of obsessive importance to the world. The performing artist is
the focal point of more attention than any other figure of modern life
And the OPA workshops want to examine this fact, underline the importance
from the internal point of view. Unless it is handled from the internal
point of view the importance, that is the responsibility, cannot be
shouldered properly.
We who cannot fully express our feelings, our intimacy, adore
too see feelings openly and publicly enacted bef fore us. We love to
see the intimacy of which we are starved openly portrayed. This
society is based on plans for humanity,but hardly for human beings.
We develop an area industrially and residentially because it will
make money, not because we feel that way. And in films and plays
and musicals and opera and even in recitals we see a full admission
of intimate feelings, but above all we see the human being at the
center of life. We see that his feelings influence the life round
him, he is an initiator. This is what the story is about. We have
evenimported the cinema into our homes So that we may have if we wish
a round-the-clock show.
How can the performer momentarily incarnate other people's lives
if he lacks detachment from his own, if he lacks the necessary animal
vigor, if he lacks the necessary gelf-analysis, if he lacks the
necessary inner support?
The OPA workshops are designed to show-
to show not mentally but physiologically---that these four things are
one and the same thing.
2. The Opa workshops are about BEING IN FRONT OF AN AUDIENCE, from
the point of view of the nervous system. When you are out thére on
the stage, whether as an actor or a lieder singer or even as a writer,


the point of view of the nervous system. When you are out there
on the stage, whether as a performing artist or a lieder singer or
even as a playwright or songwriter, you are ALONE WITH YOUR NERVOUS
SYSTEM. And therefore the OPA workshops dwell on your nervous system,
as a unique enterprise, not as part of a group. The OPA workshops say
that developing a sense of intimacy and developing a sense of art are
the same process.
3. What is Oxygenesis? It isn't rebirthing, it isn't pranayama, I
it isn't a hyperventilatory technique. It isn't cathartic. There is
no releasing or expressing- no touch therapy- -no 1 etting go- -no
working on yourself, on so-called unfinished business or garbage I .
One of the chief things that distinguished it either from
pranayama or the brutal techniques of the West is the ANALYSIS it
involves, the SELF-ANANALYSIS or INNER DIALOGUE it induces. This doesn't
mean mental analysis but a physiological process in which the mind may
be quite alseep.
The three-month voyage is impossible in one day. But what you
will take away from the one-day workshop are the basic working tools
that will if you are willing last all your life. We can induce a
basic physiological understanding of the respiratory system which will
be used not only, or even principally, in performance, but in the
conduct of everyday life.
4. Freud's great contribution- the ANALYSIS OF HUMAN BEHAVIOR,
that is THE VALUE of analysis in the understand of human behavior.
But his probably inevitable inclusion of analysis in medical practice
meant that it carried the onusof the medicalk habit of viewing the
organism ethically, namely as either sound orunsound. And so Freud
has in our day aroused much resentment for what is in fact not in his
work at all. Though there are hints of it.
It is the basic principle of Oxygenesis that this analysis
cannot be mental.
When Otto Rank described all anxiety as essentially birth trauma
or dispnoea he was perhaps unknowingly pointing to this. What
Oxygenesis says is that whenever you are in crsis you return to
this dispnoea. THE FIRST BREATH is the first transaction with the
WO: rld, frequently the most terri fying, always the most momentous.
And when our transaction with the world becomes critical WE RETURN
TO THAT FIRST TRANSACTION.
I am going to ask you now: : what more critical transaction with
the world is APPEARING BEFORE AN AUDIENCE? Yet people enter opera
or acting or dancing careers without ever giving attention to the
PHYSIOLOLOGICAL NEEDS which this fact implies.


5. Let me quote two statements, one by the actor Antony Sher and
the other by Chekhov in a letter to his wife:
Antony Sher's YEAR OF THE KING:
'To the King's Arms for lunch, but I'm terribly restless. Keep
thinking back to a similar lunch here two years ago, with Gambon before
Lear opened. We chatted and joked as always, but he wasn't quite with
me. A man with something else on his mind. I think the only people
who can know this feeling are those in the performing arts, sports,
bullrings and death row.
Chekov:
'Art, especially the stage, is an area where it is impossible to
walk without stumbling. There are in store for you many unsuccessful
days and whole unsuccessful seasons, there will be great misunderstand-
ings and great disappointments. You myst be prepared for all this,
accept it, and stubbornly follow your own way.
Those statements are about 1) the performance and 2) the life.
They reflect each other. The organism has to be able to sustain
both.
6. Detachment, analysis, animal vigor, flexibility. They mean the
same from the point of view of Oxygenesis because none of them can be
achieved physiologically without examining the respiratory system.
WE REGARD THE RESPIRATORY SYSTEM AS THE ROOT AND CORE OF THE
PHYSIOLOGY OF PERFORMANCE. I have seen stars who disregard that and
their marvellous technique and presence is hampered and finally defeated
by that fact. I watched two stars performing together who had chronc
chronically dysfunctional breath and there is no way that they can
achieve their most cherished objectives, and I perceive that as a matter
of fact they don't.
7. The STOIC philosophy-- -Zeno, Cleanthes, Chrysippus. PAIN isn't
evil and PLEASURE isn't good unless the organism assents to this interpretation.
All the supposed ills of tension, fright, insecurity can become assets
when the organism is IN CONTEXT. The context is the PHYSIOLOLOGICAL
ORIENTATION TO THE TASK.


THE
OPFA
I NSTITUTE
MEMO
-Investment returns to be reaped from workshop
activities and training programs internationally.
--Work in theatres, opera houses, drama schools,
ballet companies.
---OPFA centers to be established in LA and NY
for courses with film/theatre actors and actresses.
--OPFA centers in London and Rome to handle
performing artists from all over Europe.
--Bonnie Weiss to gear all publicity to this
end, using forthcoming book BREATHTAKING MOMENTS
as hook.
Suggested
$10.000 Publicity Bay Area, LA and
national.
$10.000 Travel and expenses for work-
shops, centers etc.
$10.000 Workshop publicity on an
international level.
Cassettes
Video showing process
Club Mediterranee


OPFA -
hoGO
STITUTE
SACRAMEN To ST
SAN FRANCISCO
OKYGENEOS
For
PERFORMING C
ARTISTS
MAURICE RouDon MA
KAREN Me CHRYS STA L MAC


The one-day OPFA workshop that
introduces the Oxygenetic method
and leads into 6-session handson course
The OPFA flyer to be dsitributed in all theatres
in San Francisco, drama schools and theatres in
Contra Costa County and Marin.
Vists to New York and Washington (Iohn F Keanedy
Center for the Performing Arts).


Thus every aspect of the breath can be broken.
down and analysed, but so far, in-'medical science,
there is little recognition- of the fact, andeven the
work of the medical doctors on the staff of the Himalaya-
Institute (for breathing) is lacking in adequate
observation.
They seem unaware of the key importance
of the bellows system, as Oxygenesis calls it, and the
need to prepare this as the first step before any
exercises are attempted.
Indian pranayama simply does
not recognise that western breathing patterns are deeply
disturbed, often from birth.
The respiratory departments in hospitals will often
rely on one exercise (of Indian origin) for their emphysema
patients, the so-called 'hissing' or 'pursed lips' exercise,
to expel as much as possible the pockets of carbon dioxide
lingering in the lungs. But lung associations (see the
pamphlet BREATHING EASY published by the Oregon Lung
Association and currently in use in respiratory depart-
ments of hospitals) declare that there is no evidence
that it does any good.
In fact, experience accumulated in Oxygenesis suggests
that the exercise is harmful in creating more of the very
thing that induces empysemic attacks-- -namely, tension.
Oxygenesis cannot give new life to collapsed alveoli, but
it can facilitate the subtle movements of the diaphragm
(which moves only 1.5 cm even when functioning optimally)
and teach by means of the intercostal-abdominal relation-
ship a minimal breath which is calming and sufficient,
and the opposite of the panic-stricken grabbing' breath
which is the very thing to bring on an attack in asthmatic
and emphysemic patients.
Rhinologists or nose-specialists are frequently
puzzled by the question of the pause to be observed in
human breathing, especially during sleep.
Careful
observation of babies and animals will determine what
degree of pause after the exhale is healthy and usual,
and what degree is suggestive of paradoxical or disturbed
patterns.
Oxygenesis offers a complete analysis of the
situation on a physiological basis and points out that
breath will have a different rhythm, intensity and muscular
origin according to the needs of the moment, and that
autonomic response to changing needs is only possible
after bellows flexibility has been mastered.
It holds
that bellows inflexibility is more responsible for the
depletion of the immune system in advanced age, and the
growing sense of spinal stiffness, than any other single
factor.
Oxygenesis shows that there is a connection between
paradoxical breathing (increasingly widespread today)
and constipation, sexual reluctance, allergies, insomnia,
low vitality and frequent states of fear. It points out


BREATHTAKING MOMENTS
A Handbook
for
Oxygenesis Trainees
MAURICE ROWDON


INTRODUCTORY
oyo OPA
WORKSHOPS
INTERNATIONAL
A BREAKTHROUGH IN ACHIEVING
THE HIGHEST PERFORMANCE SKILLS
XYGENESIS FOR
ERFORMING
RTISTS
OXYGENESIS is a dramatically effective breath-activation system developed by British directorplaywright
MAURICE ROWDON. He has successfully used this method with actors, singers, dancers and directors in
England, Sweden, the U.S. and Italy, where he conducts a special course for singers together with the brilliant
tenor Lajos Kozma. Maurice Rowdon has an MA from Oxford in Philosophy and was lecturer at Baghdad
University, Iraq, in English Literature. He has published twelve books, chiefly about Italian life and the
Renaissance, while the latest of them is about animal intelligence. He is also the author of a monograph
called Oxygenesis: the Secret of the Breath. One-day workshops are conducted in the Bay Area by Maurice
Rowdon assisted by Karen McChrystal MA and Dachiell Oddson, his associates in OPA International.
"Onstage the performer is alone with his nervous system. Yet he ravely pays attention to its key conditioning factor-the
breath. When he does it is usually in the vaguest terms-diaphragmic breathing, 'deep' breathing, 'natural' breathing, none
of which convey the slightest sense in terms of the physiology of the respiratory system."
"Oxygenesis examines the physiology of: your breathing, that is the patterns adopted by your respiratory muscles, before any
rhythmic, much less any intensive, breathing is attempted. Breathing exercises on the basis of patterns adopted since
childhood and entirely unexamined are an absurdity."
"The physiology of performance is the physiology of the breath. Everyone has a unique breath, which has to be discovered,
and which, when discovered, is in the nature of a physiological revelation. Exercises will never achieve this."
"Once activated, the breath is virtually a new organic function, a new vehicle for metabolizing, perceiving, imagining. Most
people are passive breathers, quite unconscious of their own patterns or the effects of these patterns on the body. Most people
believe that proper breathing comes naturally. In a performer this is a disastrously wasteful defect."
"The human nervous system is in crisis. This has produced chronically bad breathing patterns in the mass of mankind.
Few people today realize that these patterns stand between them and the fulfillment of their ambitions. No performing artist
can will himself to success OY perfection without an enormous strain on the nervous system which leads ultimately to
dysfunction, especially in success. Many performing artists rely on externals to keep their nerves intact-smoking, drinking,
prescription drugs, compulsive exercise. These are all efforts to bring the organism into repose. But only the breath can in-
duce repose. I refer to cellular repose as opposed to muscular repose. It is cellular repose that provides certain artists with
their ability for effortless and captivating performance, for the right timing and immediate recovery. All other states of
repose-induced by movement or exercise- are transitory and superficial and will not support the performer at a time of
crisis or high demand."
"A performer must have ease and he must have intimacy. He must belong to himself. But without repose, which only the
breath can give, these treasures cannot be attained."
"Flexibility is the key to performance and flexibility depends on animal vigor, animal detachment. I mean by animal' the
fullest operation of the complete intelligent being, as opposed to the operation of the conceptual faculty."
"If an actor or opera singer were to conceive his moves, his lines, his business and his projection in terms of his breath, he
would already have crossed a great divide: the performance would begin to look after itself in the most wondrous way. For
the breath determines, guides and informs the organism. In most people it has been reduced to a minimum fueling function.
In singing, the breath is the very essence of the whole procedure, and I don't mean the breath required to make the sound-
that is but a small part of it."
"The popular fallacy is that we need to take in as much air as possible and that we breathe 'shallowly. But 'shallow'
breathing and 'deep' breathing are two sides of the same coin. They are required by each other, and encourage each other.
Too much yather than too little breathing is the rule in the west today. Yoga and pranayama will do nothing to alter this.
You cannot do exercises beneficially on the basis of the wrong physiological practices."
-Maurice Rowdon
For further information about
our workshops call


INTRODUCTORY
byo OPA
WORKSHOPS
INTERNATIONAL
A BREAKTHROUGH IN ACHIEVING
THE HIGHEST PERFORMANCE SKILLS
XYGENESIS FOR
ERFORMING
RTISTS
OXYGENESIS is a dramatically effective breath-activation system developed by British director-playwright
MAURICE ROWDON. He has successfully used this method with actors, singers, dancers and directors in
England, Sweden, the U.S. and Italy, where he conducts a special course for singers together with the brilliant
tenor Lajos Kozma. Maurice Rowdon has an MA from Oxford in Philosophy and was lecturer at Baghdad
University, Iraq, in English Literature. He has published twelve books, chiefly about Italian life and the
Renaissance, while the latest of them is about animal intelligence. He is also the author of a monograph
called Oxygenesis: the Secret of the Breath. One-day workshops are conducted in the Bay Area by Maurice
Rowdon assisted by Karen McChrystal MA and Dachiell Oddson, his associates in OPA International.
"Onstage the performer is alone with his nervous system. Yet he rarely pays attention to its key conditioning factor-the
breath. When he does it is usually in the vaguest terms-tiaphragnic" breathing, 'deep' breathing, 'natural' breathing, none
of which convey the slightest sense in terms of the physiology of the respiratory system."
"Oxygenesis examines the physiology of your breathing, that is the patterns adopted by your respratory muscles, before any
rhythmic, much less any intensive, breathing is attempted. Breathing exercises on the basis of patterns adopted since
childhood and entirely unexamined are an absurdity."
"The physiology of performance is the physiology of the breath. Everyone has a unique breath, which has to be discovered,
and which, when discovered, is in the nature of a physiological revelation. Exercises will never achieve this.'
"Once activated, the breath is virtually a new organic function, a new vehicle for metabolizing, percewing, imagining. Most
people are passive breathers, quite unconscious of their own patterns or the effects of these patterns on the body. Most people
believe that proper breathing comes naturally. In a performer this is a disastrously wasteful defect."
"The human nervous system is in crisis. This has produced chronically bad breathing patterns in the mass of mankind.
Few people today realize that these patterns stand between them and the fulfillment of their ambitions. No performing artist
can will himself to success oY perfection without an enormous strain on the nervous system which leads ultimately to
dysfunction, especially in success. Many performing artists rely on externals to keep their nerves intact-smoking, drinking,
prescription drugs, compulsive exercise. These are all efforts to bring the organism into repose. But only the breath can in-
duce repose. I refer to cellular repose as opposed to muscular repose. It is cellular repose that provides certain artists with
their ability for effortless and captivating performance, for the right timing and immediate recovery. All other states of
repose-induced by movement OY exercise- are transitory and superficial and will not support the performer at a time of
crisis Or high demand."
"A performer must have ease and he must have intimacy. He must belong to himself. But without repose, which only the
breath can give, these treasures cannot be attained."
"Flexibility is the key to performance and flexibility depends on animal vigor, animal detachment. I mean by animal' the
fullest operation of the complete intelligent being, as opposed to the operation of the conceptual faculty."
"If an actor or opera singer were to conceive his moves, his lines, his business and his projection in terms of his breath, he
would already have crossed a great divide: the performance would begin to look after itself in the most wondrous way. For
the breath determines, guides and informs the organism. In most people it has been reduced to a minimum fueling function.
In singing, the breath is the very essence of the whole procedure, and I don't mean the breath required to make the sound-
that is but a small part ofit."
"The popular fallacy is that we need to take in as much air as possible and that we breathe 'shallowly. But 'shallow'
breathing and 'deep' breathing are two sides of the same coin. They are required by each other, and encourage each other.
Too much rather than too little breathing is the rule in the west today. Yoga and pranayama will do nothing to alter this.
You cannot do exercises beneficially on the basis of the wrong physiological practices."
-Maurice Rowdon
For further information about
our workshops call


INTRODUCTORY
oyo OPA
WORKSHOPS
INTERNATIONAL
A BREAKTHROUGH IN ACHIEVING
THE HIGHEST PERFORMANCE SKILLS
XYGENESIS FOR
ERFORMING
RTISTS
OXYGENESIS is a dramatically effective breath-activation system developed by British directorplaywright
MAURICE ROWDON. He has successfully used this method with actors, singers, dancers and directors in
England, Sweden, the U.S. and Italy, where he conducts a special course for singers together with the brilliant
tenor Lajos Kozma. Maurice Rowdon has an MA from Oxford in Philosophy and was lecturer at Baghdad
University, Iraq, in English Literature. He has published twelve books, chiefly about Italian life and the
Renaissance, while the latest of them is about animal intelligence. He is also the author of a monograph
called Oxygenesis: the Secret of the Breath. One-day workshops are conducted in the Bay Area by Maurice
Rowdon assisted by Karen McChrystal MA and Dachiell Oddson, his associates in OPA International.
"Onstage the performer is alone with his nervous system. Yet he ravely pays attention to its key conditioning factor-the
breath. When he does it is usually in the vaguest terms-diaphragmic breathing, 'deep' breathing, 'natural' breathing, none
of which convey the slightest sense in terms of the physiology of the respiratory system."
"Oxygenesis examines the physiology of your breathing, that is the patterns adopted by your respiratory muscles, before any
rhythmic, much less any intensive, breathing is attempted. Breathing exercises on the basis of patterns adopted since
childhood and entirely unexamined are an absurdity."
"The physiology of performance is the physiology of the breath. Everyone has a unique breath, which has to be discovered,
and which, when discovered, is in the nature of a physiological revelation. Exercises will never achieve this."
"Once activated, the breath is virtually a new organic function, a new vehicle for metabolizing, perceiving, imagining. Most
people are passive breathers, quite unconscious of their own patterns or the effects of these patterns on the body. Most people
believe that proper breathing comes naturally. In a performer this is a disastrously wasteful defect."
"The human nervous system is in crisis. This has produced chronically bad breathing patterns in the mass of mankind.
Few people today realize that these patterns stand between them and the fulfillment of their ambitions. No performing artist
can will himself to success OY perfection without an enormous strain on the nervous system which leads ultimately to
dysfunction, especially in success. Many performing artists rely on externals to keep their nerves intact-smoking, drinking,
prescription drugs, compulsive exercise. These are all efforts to bring the organism into repose. But only the breath can in-
duce repose. I refer to cellular repose as opposed to muscular repose. It is cellular repose that provides certain artists with
their ability for effortless and captivating performance, for the right timing and immediate recovery. All other states of
repose-induced by movement or exercise- are transitory and superficial and will not support the performer at a time of
crisis or high demand."
"A performer must have ease and he must have intimacy. He must belong to himself. But without repose, which only the
breath can give, these treasures cannot be attained."
"Flexibility is the key to performance and flexibility depends on animal vigor, animal detachment. I mean by animal' the
fullest operation of the complete intelligent being, as opposed to the operation of the conceptual faculty."
"If an actor or opera singer were to conceive his moves, his lines, his business and his projection in terms of his breath, he
would already have crossed a great divide: the performance would begin to look after itself in the most wondrous way. For
the breath determines, guides and informs the organism. In most people it has been reduced to a minimum fueling function.
In singing, the breath is the very essence of the whole procedure, and I don't mean the breath required to make the sound-
that is but a small part of it."
"The popular fallacy is that we need to take in as much air as possible and that we breathe 'shallowly. But 'shallow'
breathing and 'deep' breathing are two sides of the same coin. They are required by each other, and encourage each other.
Too much rather than too little breathing is the rule in the west today. Yoga and pranayama will do nothing to alter this.
You cannot do exercises beneficially on the basis of the wrong physiological practices."
-Maurice Rowdon
For further information about
our workshops call


OPA
OXYGENESIS
Oxygenesis begins from strictly physiological
principles.
While a great deal is known today about
the metabolism of oxygen, and various aspects of the
breath, little has been done either by medical science
or oriental breath-teachers to analyse the key role of
the thoracic and abdominal muscles in the determination
of breath.
Oxygenesis begins with the examination of the
relationship be tween the intercostal and abdominal muscles.
Only after flexibility of response has been obtained
(between arousal or sympathetic energy produced by thoracic
breathing of varying kinds and autonomic or parasympa athetic
energy produced by abdominal rhythms) can the breath be
'activated' from its usually passive to an active role.
'Proper' breathing, in Oxygenesis, means 'the right breath
for the right moment'.
It is possible that the bulk of
western mankind have the wrong breath, that is, the least
efficient one for the requirements. of the organism at any
given time.
This is the reason, according to Oxygenesis, why
hospitals are taking in an increasing number of hyperventil-
ation cases, especially among young people, who complain
that their breath simply ceases at times, with ensuing
panic.
The medical solution is, in most cases, to invite
the patient to breathe back into his lungs his own rejected
carbon dioxide, whereas, in Oxygenesis, it is only necessary
to reduce the panic by engaging the right muscles.
Recent-
ly a woman in hyperventilatory panic was told by a hospital
worker over the phone to breathe into a paper bag, and she
died.
Many aspects of the breath perplex hospital practitioners
unnecessarily for the simple reason that no norm of breath
has been established by medical science.
Quite erroneously
the Pulmonary Association teaches that the breath 'comes
naturally'.
Practititioners are puzzled by sleep apnoea which they
frequently observe in their patients.
The question to be
asked, according to Oxygenesis, is whether the apnoea takes
place at the top of the inhale or the bottom of the exhale.
If the former, there is a traumatic background, if the
latter the effects are restful and beneficial unless the
pause is unusually prolonged.
For retention at the top
of the inhale is harmful when involuntary, but beneficial
when voluntary (i.e. in the form of an exercise).


OTA
Thus every aspect of the breath can be broken
down and analysed, but so far, in: medical science,
there is little recognition of the fact, and even- the
work of the medical doctors on the staff of the Himalaya
Institute (for breathing) is lacking in adequate
observation.
They seem unaware of the key importance
of the bellows system, as Oxygenesis calls it, and the
need to prepare this as the first step before any
exercises are attempted.
Indian pranayama simply does
not recognise that western breathing patterns are deeply
disturbed, often from birth.
The respiratory departments in hospitals will often
rely on one exercise (of Indian origin) for their emphysema
patients, the so-called 'hissing' or 'pursed lips' exercise,
to expel as much as possible the pockets of carbon dioxide
lingering in the lungs.
But lung associations (see the
pamphlet BREATHING EASY published by the Oregon Lung
Association and currently in use in respiratory depart-
ments of hospitals) declare that there is no evidence
that it does any good.
In fact, experience accumulated in Oxygenesis suggests
that the exercise is harmful in creating more of the very
thing that induces empysemic attacks-- --namely, tension.
Oxygenesis cannot give new life to collapsed alveoli, but
it can facilitate the subtle movements of the diaphragm
(which moves only 1.5 cm even when functioning optimally)
and teach by means of the intercostal-abdominal relation-
ship a minimal breath which is calming and sufficient,
and the opposite of the panic-stricken 'grabbing' breath
which is the very thing to bring on an attack in asthmatic
and emphysemic patients.
Rhinologists or nose-specialists are frequently
puzzled by the question of the pause to be observed in
human breathing, especially during sleep.
Careful
observation of babies and animals will determine what
degree of pause after the exhale is healthy and usual,
and what degree is suggestive of paradoxical or disturbed
patterns. Oxygenesis offers a complete analysis of the
situation on a physiological basis and points out that
breath will have a different rhythm, intensity and muscular
origin according to the needs of the moment, and that
autonomic response to changing needs is only possible
after bellows flexibility has been mastered.
It holds
that bellows inflexibility is more responsible for the
depletion of the immune system in advanced age, and the
growing sense of spinal stiffness, than any other single
factor.
Oxygenesis shows that there is a connection between
paradoxical breathing (increasingly widespread today)
and constipation, sexual reluctance, allergies, insomnia,
low vitality and frequent states of fear. It points out


that this is.. because paradoxiçal breathing means
breathing by means of the intercostal muscles in
situations (such as sleep) when these muscles should -
not be in play. The intercostal area is the 'flight-
or-fight' or sympathetic area, and thus, when indulged
round the clock, produces a constant state of fight-or-
flight in the organism.
The effects of paradoxical
breathing on pregnancy and birth are incalculable, and
the Lamazs breathing adopted in hospitals will not correct
them.
Finally, much of the Oxygenesis course is spent
clearing up popular misconceptions, such as that we need
to breathe 'deeply' (in itself a meaningless statement)
and that the ' more' we breathe the better it is. Yet
biological research shows us that the greater the breath-
rate the shorter the lifespan (dogs 28, tortoises 3 per
minute).
Experiments with flies and rats have shown
that reduced oxygen-needs facilitate longer lifespan.
These misconceptions understandably lead people to regard a
breath specialist as one who simply gets you to take long
breaths, and waits for a healthy flush to appear on the
cheeks.
In many if not most people today such oxygen-
bombardment would produce an unpleasant pallor, extreme
dizziness, nausea and maybe a panic-stricken visit to
hospital.
Oxygenesis is not appropriate as an accompaniment
to psychotherapy. The subject must at all times be
referred to the physiological process taking place, and
not invited to regard himself as the sum of the effects
of certain childhood events.
The organism is so unbeliev-
ably prolific in every form of self-repair, its neuro-
transmission service is so far beyond mental understanding
in its complexity, that its work cannot be enhanced by
mental procedures once the breath has been engaged.
This is not to say that psychotherapists may not make
excellent oxygenators, but the skills must not be mixed
in one and the same session.
Oxygenesis approaches mental distress as it approaches
sickness- -as a cellular condition: it attempts to reach
the cell by means of the breath.
This is by no means a
fanciful or speculative procedure, for we know that the
mitochondria, the 'cell within the cell', which is responsible
for respiration, has its own code, incomprehensible to the
rest of the organism, but nevertheless happily tolerated.
Some biologists are beginning to speculate that this cell
may be an 'originating' cell, the basis of the whole
development of the organism, and if this speculation is
right it may well be that Oxygenesis has found the only
means of direct and immediate access to the key program
of cellular structure.
It would be difficult to explain
the manifold and diverse effects of Oxygenesis in any other
terms.


that this is. because paradoxical breathing means
breathing by means of the intercostal muscles in.
situations (such as sleep) when these muscles should
not. be in play. The intercostal area is the 'flight-
or-fight' or sympathetic area, and thus, when indulged
round the clock, produces a constant state_of fight-or-
flight in the organism. The effects of paradoxical
breathing on pregnancy and birth are incalculable, and
the Lamazs breathing adopted in hospitals will not correct
them.
Finally, much of the Oxygenesis course is spent
clearing up popular misconceptions, such as that we need
to breathe 'deeply' (in itself a meaningless statement)
and that the 'more' we breathe the better it is. Yet
biological research shows us that the greater the breath-
rate the shorter the lifespan (dogs 28, tortoises 3 per
minute). Experiments with flies and rats have shown
that reduced oxygen-needs facilitate longer lifespan.
These misconceptions understandably lead people to regard a
breath specialist as one who simply gets you to take long
breaths, and waits for a healthy flush to appear on the
cheeks.
In many if not most people today such oxygen-
bombardment would produce an unpleasant pallor, extreme
dizziness, nausea and maybe a panic-stricken visit to
hospital.
Oxygenesis is not appropriate as an accompaniment
to psychotherapy. The subject must at all times be
referred to the physiological process taking place, and
not invited to regard himself as the sum of the effects
of certain childhood events.
The organism is so unbeliev-
ably prolific in every form of self-repair, its neuro-
transmission service is so far beyond mental understanding
in its complexity, that its work cannot be enhanced by
mental procedures once the breath has been engaged.
This is not to say that psychotherapists may not make
excellent oxygenators, but the skills must not be mixed
in one and the same session.
Oxygenesis approaches mental distress as it approaches
sickness- -as a cellular condition: it attempts to reach
the cell by means of the breath.
This is by no means a
fanciful or speculative procedure, for we know that the
mitochondria, the 'cell within the cell', which is responsible
for respiration, has its own code, incomprehensible to the
rest of the organism, but nevertheless happily tolerated.
Some biologists are beginning to speculate that this cell
may be an 'originating' cell, the basis of the whole
development of the organism, and if this speculation is
right it may well be that Oxygenesis has found the only
means of direct and immediate access to the key program
of cellular structure. It would be difficult to explain
the manifold and diverse effects of Oxygenesis in any other
terms.


THE
OFPA
WORKSHOP
OFPA uNhoroppn
sml dence
Ritausx tho penise 2a
yhinds rebves
mijial h
J-eah Lsaip
feat clay H clais,
fer Je me(YE
(ta (toets igee)
Te aumsal 12 le L2 Led 7 cerclobord alamy
Tu ROLE-PLATINGE
111 LIFE
(7 GET JORS)
THE
ADAPTAB BILITY
FoR
ROLES.
Alrel Cwad'. poca


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OPA
UORKSH OP
BLISS(adan 1 duecla FREE *
LUCILLÉ
ho calue tn LA):
PATRICIA RYAN
KATHLEEN YOUNG
TEPSEN
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No 205
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FUTURE
Wo RKJHOPS :
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GLORIA
AVE
15 ESTÉLLE
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TUCCIARONE
VIVIEN


OPA
WORKSHOP
PREVIEN
Sta hea stte mtaide w thun I
dert
gritoce. ll ha bea te - da rl 2t 1
lilin reeifiin, tL t V lay vomnagp pr /s i
Yn Cer aurendi IrtL pois V cll l.be guidal, e
derir bentty cill hune Jo. tn la gh
- wevu leis - Anc K be C alt 2 merze,
ve dn
Il taitt, Lare belip.
Aud
puny hn RRm cre
balres reyii pupla nit
eath Ian trere ape
ixperisulp srliin puplo.
IL - Alert k
/ heusiduh L L
uvh ngf,
ad. 7 dece 2 de.th. lapo cinlg
20 No,7 SURRENSER i wintte
luie, tn WH,
Jat : 7 eL lg
tr-hla,
FAILL JRS
le rnla, the aeti h
ve il
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Uhile ter e foiy Ok. 2tc Cle:
Rt sae I CLL pppir
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Reryr inl accenille
tre real Im
52 receiip a pligtileyisls
Im tL le
anl a tt.
Lzh
t puus al, i
Sriel
l make Gn drotie Ahysilyil benlula
juita
JEL reyuint ropmre
Mace,
u inn
A etul &


OPA WORKSH? P
PREVIEW
Iv the Lahe uith 1
- - uo ( lenv urh
pronif stia. Tie Yhe 2 wl, -
tha Sbe ) goure, tro
auditi, the tahe 2 nyy. - zr fo
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fnlu uls
le ttue
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plapmopisl
dips
blue
mechanin La hee miLe ch p'ari
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dugek giviy
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prese
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h aifoed
tres
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a physslyical gek
re pt
2x ialurdes - luisse p
Clid
L repunice 9
And -
5 puyuninp, we cu uwhirp
ace I dolase aeediin
thogine a estai ixpiace
Aruiure
ue cahbok co a P l -
a. berte
ailp
bgjedts:
Ard e bnoy Le
-A L. hrenrl seacta!
ritinel
gee
uen hon gn lht L
hrg
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Grcante Thele
fifons ce
infuu
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lonue un
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cll.
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1 qurhnet
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cup
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Vni kepret Cahuol pyma
-ppnls
h lone N ho hg! 2e plyingiw
yu Lp
l tc
1x L
lutie
U - his -bbrrh
ta feala - mbuel
rapiis Le Calhst hpa.


OPAO
while N - luesd
Y l ulue talt Itgilg ee E pgonw
-par
h be: drsckup pesling
suk
+ Rolieft
caunot Lae thc
clor: HL , Iile U
ten 6 soualng
uli i seusins
Gk Trep:
pluet pralint
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a penoius
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n vitinire.
( alfecei chesp
Callad - C rcopr
doi milarnel siffhip
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b Le
te Opponte,
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kow silly ttis ci
and
VEALR
carn
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arned
le e
dosisple 1 un luna
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ln Joueme elre patit
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aned
ho a Laufertles
S he ado Car thar
teis paypsisdgie
feelip: 4
lr, kIm udutadip 2.
hauei
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delachual 1 Iomcing
Ste aniicki,
the uden laidif ) filicbng
E aret and teiphe
ele.
in dpnorg
thoa
hlg- La a
ie Le 7 /be
hc Rusl 2 pmma
Res Taselh


attii
u wwld
He pToniir
Pan
rte femnit 2
ta Sliicl
- Til Le caveys intuna YY
Ic caveyl
And the poue
cmsher and ademne .
the
d1h.
gretr
hok c cculjug
C He Hage.
Wimacy mas
the
k feelug
kuy
stt napa
Hee
C ply a0 lo87
ttin
repirnhy
Alim
potyr
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Arc
becaute
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Melal sealiin
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anlnal vige.
Toxu
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cl I La L Hheut
Leu


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- keerilen
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Movael.
angr
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oule itire,
Iva the aiple n fuctn hicl ISdg
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hultij, noviy, Meapip,
gneter juelm
cay, dihiy,
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sevacustir
l the singu the
cand Le mphnd
dijpstoys
facel
He ator
fild.
hamet 2
pynilaper
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repuia
Ploniy ( Lok
caveyip afil j- peyie filoe
i plepulyilf.
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mhit
fnilue I reluiau
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Le enohof
sefuri c
hachy - al.
uonc. nitk
the
cnd
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6 prial
cher the hyy tyr
+ ca
aplusce
Uo maiplaf
rrevs
elemel, the hut.
stine Khe 3
i gilh iahaoohunn
Le -
boiely
Arc
jrlomss
Stutiy tef
tale
C crpr
sifp tasl iuseus
niseans,
- dinhs
lach
plygio logy.


ard hua
tuc 4.
ueceng
frh
effhtang /
U Mime
itt,
luttae
dolan
appor
feliv 80
uk ta wd
tti induce, a
u Mo 3 - Je
alal agdeeptad - ityutry
R. pbkotit
tte beth iv
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koun
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ine peereg
New four
Jh Iugi cld mii
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nerg
holal, hle
e hurl - fcn A
hew
ncl kitedi
ho C
beip
korckr
whoca - u/
wai
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all hobe ( Luiep
Jluie
hui Ceun ag be a clrcued 5: OLYX euou,
tre
huute ansepin.)
plyail-gy
mapiralis syna. tord
Moch
rpor
tti
cacana
The OPA undenol
shinui
Stie pya
Mypislng w
fte
>xil tt
fuctin tealin ou af
halsl fealipi
cen


OCA trh ueau
Oxygey d P-ylmm -
Anu
R bu wb
L - - flu
Aadier
Iy Astr
te dhpcln 2
ge uif
hetr
- Mon
L ale d
Rar
aualy Le d chare
bly - a Liel
C (c 6
akt
mopE
the apinls "ystes,
Pronip Arril.
OPA
ueau oxypeen +
lE deal cith the physln prfma
khe
d tica, t nt
Gth
the
ayaly
plysely 2
onuels
emasyr
2 the
Hesliy
auhin
a Ca
Hig te neid,
ecl ciel
r f
d Myhi
nyrind
d M/oma
feseur 1 tot istym
an pyahial luse cinfs.


0 PA
seam oxypuen 4 PJoait Anini, I (( Hudi
physil-y 2 mus L
Weer brppr ata
LeV c
co7
leecn
sustal
he: ly Rat
eum -
Cde cit, Lit
cacat
af lito
hee Kun her
hoa drecm, uaw judlckis
Lae,
keb
hen
lise -
Hlyr
capanic.
- Les ur
iie
toct
M/ma Ce
1A F
xypenai aulyse
hui a a -
gre :
nquials
Algps
kmhe
pelony
etig
R L Wwse
ffecl
Grely 2
cfty A
cor (e ytail
Ryplae
clu
Wps -
Ferton G -
Avh. C6
d Ayonip
OPA heau Oxyeeis
hsecif 2
pymaces
desl uth te ply >o ley 2
te - (ech Dpe
- tock
Mmac
tte - lims
sepnt
moldone
rponte, oxyreuein
th Aafic l
Plyanlyiel
Tecken adair
2 tLe ngialiy 7a2.
doapl a
hnte lemueg' n Mlyg'
tpGahA
Me I cuclys
Ic TG
uol ic uon ne
Yt Aob
difhoy
sizo
hre It
te hruth cre hlar len,


the
tle chab
RIS 2
Wyeher Mle (Salg
1au a ou
port
- - cnd
uirt
pofans dihy, hets,
cty Meslii,
- Hot tfple
dime tu
elc.
- matup
Oxyeuct
tyott,
t 1h
pua
fmb C
tle 2
- led
cufs
pie
Luid Co uf 5
bale Gal
dnial davlyh C
T carfrp
-the MIL. Pups
hople: 7
t heth Ca aclier
sclin
Vit nfln
xp-ice
- not LE envegy
Pponit
ply dely Y.
syn Wigiy


Amis
T - ddu
OPA ulaur Oxyonen + Prlot
(6 riduco,
tealp
L = Lo
chicls
Jem,
Jeep. asalysin /- phydis Jogical
2e unt d-
polf
2 prlous CQ Hone
d char en hace ypult
bsay
e ap
VNt 2 ( u
npinl
Tala te
LE Ee
A seunit
noa,
CE inducs
Anb.
heaur
d P-lonie
OPA
Oxygeneti
lam vhice
L plydi Giel
C. cerefpl Leep aulyni
movt
letke ropialo
lince te aE 1 cl nie ciis
lEoven Hhe hole) e ahir,
MyAE:
icp
du Ma - Hhe mes)
enlih He dails
ae shahls
Le 1 e J ales)
aul
Alyalte
pyma
doeinol
Ler
Pmse
yn w5
cmngs
axfuing fsk
LA C
La y:
4. chorts) Ite voio
MR, do
yit
ngnils
Coag
chop)
enhacadt sfutds
Sndels fri Annt the
The Av
Itec
OPA Intindailt
clarfids en 2 +
cerr all be
Leeid 1ed mhhop


pyonud 5 ko talis atila, S tre STyr Chulhos
Calhi
dintah-cet,
Halgof A
Iackue Zo crne - /
clusle jelk
the Roaseniag
tt moarip)
illaAnle hou
A Mpad Isun / flrece, Poyried /s
Iallia
teh, ute C Vic : /2 ( hec nslutts 2
cultn F aeu sic. -


OPA
wohshob
hii packnes a
do Jegeu,
capole
sistulf
caplete
ard
mpai-
spmisnes
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THE NEXT AVAILABLE OPA WORKSHOP IS IN JANUARY IN SAN FRANCISCO
THE ONE-DAY WORKSHOP COSTS $80 make checks to OPA INTERNATONAL
and MAIL TO 125 Crescent Road SAN ANSELMO CA 94960
ENGURIES FOR OPA WORKSHOPS
How do you know about the workshops: referral
or- a flyer or ad?
Misholl
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MAURICE RONDON/DACHIELL ODDSON ARE IN EUROPE AND WILL BE CALLING
U U ON THEIR RETURN AT THE END OF DECEMBER.
ENQUIRIES FOR PRIVATE SESSIONS IN OXYGENESIS
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OPA INTERNATIONAL
Maurice Rowdon
Dachiell Oddson
November 16, 1985
Dear Billy,
It was grand talking to you and having your news. I am
delighted for you and your bride. Hopefully one day we
can rendezvous for a belated toast.
Maurice Rowdon and Laos Kozma are offering two summer courses
in Gubbio, one of the most remarkable medieval towns in Italy.
Laos is the maestro and I believe he is already known to Menotti.
He will be giving private lessons and arranging group performances.
I have seen him at work in Assisi last summer and I was struck
by his brilliance as well as his marvelous voice and powers of
interpretation. He has the extraordinary gift of seizing on
each singer's uniqueness. Maurice Rowdon is the originator of
Oxygenesis, a breath process which he took twenty years to
perfect. During the course Maurice and I will be giving students
private sessions in Oxygenesis, and also the substance of our
current OPA workshop (Oxygenesis for Performing Artists) here
in California. Maurice will enhance the students' stay with
lectures on the Renaissance in Italy which they will find
surprisingly pertinent to their lives. He has published several
books on the subject, most of which are available in American
college and public libraries. Incidentally, the passage on
Gubbio by Maurice, a copy of which I am sending you now, is
from his book The Collins Companion Guide to Umbria. He also
has years of experience in the theatre.
Both Laos and Maurice have lived in Italy for the greater part
of their lives and have farms--Laos' in Umbria, Maurice's in
nearby Tuscany.
As well as guiding students in the breath process I myself
will be teaching movement and dance therapy, with some reference
tol health aspects, which will be collated with information :
about herbal and other methodologies by Doctor Alessandro
Grinfan, president of the pharmaceutical association in the
rural district of Venice.
Our courses will be held under the auspices of Gubbio's
muhicipal authorities. They will be giving us space in their
public buildings, with the promise of a particular palazzo,
now under repair, if we develop the project as a permanent event.
125 Crescent Road
San Anselmo, California
94960 USA


They are also offering some publicity facilities within Europe,
and the town's seventeenth century theatre for our stage per-
formances.
We would much appreciate help in locating American students.
You mentioned. that your friend in Charleston, the chairperson
of the Spoleto festival there, might be of some assistance to
Hotels in the area will be cooperating with us by offering our
students a reduced rate for room and board so that each student's
cost should not exceed more than one thousand dollars. So you
will see the total fee including airfare and the tuition will be
in the thousands rather than in the hundreds which, until we
are established enough to grant scholarships, restricts us to
students and professionals of some means.
I enclose:
one, a flyer for our current OPA Workshops in California.
two, a brochure for Laos' present school in Umbria.
three, a monograph by Maurice, Oxygenesis: The Secret of the Breath.
four, an excerpt from Maurice's book on Umbria about Gubbio.
We are currently planning for each of the courses to last one
month, but we are also discussing with the town shorter courses
if this facilitates the fee situation.
I shall possibly be away when you get this letter but a message
on my answering machine will reach me within a few days.
Looking forward to talking to you sometime soon. Take care
of ya' own self, dahlin'.
Fondly,
Doclu
Dachiell A. Oddson


OPA INTERNATIONAL
Maurice Rowdon
Dachiell Oddson
125 Crescent Road
San Anselmo, California
94960 USA


MAURICE ROWDON received his first introduction to.
breathing systems over twenty years ago from the
hatha yoga master Selvarajan Yesudian and Elizabeth
Haitch (author of INITIATION)gat their school in
Ponte Tresa, Switzerland.
He has published four novels on various aspects of
self-development (Hellebore the Clown, Of Sins and
Winter, Perimeter-West, Afterwards), two histories
(The Fallof Venice, The Spanish Terror), two
biographies (Lorenzo the Magnificent, Leonardo da
Vinci), a study of animal intelligence (Elke and
Belam), two books of personal impressions in Italy
(Italian Sketches, A Roman Street) and a guidebook
to Italy's most mystical province, Umbria.
Rowdon has lived much of his adult life in Italy,
where his studies of the Italian Renaissance convinced
him that Christendom had destroyed most vestiges of
ancient initiation techniques, and that the Renaissance
was a masked attempt to revive these, quickly smothered
by the Counter Reformation,as heresy and witchcraft.
At Oxford he concentrated on theories of perception
and the philosophy of science, specialising in the
work of Immanuel Kant.
This led him to his conviction
that western science was derived from certain strong
trends in mediaeval Christian and Islamic theology
which declared substance to be graceless and inert,
while only the human mind was truthfully alive (i.e.
linked to the divine).
When he was introduced to rebirthing techniques five
years ago he felt that while these were effective and
potent in his case, as a climax to twenty years of
daily pranayama, such a rigorous approach to the
breath, carelessly administered and without precise
directives could harm others. He also felt that with
the growing use of hyperventilatory and cathartic
methods, largely derived from Reich's practices,


it was time to bring order into the field, and
initiate a detailed study of the breath in western
terms.
He began teaching his synthesis of breathing systems,
Oxygenesis, four years ago. He worked in Italy,
Britain and Sweden before bringing his technique to
California in 1981, where he joined forces with Karen
McChrystal, licensed therapist, to form CREATIVE
PROCESS CONSULTANTS_in.san Francisco.
Oxygenesis
Oxygenesis
O YO
Oxygenesis involves the breath and "V02
Do you for air, find yourself short"
Max" or maximum oxygen utilization
of breath, fecr constricted in your chest,
24t
capacity. Maurice Rowdon holds that the 1
hyperventilate easily?
breath is no longer understood, even in the I
Oxygenesis involves VO2 Max or maxi-
East, and that its reintroduction as the chief
mum oxygen-utilization capacity. Proper
restructuring mechanism in our physiolog-
breathing does not come "naturally." Op-
6 ical system is overdue. Proper breathing
timal performance in any field cannot be
does not come "naturally." Nor does
achieved without oxygenetic breath. In
utilization-capacity.
athletes, a quick reaction, anaerobic take-
Thoughts and feelings are synthetic. The
lover and minimal recovery time depend on:
'oxygenetic breath reaches the zone where
J byrmnrh.flexibility.
lithe power of decision lies, and where deci-
Ysions are made before they reach the
Smoking is an attempt to achieve proper
breathing on the part of someone whose
cerebral cortex. Thoughts and feelings are
breath is chronically "turned-in." But the
the end-results of these decisions, not their
habit only increases this state of isolation,
source.
as it momentarily soothes it.
Oxygenetic effects are therefore a specific
evolutionary process involving the whole
The simplicity-of the breath masks an ex-
personality. A striking rejuvenation fre-
traordinary variety of effects. These are not
quently results. For breath-flexibility is
only physical and rejuvenating but quicken
essential for the optimal functioning of the
the whole personality. A person
immune
undergoing
system.
'his introduction to techniques of this inten-
Without breath-initiation, kundalini prac-
requires carèful. and sustained
tices and prolonged meditation may lead to
sity.
grandiose hallucination, agoraphobia, de-
guidance.
pression and physical distrésses. The sensory
Maurice Rowdon, MA (Oxford), has
deprivation involved may also excite a
published twelve books and is on the board
of the Ramana Health Foundation, England
necessary counter- reaction (anger, irritation,
for the collation of new therapies. Sessions
vehement self-assertion, intense sexual fan-
in Berkeley and San Francisco.
tasy, etc.) to reestablish sense-connection.
A person undergoing his introduction to
Sew
Contact: CREATIVE PROCESS CON-
techniques of this intensity requires careful UE
SULTANTS, 3618 Sacramento, San Fran-
and sustained guidance. Maurice Rowdon,
M.A. (Oxford) has published twelve books
and practiced Oxygenesis in four countries.
Sessions in Berkeley and San Francisco.
Contact: CREATIVE PROCESS CON-
1 SULTANTS, 3618 Sacramento, San Fran-


CREDIT S


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lerr l alla uteep unel dijuti
SToic FIRE
BeGATH i the
lE iyuns
grisde
autmmlges
tharule
Keal
CODES
MITOCHONDAI A


OFPA
Opest mnp
adns
I t lead * Jhor ttro
1 denitir H
lu ale'i
errihe
henh-lus i wartie
Loc.
Hy 5lal bn Laved tte
Jca use
ml - - L a LoL
L C m
Loit
2e-ru
Leg ly b's
s a 1hL HLp
Lleil
n H Lolots cspid
Leliies l.
Jh Led Kaol W caseas e sThotud Hic siu
Alff
Mo ud Lu dee +LL lindasal Carslas Vo
fleriilit
Li ne saial La hadl Jof L. Naunf
achain
uiL! (- sly
Ste: 7h0 LLice 2
ttie
Tuny
Retin ltij i
nus
J R 2
Ite ldn
C c con
Rp stushy
ey, 1 d
sril
nersl uov
cnulp
TCe
hw LU
Itra
tha
5 L
eflil
Luy,
dioni
Repar
vau lhren
Linyopis
Lance
(innt
Nol Crmd
flio
ns dire e
hajme
stol


OFPA
the hadmad umld
al P au
2poy ryteus Ce al
The SPIRITUALITY guesh cor
SUPERMAIY
huma
aol tlu: Co hhot le d The
beip,
Cuns,
Ita
iy erie. A ka
col leve 221 d
prlua
t hune beip, Jel luoou dh evp
k Ierre
utou ea.
sliolagus
Li lasysly
Lurelp
OxypuaE
Uth Tta
uystasi
sesp, ofa
helay, ho hcl mesetin paill.
2t. 2y
hgnie
Sonhor
srel p-loren
unel -
beed Lot be aalnat eSn n
Launc
ite t (m are Calla,
7Lo hubs
bet
Lon afs the awenten 2 higic
HaL
- eupops
ughj - ils. ol tta apecs t
Ju C
al ll. Al
bagic - -
treselue
Daypen Tcaclen
NoEL COWAAY',
heust te 8how go


OPA "WORIC S HOP
U-L t C
toe
Buer
ride
Ce a
han alnudy
s d
propran
clare
ill le
+ bufau
rott
bm Me
CAL
vi i : .
Bricpe
esplita
Leige
Sh7 fizol
Dotuy
tabsur
t Lu A
nre l
rechug
Siie
Mect
caili
2K a
lelsu
Kr LA
LIS
ate
SYS,TEM
NERVOUS
VA thg
tari
il is(
tite O
tivi fL
fun cu l
de kerlep
tho.L
- AF f
LUL e-l
a * Le
slrly -
tie
Dos
TSYSTEML -
L' bnoted
hos
A U.
Neaier
Myi
Lée
caple.
C lu 5r
cohnt -bhs
d - ta
e Cree Le
cmpur


a -F
Trith.
tie
Zas eheakt
elei
y.tel
lue C thoxe
pergu
iol h 5 L - -
bpery
Fe h i
Erlarrm
a - R
+ dugit 2
L 4
lidligk?
yA Ll8
wit aifuls
aclativo.
luux - fer
thX uuna
ttri les tri
titto tore
Recau Le
tts bat
al tt R d
NF re
ypte)
pr elecho
pliihd
tan
Mie
a t gelacy.
ALI
yptan
- latel
Lit -
5 He RESPTRAT-RY SYST Em
luap
to - - 3pe ailce
j r
tp Aa
G (r
hhp
y sith
the itn
orygion
I bc
bA roll head h Novy U is I bevvi
iEL
LN w Mronakr


OM washob
GBS kaid he clup eeyagal
the westuie yreue L
BY Likille
tho
+ - lime tha alay
Decanr L - LO uucl
pley
Lro
tmells pollo
eune h did
Jus Car
- a uwe Ye tho
poofce
u cl


X 1 lok n. /
ol-1: Lucel behacir lg CA. orjint
iplm)t
adosemas liyo Co S
URSUhA
CAKL: Italiai Caaled
NY deru cekie
. thp
C U Cibela Sevies
PGE emiucer
Reh
han Kmy Fakz
CLIENTS Kareu
Bot Bachtal:
2h7 Aneic CC
M ag - a da
Shuelus Cancel
Cynglan bre miplen:
Pone Mu
FRAVEL
AGENT
Take Cas la l. clca -
Copy
(Gilor)
Catnut Bwr) Attinsy
heltis wrle fwg gak
100 Onn Mart


Manstkey
Miles
the loss 2 ke istai
reyusl
the
mlr,
hameg te
dismpa D
luhw halital
inth srieuce:
te uyth I crcerlinl
haqme
heau,
Snice A femidal.
Xiaivs 3 e
unianal
dink
kud (
prelytionr - te
the unel ar8 holc ly
k grent uol 5
and
locil
mesugds
the
The Lle stry 2 - X ha trely 1
card,
horig ber se uitter,
cud.
fC te Locial
uun eye
mluen slgds
he thote spine 2
ji ur
tki collapx 7
te Delre -
Wwle mn /mb
wit Clocet) Tody Lup L
No WRISTENT yn -


Lise
claineal teha,
Jeehp Bruhfon
Cansa
draur)
Batn lat Hiy auil (sone bel)
uixk
Claum
fruelley
benkid oas Mt
Botimi 95h5
Peares?
holia malet
7-lle
Trjoise
Iraue i Belfeu
Bur
Micbicuis
Agorvedis Cnuse Scal
Lpol
Vite
llue cafe:
Omiilale seud loup
Briy hice socles
Carkung! 6 beit panta.
cloel.
i hey
By init tacke -
alla
dard (ald
2 Birlun n
wess : Jes
Michele
3) Tuih


OXIGEU JRRIS


The
maltus
COMMON
Tues-
kxed Tudise prefle
1 ah
GROUND
rtuik
9Mono Ave.. Suite B, Fairfax, CA 94930
Was adasep Hre
clisne 2ih rlymi
prinl sreue ele. Pryclo-
- I westu
arersnt y tarty, ulen
rfuieu
ets
huuail y/e
tg sato -
had ber sifiad
ted defohn peir
- ayret Lc D
Ae Core Inl cter cahyb
caislec 65 it
Middle Ats.
ROOATHODXICS ave
U S
txid
Seritoe. pn
thiluy
Toge
We JEE
J S
i- cenldased Co
unld
NoN - RELIGIOU
kTecle
h Ra t A
Ha -
real JEn157
S E
distaned
hnatt
fiton
lvine
Westan
Te5
thl Kor
frelo
kTo
boy
fruf Paune
vluncept, wulw
oyna,
Tei, - Lolh a


CREATIVE PROCESS CONSULTANTS
Through years of experience working with people
suffering from so-called 'creative blocks' we at
Creative Process Consultants have come to realise
that creativity is as natural to the human being
as it is to the plant, and that one can't help but
be creative whatever one does.
Whether we approve
of the result or not, our lives are never otherwise
than our own creations.
We continue to create them
under the worst conditions, in battle, in prison,
under torture.
There is a never a moment when the
human system ceases to be creative except in death.
Cr Most creativity seminara discuce creativity as :
special powel tnat nas somenow gotten buriea under a
Release the block and the power emerges in
full flood.
But we cannot be 'blocked' in our
creativity.
We can feel that our creation is alien
and estranged from our own organism, that we somehow
don't quite inhabit our own lives, and that our decisions
aren't quite squared with our dispositions or desires.
And while this is going on we feel that the creation
isn't fully ours, that is to say, unique.
It is the
uniqueness we are after- - -whether in bringing up children,
writing books or running a business. And until we have
tapped that unique source, our nervous systems have to
work to protect us, repair us and rehabilitate us,
rather than supply us with the full vigor and certainty
we require for any enterprise.
It is when the nervous
system has to invent protective structures that we say
we are 'blocked'. Nevertheless, we have created those
structures.
And until the unique source is reached
that seeming block will continue.


CREATIVE PROCESS CON. SULTANTS
Many creativity seminars also emphasise 'knowing who
we are' or 'finding ourselves'.
But the self isn't an
entity. It is only felt to exist in relationship to
things and to others.
The self is a relation.
There
is no 'false' self, no 'blocked' self, only relations
which seem to us not truthfully ours, because full energy
and autonomy aren't behind them.
There is only one way
to achieve this energy and autonomy and that is to get
the nervous system to work for us, directly, instead of
evolving protective or emergency structures which offer
themselves in interim relationship with the outside world.
Even 'success' may be an interim relationship, destroying
the organism because the nervous
is overtaxed and
system
estranged.
But once the nervous system is put in proper (and therefore
unique) command of the organism, little thought has to be
given to 'how' to be creative. The work is done forfs
as naturally as a plant will spread its leaves to give
light and air to a new shoot.
It is in this sense that
the great religions call man perfect'.
He has in his
nervous system an unimpeachable, certainly miraculously
sensitive and responsive machine which is uniquely geared
to his organism and no one else's, to tell him what it is
that he wants, and that whatever he wants most passionately
is what he most eminently can do. The vigor and certainty
come packaged, so to speak, in'the method or form of the
creation.
Creative Process-Consultants-has-designed a program-which
combines three powerful approaches to help you take the
fascinating journey of observing that relation with outer
phenomena whieh we call the self, and which can only be
menttored in its working function, not in abstract.


Relitané
RAL
fer Saven
Mece - 7 Iie tewg nletarip - Th far Me
i mill cnete domerti fn sohhee, LE Vaiee Nus feass
SHE
oo UILL WANT To FALL, ad Juie no fon
WhL ENGY,
hem he reluctac 1 relitnnip 4 SELF
adl, ailne
DOUBT, C lurbig belisp : ne I stepidis,
k uer.
al, fologial jenis
fos relatis
Venae her R the vhole doe
ukn 7he Lsua i tha Afno snit,
nifp l iupudoh mal
huk Loa do uravti Mavey.
A docul
pmesive bpe
doene
hrin ho seitter rlliniap
So s nol
Areadoh.
ith Ri, Vet?
utalor
id 5 7he fea 2 Navey
Sel


RAL
Reltnnp
L alusl
asimont lasis
h J
3he hadl unade C Inaletyr D e, al
cli.
- ake -
kid
hakitp aywg.
U c
wel
Hze 2ahe machs
ICC
Shchir
a 2
L seyy
aureals cal Janal
Itc
caid
ulomgp
2 more # ma
i noeri 6
cnid.
he Ca
An It IL wumin hn
ca el IIm . of
Muc Inllle E Iry - ty. Ty
L6 Jim
ly. eu
Laasl Hih
hecs,
6 Can za H ull pe
I : ie Lnlt
l ders k
ennke
enhor
Die radin
cnnll S e
Mucko hln
AO j u
lo l m)
Iideal
1 1 Tap
C prolin
- A l frl
k a )
TRE
fn mpi
Re WOMEN
silin
7horr
ThEM
43OPTINC


WDJ/RAL
Reantire
A wuer dreid kuie I Au huher lorloveg, 'al propls
STN Leaatigne
- taye He L oxygens ti
trp atumn
k Hi prinel heanl, houeur uuatiedii f ug
tarlon Er.


RAL
Tue macho
Saelie L
1c Cul
l4 lg Is lo - C - Nai
hor My dee 0
Manild he
Uil i te ha m/my itt
dei
stacinl
Lneeo, Ihe Fml
ywai
fessen, 11 ulraid! And njp
al the httm, the tt;
rtl faca e
tli
hovt- - fertul Hs, L
deruda
de th. S
A vr 1gy Ice fer deth!
Prais
le Canre Hly -e. (he Latlle i han 'ho elufe))
Tes LA Ny the Aucti - usulad
'd l' alt 1
hTnged!
hes - - ttie Lolup
L He m -
d ha Yhe Lahe goulin >che he,
tha the Szha luile i ( L a
Timanc
lz hns UT Cie ) ) Clnla, ( cef , Igha sale
2ey- upne C eey he rn A lna cho
Scline
) 1eY- jTealt Suile WOBBLY >
tie huidlle
ite t5 - feb GNFUSE D


rere L
3n ule col Loue K ne
gecs
lw H.
3 wbvs
du yy kihe mo l K 5
feuinis ade!
Suo
lo Kre!
L hencly ohe a R
dy 8 hacd selk
al lne els 5 - hacl 87 ci
o co Le hen
holf kit he feliias
S do rtie ue
L Itre
CrTe
lunngn.
fale
l U
VS htind HY,
C L
te Nem yt L Lu n Ltaegie
LE cl the
EMTL
npe act
ypu
tre uaclo
athl
ayp
- nole
ues
rdis
W2L,
OL a dome
Juue K rellin rym
CH rte
LE itre 2ale
Ahil dh hm
nan


RAL
Do y € uv kie unouk,
p uol,
whe i Hue NEC luk
THE
ultnnp 2
Zue lre clc alul Lur 5
te herl.
Z cefu prennav tha rctis liy
huiy
l Ln,
Z hon l Ln calais
It hidllo
the ve
the clitol 4
the 5 l Lay
Uhoe
torle
hnasle udl
Jusd
Hce
) Jaopales,
hd d
Dociliy m the coTex - 3
Huih
c L
d C
ttre
L 7 srisc,
nol
-11 tto nihr
aol a8 tth STaie,
Inc
wolvice Sner te mgani is laie mn harma
nc unniz d
tad )
dos, ensing
rllilitlr
agogunl.
jrh
ua cluo
he Con L the
Ma are o hhe
ghiilire - t A ( ce( wesuan, - Arr tt ala - -


RAL
LIFE, ad How,
Tue DE-THEORISING
H iz
lue imhuime yyta cehust fuchi grenialy
sxlr-
iilalace
Hhemigela thue - mfenmicil
Canho U
luolian
lau Cnsd' - the
menape
tké wert: tu tre nesaclo
en e doat
epsus
remai
thecy
exhasrdu narf 5o urcelul
the
1 He nerne YATE, clawicd, Hreuse we
L te ves
) Thi, yysta,
Le 9 -
rhi
NOT lear aw 3r uen
Auc loe
ure
here tuny
a eseuon,
uvmrils C CORTICAL
enl . .
kid.
ueve lasn 1a
uerse)-srif,
enseslis,
uch rk
t Je >n.
rh i lerges
idea isu k do awy
ATeuxis"s te
Aoeril.
Ite aleslo
Tuc
per 2
raxi.
5 ittol
doene uea ctiutals
Mdirw
doue S lieiy -
ALL TIIS cer ng
& elenel.
eton l - asl
ta Ah art
lhe - -
belr, 1he
Le - nl
the Conves-
tul
W7 hn Is mend -
wholo RAL-
The
Cenntus
dfenl ryol 2


RAL
De-Haetiang
pricju - Vare :
hahes, Hae velsveln Ite
GUOLLITINE
2 DEATH bluce ttue: cauh 2 unre
lhe lyair
fn Huu euriér Yf Haa ue sru
realire
hei - Jur caticl edms -
5 uaslal
Tre msl thace
tic Cu
Apuu Lp y
dapuir
aaoloued fr Lue ue vetun k n
ariu
Shicl dosth ba,
rndumat fer,
anal priuil
becohe.
- coue
hun
y u renalii
aud Impwiy
DEATH
CROSSING THE
und, cove- mn inple -
kaii 5 caunsl
hguslion
BARRIER, fr
Eez
niblyy
potan
h uul
Itra oxypashe
ustal K
thare chweh, uth nl
te mgaion 2
carricil Janula.


RAL
Emotinis and Taxicis
Anxiety annd
wwy d en
ustarisd. t a
ae Iruttd S the mymin un roxic
erel - cu
howwe Shorldl trel theu. Burstan
aveu Easic. 2y4 cre
Syuptow
tue ag'
saplus,
h Hhe umld, do ttc e cEL fa Li
1 1L itinda
p T
utostudiy 2 uo elcre
( tha unld
gruct
avd lnlts a
Pane leco-tet eenshin
alug
mlhi end Itrer. 4 WT
deae k
custail,
aule- Junleano yoe
laur alr uw diopmel
a /oal
l slesre
Car lcan LL
al ue, LST
nolol be
de ust uea YLL 5
te Toxiun.
eustui in C maldl w5:
detzclial
hr 1
dhn fea 7
7l stttal un >da,
the umy,
ad Ru
tue
cuoliis
euno lon apuciep Ding
Bold be de rrmmyr &
cnvicu stal Yug
Apr 2
Hae
apiee -
canuol bo due irmud
fuduy 2 khe mesa
wdinay tultty
2 ssoit
indoad / agp
Urey.
melt,
loxie
Wron Heg
fe hev
7hs


RAL
Iche fa
Endinisel
Itap 2e YE
Toxiat
- tte
eccupaia
L bred Test
hout, ad the Imth
7 c
penn sill
Ilhaug ueme wck
rvunily mall. *
huyui - laus
playit ullhe
acenpaics, n The -Tt
had
ket) unu-beip.
Re uttont loxus
n luuu
Clde fucta,
uolng
yni
Ssoge yn L he nmin
pwuyue
nt Itui, Cmaict
Mizzun a
beiy diy
metzhlon
oxyge
antdd ls
sucnboape
Cae L beiz Ctan a
2c - Lou Itre rearh
ketas, 5 caflice eue 5 Tren, al
S Aollie
teyord loxii
negetui
Tni L Ji 5 ull no ds
umn
oel La
Ahiitp
be Sithoe,
X Aniinal lelnalnie
havrr I prurfud Seice Ircart)
Ha Tem
2 the anlual
16 i cLm alad A -e ocluea en Ce
al moued) euori
Le (
k eszlewn Ue C Maurd
the
4 e
Casim duxide
anent SEA
cald,
IX clozs fo
hui Ghahe anise, Kmn
oxyge.
giiif
Causal nolo i A
megu au
bahal
Jeciy then hol A - syupe un ) au He Waida belives


RAL
Eustinis
d Toxias
n denive cdl te
mad (- 2 uryir degves, 2 cnguie
amesnbsci)
lue a
a uf U
1 C Jammanat sTc
Ow euohn
aur te Lene toxie tua
Lecen y Le
1 y C cuoue Itier, jun
WB ull h in toxii L
5 * ) a L 6 Ge E mmpla freity
S mlamn 9 C pill n C "fe - da -
Aige ll suanely be
te suon len mg ad degusatue cliierte th
Img-lam mdle.
21 dour lea ixhory ( enolm
2ni ho eidrce Huc thore Jhs E rap N
lowe
haur us Lpe L ciolieo 2 hur
vigsg
Hhann olery
tarv
failur
Agpaa elen 1E
Hul Iy uuvt
ualial fu
dnit
cr ciepled, cid rynsed Ca
itra sbl.
0 te mygridi, Salte LSr clisose k7xpm
Nni 7hn darr L arhmny
fenr I
X te kmu
we do nltil
vyiter
able l
cntol tt toxic sital, eure : C sushis,
arcy suiie we
AV huis.
Runcr wugn) mppeniy
the C5 bol :
henigiil kthe ayru, dden
hred
Hel e urg
leproiy auge 1 alwy nhey, clesirm - Htro
shast antr, cuol Cerute


wenlzo
Juie CT cofusad
jaile
5h Zany
2ouele,
the fme Juice - wiss diysm Iu
Lal Thore hd di; uabp
usad
ttre sljsu
a asip C
actualf anda An J0yi apnin,
d itufm
ItwuTed
ola,
te, C S,
dn inzuirelen 7
Itur - ttre cerer
nalure - /
aral Srisl
eyrnid
f ttre. clyilal,
tche c. sam,
thein tlu vill.deel
bamrfr cal.
flealit ad euee
n asy
uatinal
udoliod Khe
adi Mugunt
the cliild.


Fmu Jechve
RAL
he ueedicl . Irymi- Spig dividal
yle
3 une lvelsir
Huit said, i appliss
meuspause
amect ) agiup
d tluv
-ina lin
e iiasal auptou
L sary tter
np becarte 1 the estuge effect S disinn
attiraclemm
prr- monspaural 5n Qa i Jie
ite ne cessi
dume
X-clemo
X C
hentalis, cruoclal
He mle Cauter prerk wle mu seef lnd
k ure
unlo arslopt
hehvmal diqustin Leeur
boheviv;
à wr 7
erinan-
pms
le "gger
copatic
Uesiv.
Kle feelen "(W ALDRod 1 rugrid,
deeni
9 Paryhuanin)


) wing l Itae dar <
RAL
wnlenoin
getty
Genms Hene FAIRY TALE, Vie
uelm m
a H
Reeplans is c
bacmrie kill rulig
)ok siltdinwip Jm sguflsu -Sren, unntalian,
woy, panii -er Iresty tor Iske l5xia,
it hreliptoxic u
prrensctne
ago,
ii) hol Saint kl . col ) loxi, Ge Case Toxi
C he cenay pen 2 tre fuctinr 2 tta mgutin,
ad Itre mhumalogil yyate
ihre fe pupore, Bumat's
euol-gial
sureillu CR
v) HAURL 9he Ifcriny Dte inhune >yfenj
v) becoue a c coe ttue se To day liire vistinlg
clits 2 wa, Co ueved vith phomn juunlnis
He pautat, Hre Jo cial anial Matfo,
the Feli
deoure Doryge i the - Raglur T
Whe Jexes F
He einej
1 acial laxi letweer
V) ad the , a STile gcimis
A C nonal cnditi,
L L idenl n drahal fome
w uhhot hope A relan
tnws
5 I - en as
Orte 3mnds Itin ng difer
V hol
al, cliued boapi efi,
t DEFER - 3 'seeinpnve


hew Ro U
nl lde
SAFE W a Wan
thi secure
the applin
dey
reldmi
paulible


2ud Ral hecta
Canec T
the mo ttes
hoko,
Te trasta
wnl/lls
hoh
Ite ulsel
autoslir Cleclol
C aseile,
T P Stuche
Locing in crayi )
all do khe Lohe hee y
HEep liaks
omdl
tte noft
ceniok
s ha ha
the taink hont :
mr pemn - - -


RAL
Bensu
tollay clul relexele
Ite
A I
regm sf
a sadet
Bung
dilmmtt He luuual
punlti STin
3ot


RAL lechis
) - So we Caluo (- Itie
mmu Al pnt - moupann)
yeptow." LAue apg naiee saplaur The -ply (r
Iha hashe va Le - i gual, aal Lo G hn ker Jallu
tiere Cor be Rhoued d the huma 2Le C tmal,
2) lua hei lils vill ad puccapeti beyin - ess
X Lle, pholt Co oaly
7 nd Yin 7og
epeciop acule C Lme belan d )
ite tarey kansd
Le thre uyte Hic deml La
2sz. ug L
5 - a ny
ertiet
HteileGreete - ett
hetobe
A p Mache
to hophrin e H
hndled Ge safprlelil a
top Aypet Getit
tho no (ustte). a uns
wat At
loto trerelp. Rmuliuop C Meslopried
ad 3
Hil
attitele
rweali
rece cowypd
the Cliurel wn
aslu - ( - Le S the Caure(Creits, Gpeuia).
Bnens the
umt I szialiin d Hhe Clunhel
maclie)
1 He ce sda
3) AUTiSM (also
failea uo th -devera Cl
2 Ae mo Ha
dene h
the
S Cadie prtit)
plean
dupponed
une wenkuen
MACHO 1 mlo saci
ie Apl Je L a
kpuhe
alusy
Aol a -
feahwe Amoip
a Le
tte
said 6be
a 2
prino le S - grnin
b6 le fesen'
heatileg aleny


THE
RAL WORKSHOP ISRP
For WOMEN
Badedu the pucifle the lnguig ull hoe Lr
accafilid ulen W. S lor ctered 6
JC ae / Jh'cl u A
mashirg doun the haoe Ylital uytk eak Sra the
Hkai live, ese vituslp o ded
al. the Llot - ) te Sastile
amd the
ud thl tk: testile pecisd Lou uk
jerid,
RALE Rey L
5n ad hugens
cholitala
- Ce
- eite
Manncs, neulel
mnirale ak Oxyges
Nuie
Ruvampeta 1 it
da th,
hop
Uhs y
R.rl
STuyhy
dolis cece,
Jane
dett 5
Ll - A
udentsse.
leavli cafun can
Can
ite
Ahe LmCe lr nrel)
eheilp sImy
bhe C in 0
It tre
d the E
d rhefpe
frir juit,
porod
+ hr tancki
ealk Llel
Nheoleprcal attitadls
ne -
faiedss
shir anl Jomin
cliie S the doclim
7l.L Ili
kupt
-Hkooloh )7
denuel to
techif (calen


hme C vig eelie f cau K Yhe
taile - juid' - doa
hay m ti lives (L ha
hots K dot the fouinin in ue
Misl- hed . ttr dllaci-
wecke Lex idee
enati,
uilzo enhurd ult ien Nen thy haus
crhnen,
Jpmed C Hi gret capmeule,
unltig, tha
sTiis, the Hy han He Lelent
ie VI
Oer Cer
Labe
Revloh
durplui
dus > - Leie 2 hivif ain ed Ulr C. I hne hep:
P a
Laler
lre
ful
Re ns dotni I juve tte
hatore ls he hiort
Hir 0 doenl
Melee
cud amitc yian, hamfyi
popusi
bn bea Lo ter umen
hei - L 1 Hn
pusdli
3 - dotto
) divided aily LR claldlonl,. Yuhh,
uiil ucen aif
senol de ugr, Suicl: te 5a
Sa La
prid
taocle
Stipee
sagip the
pand. Te
hei alad
tebet
noefs
tha uie
fact Hu ne taol Ilwe lnge


Wy kicl lach - -
Z uhe
eoll-
hecei Ly un hh
uond
hm Sitzmi
CY C.
lacl 2 yuc Con - / lu
- , L Ua
C J
Clnis 1 geb
elyf V a
> Ihayn
dinry
hgr
tennipe
sumi
tord d.
reel- (yn
me C lnah iV C
Arn
lmy
cliym
rrtl
cey


Clafotte Jh
R- cadelin,
uk hec laj umilined
eule C Lmt
S prold ulr hty
Pauti
encl idurdel
har
diffue vlussiilt
A ees Toxin
Wr die lo
hais cell,
gu Lre gm
Adr
dy u cele, uol upjnta
filu nuw J glis fuctaiy
nerie
L tinue. ullie,
sho
heenm
grees
A MY7H
Amn cilus
) uvel
He yk - sley Imlre )
Seep- defuorel.
a el
dms
1 lhy
0 E
SACCA
iil:
boxl C . y
merg
P / - I l
jzrmue
Cuzes


MACHO
AUTISM
um Buclin k maeu Yho
dareped self. -
/ Je0
horo lrar
prp
hu / Il
leagno del
Itecls,
oull
luyy
Syrit
Meolii Cals
arlmed
Yue leyp
Irnf
usrule
U W
SM nju


2 luiiuta brwsetde
OXYGENESIS
)Auia hetts rym -
differe hn LC lne dmis
7 sorcallas lemya
k rlins Ha aus Ah lts yu7
clerel aaliive /
yogo.
3-1. uou- cafidenis srfu
YLL tho -
lel - f tre rem ot - hlies hs eres,
yot byn / sed Hherflut maoyy
antin)
cett ti
naceg-tasoi,
peradsip Lmy
tre
tral
i ius bot.-lonpy L6 hel
astatny
ILL
yrle
heuntran Smu Fai nh Jo
foll
a tere Cayen
nld calc l - e casy
halend
. eC
cleice
- ltin 6-10 sen ie
ii) leee
tll
pran
sloque - denir
hunros
5 Le Lmo 2 2yem
tue nll rde pluco cyes
L Citis, trient
vadiigp cekr lorr lle,
lris
I ho- il
iv)1e achicon
i the af -
/ mfecbi
LTLENEE
Ayau, He eay wy
doncsy ( zuse
Iho.1 aill sba Ihe alty piles
paby 7
ile
the Cmex
mt.5
tus I
Jeu capri
do scane)
doetp
Tal
Lo astf
La CATex dal brehyper
Tl fr - à
Fer
ig A ilal 2 Ir
- L uaslitt
- TAL frean
tte etor
vulal
Gelts ndtg) -
ll do Hei,,
PTS


N) 1ue Lufo tt puckee tf igfuic 9 Che lLe
Lle
usn F lem udovente boragp à verny, ll
Cuuo aclere I Tho errl Suem Cur
ditlai practie.
Im) 20
ty tbee fune, - l
Daypren
fusl the ninir uide Yl - 673 the
Hho
te peclyy bhii
Gorou,
Calm HLL cloc
lndin
nelit
the
dor C> C
Ley.
duil duniie
S lmiore selep',
lothe tall krd de te ogo


OXYGENESIS
WDS
Tu mganine thu uJe orgga Laue laviked the
engyue SUREROXISE
DISMUTASE 7 Bab nd 7 th, Ver
toxic anprroxide free vadical pradiad
Hhe metahh 6
l6 -ppen rhe te hast lory Diieel Jae cia
Doxygo
So Lur an
Kavr hert) H engque
engyus
diirclg mred
lngivig,
the
pur
STuinlali
cuyy
we lenoe Hal
X 7ge
Thou oxy
L Huin -
Dlngant
the
podir
mpain
ynam.
The
TLL pastes
gnens 2
gena
vell l the kay
foe vadials es
cull ve
mcatati i tha
manb
Sone suielah
See Nun
Ite cil ( - Hhe 'Ndiue
suicit),
(the Singuif
te preeltie cngyme
alo:
mlaks 8 relexip
Relex
ut clo u 7
xY8
httur
nead len o xyIm.
o X
museles, Hil - yr
ve d py2
oragun
patecli
ciiy
cr. cliried
? 9 pro duc
reduc
neaol,
ipth
te tro'
ad Haus
af fol
guautis
grent
elpeet
engy
b tha agup
- podicts
ralich?
Hre o
Tree
athod,
morar
Ire Hag
rot
-Ia clyom C C
va H Urd
idisd Ir Can
- He
fei
Alss sudde cenalan


aply Lill Jedece pugeclis- engyus apps,
oxyge
ass -P
Clsd
Kile cntuie taytoxic 4lfoce oryge
Conditen
hun'e -
uOe tha
mérial
tke
Ln wyed
Hais
Jy I phon
heyri 4
n the rauch
goadual hull-up /s -poie
7he
haiizi
Ca holunep aol golaus
bemi' Lo tta
H cloth
"Crotiiy
3 52phs


WDJ
OXYGENES LS
ubtirel
Ralaxation : itsey, g rebuciy oxypus
a - aue
mpoxid. didmular a N matee
Aply
flagvig -
Thelen okage ah auilal cadnbsi, Haulrge crsmphi.
lives. Srephonls, Rr notaco honus low oxygu
nuad
decek oxygu amphoi Ahe T
LE ha bea doue nth Hlic ad
gecis,
Ingavis.
oprnatilg.
n Huis Windidin - : A
Jams
ite
oxsgun rilexatii,
rl le redice
me- ude > ryge -
tupodicth 2 - arfar -
lalir.
lE sxeitz
leso 2 U
the Iree vadiisl
disnulace
cndl lowen
Nanal us rs
oxide
sn Aprice
3 sdicie DxY yge
ched moleauls
radiials ae unalta
calluls w ad G
Frce
+ huel
kire
ngmall
Ikafe
chomial cofruti +
The
react
3 t Lrandi
wnr tey LIPO FUFCIN
uginp agant.
ditiaie
acid, ly Modce slr-spau.
falls
mdntionte the La orenhy
how
C pimue
houty leamip
Leniph helts
82 usip
c. potlhe.
use c Iittle oxyge
hoo hunce'.
OXYGE ENSXIS MUST
THIC
1S WHY, Too,
Be DONE IN CONJUNCTION NrH THE DEA) XAN


WDJ
Autism asa uuiuenal phausheun
Tuo autine cliild Iuo Lee Lmh ugp crdo l. Jafe of
ya caplicsze Duclise
('y thed giive 4, thastucin (
med hone hee dee Kle Crelcs aal Hra Lnls honbeon
lapt') n Battaheie.
Leis - cahinined lapout (Ls.
Tue heusstic Sacive i clugt (rolipge mohoye laiyp
bocial, heviip poue, duccon, iflued)
a vya 9
Henly adofled (FALLEN ANGENS) Uhice I keson /
be yfchoie 1 7
the usbabe bagin kl Ahohi
lo n ns sntdrars lach Ll to Saclir.
Ao susterues à
- du autisniz Sudtue 1 ti dole orde, lit cih
tre
poyelon - -E hold wta inae sishin -
pousin
Oiggaore 4
umall, uhrundouad at ttre 5 thn 6
Lenin
er i
iffediie CHaL -, lreatterif - A stlan
5 nfill
clied).


Cliild I beory - eyuneg
doep
Aolidicils
/ Jhrf palu
lnmn deabg ho.
Buk Canee
hmy lams hor- ateld Jel
defuse, Tho ho rt 2
preenes
- se
brpi ) carrel
avlle len lE
herey
- lamal sle
toyqu ep
d ce
h ls
nil
Are- cletl
krior
I LL - F
> Uuohile
- Wwenss
litillectinf
Lenerp
cncon
Ros - Dhs0-
doigials - Aderk


3 y
al let
54 lh
Iredy
Call -
1 i
Siomn
Joot
no nA-
Por
unm m
mol


o T -
aatp
tbung * C - t
thc - - C
AAr
ay ntt
totet,
hngsig
Jett -awatuen i nn ciilialiszal
vez eay G IL s
tate intt sex, the grest uyslay
1C i tre asanl ,
Jex - te pperiy: u I t depuie of, Cn Jex i th
cuhectui lugi A do uinls
heir
pecalis utradidiy
tad h
Liol uf Co crapli,
luid, ed Aa k
Juak tot
t Iho
h, Lt - L,
prunly
mpirhig
lues darinas
Tin lunl rapect / tiol L dosth. Sonluan
5n t
sliu,
hiel dat cal whhes 2 dyiy
dfeco.
Imr K nilidenou Aro,
Kruanolis
2 L
lihe dey, Su
sobely
Br C clulollord,
sfroel CChe dex as lusd
undolved
tahurt aol
ugshiy,
pohefi
ARARAT WHITE HoThL
mahood tac L bogpin
1 vi n adoleszuce ad ealy
us ) Itc le
cr Ji -
ILLi
Laml the neil ol clitinie
hirel caris
-belk
lue a
nouip podetis
V Ca
c lo
Innh dath berin
hirs -
clmp
Rshe
Itrar.
od KHeL
TLES Lelur
1 sceut
Los - tre cud.
Ardlup uilesbis.
uiid
Tivr
CLmm Lur U a -
APIE
ags Al Y get
ofiip cud dyip
see7r
lan - mel budt
clitan The te )
the marifotala nael deaf
odeer


the yar n elp iif
cahiot protecl
) hemi PyMa


W73
oxygue
Semins ll nol alme ensrwure Are te
Onnl Geinploved,
nyark doev tex 4, catres huis,
sexell:
Curiu ihes Tlec peple
A metalaine
'mndyut
Noma
rho plie tte hray lo enl
OAP killedo mahe KnSENcTIons.
digestni
noun Slry
hn hr Hic
receie :t,
n Salle U
seen K
prge
dapendi
tusd - chond.
lake
upi tha hemip.
loweves mncl
'seltap
as-orirgat
swelly
- cnn
(6 uso I K
STores uf Hro
Lei,
mgonime
(C eittu
enetiop docde ual h dol-l
Ainy!
merinvel ustarie
te achin 2 awallie
Lami Lad
ad Haonii lian
renplcs
h Huii
euneuets :U.
tre
N intherup awy uth
tarsin - Jid
STle 2
ine nfpi iinq -
tood.
toxic motend
1 the "Deag Oan
engy-
-- enslimil
cmlnrd 4 hoctoi the
hch
jre
fnel tre
mgnim gre
A well e tk
ke live d
ad a dijinci sprat
Jouscen,
dew p
acul myaus
terse 4o
all rivun dB
may
Prkut
tae
kidueyp
muth
ns Leeg
SAne Marnd oxyge
parton
"DEAD
CofD
na t
ENSURE >
PROLONG
h He
enoin ?
oegeranit
duns
RELAXATON.


RAL WORKSHOP
js die
IL lzle
prenling.
annuenca-Tule
ngeria her kie willed 1 die
(J we dsll noelie duy
usclie. 1) u. dyip
dogit Ite wlin ayr K Nh 2
Lo arslusp
ofr
te doelm
aalicue wose, sit
woseg
Lo uidg - capt
gndulg,
i) een
t a CSTan
Hen alc ell,
dgiy
kmppr
eu Mou cen IrJ
Haii amoul
Flns
alre veli
uhilla tko love-
IE - alis ( drest
a uulovale ad
fasnees me
lelicue tal agne
tt meld
niie
Qi dos
loual:
caliis S fucki
attilaslo.


WDJ
hugsis
Preuluse doatl LC 70n80 S caured S uce
pryeedter s ollidl sep.fofliig puphacy, Z hur. lear
iudoln ualad drice eag cleildlool S alusit uey hw V l
Kad
dile Llor deen d tvelir V lur unkd nel noupye
unud
ls bolicve Me ct 50 V STaN foif d mhill'
fi A agh; Ihe giddmin, A - deve Lplun Kv
mu tu, segf
N ke
den Jesscking
E holts
ha Y clid tte hy d mam Yrop the hrdly.
poymkmig
chomial
Lour Yartel
Hiape dossut hon L
L ruhi 'mpie
Casi hor cellad tue clemiel
aullest sir
Noma
al Are
islg
breceuh 2 rte 33 tg pyos
1g ae huapr
vh YoL
d moelre - the
say ael
AyNE
date
2 ryfol
sfetils
Pamfol
: te
dine
par
hialy
yora
lngicalg
Itayla
aol gtfe


KECTURES


LECTURE
Meela He Gmun
Jecile ta fim
- R T, aal He tarne
Ina tLL cnafd
Lolane
eel be L
IE Lexv 20y0 d
unlz
wnhna ltyr
Lal
R l Gdie
ltr Li N
- bve
hasep
- he
7 t
luls A
CL Imee
tegan
- - tLe
2 is nehzul
lrd lra Ls dafs
idori
he ruta
L E
al had
Lode Gea
- Lsu
Lic detel
cur . tpc
bee uov darl
f arond.


KECTURE
Pepe < V. ugrtye
Tte
affouls 2 Oaygeen,
2ns
(( Lhe we hewha Lse frpeb
tte Lehe + eung euse
radlie
Ahmie,
2 ml vchain Ite Jin a -
ad ur poypl L fone curlitis. Qu
Cz fama Ls L T te
ll 5 tte Mhole
Shl 5
lr aceypk Jal Wz
hmn duy bee
bxyen -
Gmrp


h RETURE8
1 I
IL 5 C BOMSJHELL.
go4 k Cel clil-
2c molljiapenie
hucten
C hou 7
lire: Acenlyi / He UD LL
rauucsal.
Tu hme iaflnin - Ju nu itil S (
lenp. hemed (M
huchis i kTh
caflni,
hal Muee u mol C prany h
Le nelil the Alund
on nes.
rae L
Hufeef Hg're uwvh 7 may
A ite cdy
M 61S hplus
dous uiuc.
Tue meuine ARE FE)
THS
CRTEt-
WHo Di)
THE FEEDINC.
'corfcisus CONTROL'
Tite sorcalled
ualid
Cenhol cahol eue i7 cogart
Tue poy elio delc f Slage.
utoi 7ke panichy
feoliny atterdal i ett dug ,
. . stsl puty ugny
eed Co
l ko
ah 7u ay STL Jm nhncle


2ECTURES
contol 2 - He chenical. Ym
u rep
à 1 nun
cheuical, Ihice
hou poducal suseel
a ccepte the Greudia
lyon
efhar
Y nulicde
Cls
dex a gnasd ugain fores
li greele tew tre reculk (onveeten + Juug
hue
tre soxel
jued
gie
splue +
thary.
Idn
2 Ca
asiu cecult
dost-w
teu tme luae Le
Lis fualresu uiti 2
Crld R Coll cla-th.
8e win a I
lrA
A fine pelitui
not A Toute-niro
Viaun
uol
Tp >
tto bred
Eeudig Ma
hike te Sredust
Csmina
1 he
SECOND
Hil wo
the NORMAL
iet cub col
He: han dustoged
dasth
Jeanal l cle 5
(Laah
ptor
She aegu
utl
oitee
els
ald avade
uott else).


LECTRES
(Anggdalle ad heippocaufen)
lhe
CORTEX
RECEIVES
reads-pucknged
hueumer.
1 Shi dese ther Ca
he teiid ls
CONTRO 1 the megi i - 1
2e earlex
Aline
dor uo CC laou Juere tte mfeuin 1 vit, a
Ca mB
mge -
y therie cud pla the usleice
1t - the real CmInst the rt scaus le L Oxygunkys
C burcen ice - m8 pmihe Shs ta Consclos
MIN) elade S rold Sel e clilf I Ive
the ghuil Ructoip.) te mpasin
THes
HOMENTOU DIsCovErY
whice CL
7- mld iepect
ALL THE SCIENTIST)
HAVE
OVERL OOKED.
Tis cntoo deah a tre
Seta 2 deprenin the stared E the uilblo aey
L the
te rins
tre anc crac
-gtarnk 2
collepes)
und, ho awakeu cnd dee he tig tornlie, have
huade tte dinovy Nice ill ed Itia dsprearca!


LECTURES
tae canut Ge dalins
BREATIE L BOMBSHELL
cnd Tutel
L datsm
Ke ven C c cnde
ton.
dinovens, le t ale
s Oeggiin
2ure0 u (el
- -lhe el-
tine Lano 2 those dizorei
L the
Hus yor
Ha Ltbt
rl mont
klng
d itle
Lphyadpr
L -Plid
i cahectie
hutt d ho lenslelis 2
( hE to epli
synte


LECTURER
Tle FATHER
CSMPLEX
- hottcy ht
veoin 7
UNC.MALETED
MOTHER
SGVERANCE,
nal
nuva, Ha cliild Loue tilly serclie, umlt
the fa It
26 the tudern Lre
acceftea 2
kthe uott
the attacluae
ad Caual tchr -
haf
Ihs Sa n v
aotle stigur
Jhl canuol
velingn rad.
Peud
fathe cnflex Wan claly )
A moused ta laisi
His sate.
hiott -deveruce C
affeck 7 nerflt
ace Ature
the
herma
Cfs
enxies
preo
usttmlen
Ke feared the vagpe,
Hel in,
trils
mure
hey
grinls
Le Lee
preci
fel the wne
hcs I Iy
Lamb-
cefuaes).
alilig k rece the
hain
hi e/
k Lelelil
Euge Dunr
c n
e l sz eet
a unad kel
cald rf /s
lue
ct tho
the a poice
'dontt- diie
myntz
nhile Cuhs lr
uaplerinr
3 L
end n li casea
uott -hud
fn ta
all tl lag à es i ( d
thil le 'r bey - -
all


GUIDELINES
1. The flyer. Not a doctor.
But a link-up with the
nervous system takes place: this is what Oxygenesis is about.
2. It has to do with oxygen intake---VO2 MAX.
But not the
volume, the transmutation; death and senility.
3. Breathing alone won't do it. At first it seems simple
but it depends on the design, the quality and the aptness of
the breath at any given time. And this extremely subtle
process can only be done gradually, not brutally as it was
done to me.
4. It is the most intimate thing that happens to a human
being: the recognition for the first time of his own brea th--
'he becomes himself'.
5. Three stages: 1.
The essential or cellular, when a
new non-muscular relaxation takes place. 2. The dynamic,
when the therapeutic, energy-producing process starts.
3. The psychodelic, when exci tement can be induced safely.
6. The first phase alone will rejuvena te and regenera te
but the stages are not chronological, they are each apt for
what you want to get, and what you are ready for.
7. The object of a comple'te cycle is to do it yourself, on
yourself: a) synthesis of emotions---eg crying. b) 'messages'
about your work-sit tuation, current problems or strong emotions
c) an injection of self-belief, ie courage and determination.
8. Oxygenesis does not state that your anxiety or stress
are wrong, and should be removed.
It does not promise a
supposed return to 'normality' in which presumably the
anxiety and stress are finished. It acknowledges tha t
life today is a kind of war.
These are unpr ecedented
conditions for the human nervous system.
Therefore that
syat tm has to be prepared for the battle lines, not to an
imagined society.
9. It does not advertise a weakening of emotions as so
many of the techniques and.ashrams do. It strengthens the
emotionss It doesn't outlaw human emotions. It says that
e motions are safe if under proper control.
And Oxygenesis
gradually supplies this control.
10. Wha t is this control? Mental control? Mental control
produces the 'let it out' 'act it out' schools:
But probably
it is better to suppress anger than let it out.
No: mental
control is an Emergency Control System. Oxygenesis takes
this system down and substitutes a control, hopefully, that
is neither mental nor emengency nor mental but real.
11. What is the Emergency Control System? It is what
most people have. It is their nervous system securing
the survival of the organism as best it can. i


SCREENS. Autistic child. Paranoia. Escàping from
deep commit tment.
'I am stupid'.
'Schizophrenial is a sane
response to an insane world'.
Bodyworkers and hypertension.
Erudition.
Battle conditions (crying, tenderness), macho
attitudes behind lines: two emergency systems. We use them
all the time.
These are 'wrong messages', sometimes.
But
the system is never wrong, properly speaking. It is PERFECT.
This is the first principle of Oxygenesis, that the
systemhas nothing whatsoever wrong wi th it, and secondly
that THE SCREENS ARE UNIMPORTANT.
The emotions are not
primal. The more you attend to the screens the more you
CLING TO THE CONTROL SYSTEM.
The linkup with the nervous
system is the only important thing. Ali the rest follows.
The nervous system feels confident to release the emergency
system. ('My father/mother's fault' can be released.)
Tha t is, Oxygenesis asks not wha t happened at birth,
not what happened in the first months, not whether mother-
severance was successful, though these fascinat ting questions
will arise as a result or after-thought: what ris happening
in the nervous system here and now? Oxygenesis is NOT A
STUDY OF HISTORY.
If we could see inside the brain and watch the
neurotransmitters in action we would witness a. remarkable
electro-chemical activity which would signalise each thought,
desire, kiss, whim. A miraculous walking COI mputer system.
16. Is the breath the only link wi th this sys tem? Clearly
not. Surgery ('HM') and drugs, both psychodelic and pharm- /1953
aceutical. Both ALLOPATHIC, that is destructive of the
symptom. The result is a) 'MD' loss of identity b)
'withdrawal', ie the organism does not produce required
chemical or immune system.
17. But clearly brea th the only immediate direct link.
a) Sobbing and crying b) Sneezing c) Yawning d) laughing.
Not the diaphragm relaxing but the diaphragm being massaged
internally. Oxygenesis is turning the process round.
Gradually a control comes into being which acts below
the level of consciousness (though I would say above, because
conscious control is low on my list.of controls).
'I feel
unaccountable joy some times', 'my hair's turning back to its
original colour', 'my life is changing'; 'I belong to myself
fir into my own skin for the first time' et tc etc.
So who
is doing the controlling?
Take the hippocampus and the amygdalàn. These are
Structures in the limbic system. Hippocampus deals wi thhnew
short-term memories for long-term storage, while the amygdala
deals wi th memories tinged wi th pain or sadness or anxiety
or joy. They convey these memories to the cortex or MASTER
CONTROL CENTRE. That is, the conscious part of ourselves
which does the planning and deciding and higher thinking,
and looks like the inside of a walnut.


20. Now who or what is doing the controlling? That t is
who decided on the memory, the importance? Note the memory
that is unexplainable in its poignancy. Why that street,
then, wit thout any event attached to it: what happened tha t
makes me always feel it was a key experience? What is the
deciding factor in this immense, varied storage-world?
That is the control that operates during the Oxygenetic
session, scanning old memories, processing new ones, just
as it scans old pains and glances at new ones, in a mysterious
autonomic action that is definitely ourselves and yet quite
outside the conscious mind.
21. And this is the most difficult part of Oxygenesis that
impedes, delays, interferes with its action: the heavy
conscious control system that cannot give up the directorate.
It may transpire as a clinging to knowledge, rit tual, self-
identity as a certain sort of person.
Then the 'screens',
usually 'mother' or Ffather' are returned to. For really
and truly, as someone said, Oxygenesis is about surrender,
but it an inevitable one, once started, itis on the cellular
and not the conscious level. First the fear of unconscious-
ness is dealt wi th in thefirst sessions, but this may provoke
a strong nervous reponser a flight back to the control system,
the more sophisticated the mind involved.
22. It is against the whole culture.
Science with its
sixteenth-century guidelines, and mediaeval origin in the
theory of inert mat tter. A theological choice, but bad
theology. Science a church emanation.
Scientia and
sapientia, from the Greek background.
This led to the
LUMP OF MEAT feeling, loss of control, when confronted by
the mechanical theory (eg neuro transmitters, hormones)
which is only a repetition of the theology of matter.
It led to the isolation of THOUGHT, especially in Descartes.
Matter on the one side, thought on the other.
And we have
it today---scientia which has all but wrecked the environment
and the human nervous system, and sapientia which links up
with the so-called, 'spirit' in an artificial setting. Remove
the inèrtness of matter and the absurdity of 'mental control'
disappears. Matter is then us.


It isn't a therapy. It is difficult to realise at first
that the chief benefit of the process is that in some un-
fathomable way it revivifies one's relationships with the
world, restructures, disrturbs and remakes them not only
as a gradual process, outwardly, but in a single Oxygenetic
session, inwardly, quite as if it set up an electrical
current with an outside source of information which it would
be unthinkable to live wit thout.
In my periads of despond-
ency about whether Oxygenesis would take off it was really
Oxygenesis that brought me round again and produced not only
a programme of behaviour but ins tan taneous support from
people as if I'd contacted them and spoken to them, which
I hadn't, SO that this support was all the more valuable
for me, being spontaneous, natural and the chosen responsib-
ility of those people.
One could say that Oxygenesis
alreadyyincluded those people in its programme wit thout me
knowing it.
The nervous system prepares for an event, a new idea, a
breakthrough in ways far beyond the conscious part of the
mind.


SCREENS.
Autistic child. Paranoia.
Escaping from
deep commitment.
'I am stupid'.
'Schizophrenia is a sane
response to an insane world'. Bodyworkers and hypertension.
Erudition.
Battle conditions (crying, tenderness), macho
attitudes behind lines: two emergency systems. We use them
all the time. These are 'wrong messages', sometimes. But
the system is never wrong, properly speaking. It is PERFECT.
This is the first principle of Oxygenesis, that the
systemhas nothing whatsoever wrong with it, and secondly
that THE SCREENS ARE UNIMPORTANT.
The emotions are not
primal.
The more you attend to the screens the more you
CLING TO THE CONTROL SYSTEM.
The linkup with the nervous
system is the only important thing. All the rest follows.
The nervous system feels confident to release the emergency
system. ('My father/mother's fault' can be released.)
14. That is, Oxygenesis asks not what happened at birth,
not what happened in the first months, not whether mother-
severance was successful, though these fascinating questions
will arise as a result or after-thought: what is happening
in the nervous system here and now? Oxygenesis is NOT A
STUDY OF HISTORY.
15. If we could see inside the brain and watch the
neurotransmitters in action we would witness a remarkable
electro-chemical activity which would signalise each thought,
desire, kiss, whim. A miraculous walking computer system.
16. Is the breath the only link with this sys tem? Clearly
not.
Surgery ('HM') and drugs, both psychodelic and pharm- /1953
aceutical.
Both ALLOPATHIC, that is destructive of the
symptom. The result is a) 'MD' loss of identity b)
'withdrawal', ie the organism does not produce required
chemical or immune system.
But clearly breath the only immediate direct link.
a) Sobbing and crying b) Sneezing c) Yawning d) laughing.
Not the diaphragm relaxing but the diaphragm being massaged
internally.
Oxygenesis is turning the process round.
Gradually a control comes into being which acts below
the level of consciousness (though I would say above, because
conscious control is low on my list of controls).
'I feel
unaccountable joy sometimes', 'my hair's turning back to its
original colour', 'my life is
'I belong to myself
fir into my own skin for the first changinge: etc etc.
So who
is doing the controlling?
Take the hippocampus and the amygdala. These are
structures in the limbic system. Hippocampus deals with new
short-term memories for long-term storage, while the amygdala
deals wi th memories tinged with pain or sadness or anxiety
or joy. They convey these memories to the cortex or MASTER
CONTROL CENTRE. That is, the conscious part of ourselves
which does the planning and deciding and higher thinking,
and looks like the inside of a walnut.


20. Now who or what is doing the controlling? Tha t is
who decided on the memory, the importance? Note the memory
that is unexplainable in its poignancy. Why that street,
then, wi thout any event attached to it: what happened that
makes me always feel it was a key experience? What is the
deciding fac tor in this immense, varied storage-world?
That is the control that operates during the Oxygenetic
session, scanning old memories, processing new ones, just
as it scans old pains and glances at new ones, in a mysterious
autonomic action that is definitely ourselves and yet quite
outside the conscious mind.
And this is the most difficult part of Oxygenesis that
impedes, delays, interferes with its action: the heavy
conscious control system that cannot give up the directorate.
It may transpire as a clinging to knowledge, ritual, self-
identity as a certain sort of person. Then the 'screens',
usually 'mother' or 'father' are returned to. For really
and truly, as someone said, Oxygenesis is about surrender,
but it an inevitable one, once started, it is on the cellular
and not the conscious level.
First the fear of unconscious-
ness is dealt with in thefirst sessions, but this may provoke
a strong nervous reponse, a flight back to the control system,
the more sophisticated the mind involved.
It is against the whole culture.
Science wi th its
sixteenth-century guidelines, and mediaeval origin in the
theory of inert ma tter.
A theological choice, but bad
theology. Science a church emanation.
Scientia and
sapientia, from the Greek background.
This led to the
LUMP OF MEAT feeling, loss of control, when confronted by
the mechanical theory (eg neurotransmitters, hormones)
which is only a repetition of the theology of matter.
It led to the isolation of THOUGHT, especially in Descartes.
Matter on the one side, thought on the other. And we have
it today---scientia which has all but wrecked the environment
and the human nervous system, and sapientia which links up
with the so-called 'spirit' in an artificial setting.
Remove
the inertness of matter and the absurdity of 'mental control'
disappears.
Matter is then us.


It isn't a therapy. It is difficult to realise at first
that the chief benefit of the process is that in some un-
fathomable way it revivifies one's relationships wi th the
world, restructures, disrturbs and remakes them not only
as a gradual process, outwardly, but in a single Oxygenetic
session, inwardly, quite as if it set up an electrical
current with an outside source of information which it would
be unthinkable to live without.
In my periads of despond-
ency about whether Oxygenesis would take off it was really
Oxygenesis that brought me round again and produced not only
a programme of behaviour but instan taneous support from
people as if I'd contacted them and spoken to them, which
I hadn't, So that this support was all the more valuable
for me, being spontaneous, natural and the chosen responsib-
ility of those people.
One could say that Oxygenesis
already included those people in i ts programme wi thout me
knowing it.
The nervous system prepares for an event, a new idea, a
breakthrough in ways far beyond the conscious part of the
mind.


LECTURE
a PLEA SURE-SYS7 TEM,
I Th SCREENS
esele
iicludiy 20 nolled
and 2 àll te lenel
farrde
rehe Tance, Ianyve
Jicl bnay
llu sTele
l Tana
ttaa dratru,
mypenit
poim hi-
atrii
liie
Yalt Hhe Oxygu
lyoTe
- U tre
paites
ta l
yote
Els
ir plu
u orn
dovired d
pai
the CNS lai
poterit
X citau
maumoir tl
the serecun
aich
cofrice 7
ta eesay -
lndsip
( Lo a
(ith doemm
delise
the
vge
aflicee
tace,
clice
5 hob
ll 2 tho
Hei aiu
cem,
caopeim
t I Cpus
c1 costi
th Le nin:
Oxygu
N L
5 th
e y1 s
k cinf
cecum
ttl
K Jeal
eufy
- |2-2 clicl bevi
lri
cad 1
dinioth
seshon
f harre
Le 37
fot
tlL


- CE L
We 'clont
face spun hins.
ALL S tasl
dealt + cle nci- luEiy pice
coued harey c chicup
ludred enverasti
Inp
LC - iche merrie
lencl.
p- cen t V und (
pycboannghnl
ett
suveme
orapul
iittol He
diff-
So becote (e uit
/ ospetik
toptiph
esel var) Aarmo
:deal
LE hs L
a iosex X tua lig LG
reip
Aalsui, epn
nhalinic n rusenin
breln ae
plagel
the LexH -al- Jea
o relast.
t ple n


EM IN AR


3-part Seminar
OXYGENESIS
CAn WE EXTEND
7HE Human 2IFESPON SEYND
CURRENT BILOGICAL
LIMIT OF. no/ID0 YEARS ?
ITS
Tue Hayflicl lai,
Rosy tefeals asl ttrg hypottalomar
Dezaca (ad latip dsst-mierdx).
lunu nonsa
onzen I te Noed,
'Scanaif
u a date a
mreillad ( CBurml)
Rpuonrids adicali ad apioxids dimmulize.
Relexo atai uth
Ino 6 - relhj
doc
le lantciha
S beip
d, -Hectoe quide
afere
luhe K dall p - au
agita myin
d. ff loe Juida
Tue endorplini yt-e tm layhf - remsuiip STens
tii 1
Cilliga ad 'lskog : do oxyomi pavat


WDJ
Docim
Angais Abl SRP
Oncdicd drelins die Juy Ita puple - rhpyen vi,
aucide nle, d 1ks haur rijett
Iay bone frcl, hit
desth-rali thai Are sutonie aveay.
lijl
uned
sril dofe die uceodi tin 40, bepite
Prople
L rn ie3
rale. 4 Lwsnu teikan
lecnuredl muhalis
aha pypi i -
Aill popanes, do thuc
setenoriws
ad : Io rorseeup
Me hot beyud, Jecire en uun
tu dt
somne
te recapid gas,
unalver lastif heyud
SEul cs 7
deuiie ul Ite uapected
lo erol 20 Zeon,
domrt
ado turext
en T
the advuce Ital ull lre : - ( a f
livif ute no/ioy
paghro hly 1
Cr hon Hke nilgicl
d 57 Ihe &
ha nol
ferraol
the popli
lC 5 eTrnalA
khe we cessayi
Jhlo
Yes prover
be the umns,
trive the quy ll
vue in luro
ita
every
Od are,
cae I
the
50. by 2020, > lsley
prsut
eily
Amarcon nll be
tuma
Aneutoun wll le wra 65. shw - 3 cey
lon
melicals,
Eeraluded
eoimme,
Satocit
ho uteig-celiptat the cit A
deth. Adocis
C 5 (I fat
He age
fuchm hey
culaials ) - igom


WDI
Dozing /hngavis ARS o |SRP
Sczie hee Shour Tle a aips
Lh 0 Iriids
dnH
a iplenci Uu nef S te hr 2 brutr
viyr seale
AE tha hima baiy's atuis,
med 60-70, Ye Cn le ) L sudda i ixtigui Yr
li fuchm - Inice - kor peened k dolue 3
ttary
k halle e!
ugitus refriu
thy hs
Wr bon pabud
Temr
i cnois vr -
do ciif csayg e wn, cafaf
ith
suerival
chalf geppliy
elcuelas
maun
hew diseise, Ju > C
fncl-
hmm
the hulua Wy i
plagus, cend all he ecouse
on the dismaire hile
Griti uneces ang
calaian
Jud u eue ealies -
forerion
ealy ge,
-Tendig Jti-e
muicids
- uenie, ) stopeggig
( Jue -
Clume cinlinlin
Yia dounintel
cirelos, e coise hon
bou, - L So-callel
liflauel -
wha S Je
Suivide Pryra
de tre
hudia
der
sHne
itre
trei hai 7
ouaiv
Ca llesl Ilraala 7
uahs a .
d Lo
hipL 5 L calamis
thi
AttB
Hue
imk Ecad agfo
Lou harfre it
Sula.
aco L
ven
desth :
lighe
frilun 2 rely
ke Ttel
kdeslh
gamd
spialti.
udatard Gly
tnies
leesv BsopT.


WDJ
Iselho /hngoig
(Sace
tte ta dasth -luine hepis
Bes i Le weere vayy
Hers for, ttc star6 -
k pose su
PIE tro 260
sstiral
Socke kthe
arle
adolerence
frer priloghe
U har Gee
ppnd
felyp > etinis, Riegeitap -
dlg I C Nozo
ho ama ens how ens
WTared
giie
yon betrer m t A C


f ( USING THE
Taliy
DELUGE
dnfer
INCONSUSTISILTTT WHILE ROME SURNST
SELF. EEGENERA Tiort
PROGRA M M E
SRP
Seap.creative Pro scen -
MAAMA
Nor filly STren Lik creatip segp
alsg auew, No
2hoikei
No RMAHCY
the klapmies Ita. Clgtranse
nll sv
A potluled lus
Ridror
pohtor
le iupoace 2 the Rowegt wakine/Diat fracris
(Ralaxal 1 C
Breltaip / Some sxiaize, Itesniy
tre tusin' - ad adjastar tha acha cccrdups:
Johettae, the by cill Jart rmnadic csddliy
the
Ced uo
rxeriie, doflerille Dal force
tops. A
i FLEXIBILITY: the staala dug be CREATE).
2u - no hoed haccebk C. a tado
hei - yg ure
Cell npelve Cnetoe Pocen C aerag. Non
ACCAPTANCE in the Aaule 1 non- allgpeic, Lle
haue gum ulp a ca ALLOPATHIC GORLD
Iteris
Meiuie haun Dr The CORPSE,
( acudit", the
ul Jede.l
KONGEUTY LHe 1
CREATED PREMATURE Somtrne sunwal Ra eldl lre dab y) ensl
Be (Cascu uapal Plaal Ca limud un)
IMMUNE
SYS TEM. Koopir it alive
Cis
the NERVOUS SYSTEM
glimil, deprendi -
?) Oxygen - 7
AIDS en cnupx 2 the hemm rys
Ulral Yhe muoit upoau fadh.


22 Flexiliis Tis i lot resistip the nenacgi hs
nemm ryAte: Gineny Jha it 4 Lfk do do. Fa
atau, clae Joi t Be ponter selws t velics
k, be in à
vellel, hol
the the megatiie teeliy ngli
hel-co (lab ueatin toely MLR b
Sye
mnitz.
unolaty-. L
nald lane k, DLu refai yuaed
ad CL i ( halit
I hoden
2 WORK AHOLICISM Co Ye tased at a. syTer
Shice heusfie the nganiom : the meau - n
clo ene
collypee tm Srens Juie save k. hert e livr
lE fom the develgy plat -
1 the Trenlie nlada
ClE PITRRSS, 2n te maclie SEls anrip.
THE DEOD MAN
Lort ifotae rxerire,
dik doe, relex, LE V
The relixiss
uill 6
the deod lna
rpein
u rue tox
- Ha
-fereffou.


SGP
V SCREENS E tere mas crenle as uuhecen aif Teule
silusiai
a ae ue 5 -2 ten usefel.
he uerm
sys i PERFECT.
Raaple 2 sercous. loerno
trer,, Th tn, te tab ixcéutaie the hiyfi T 3o
5e khn Hen bcanse the
C fack the hune I'ikop T
do ca cue, ad thapoue. Sacie pih
mpo-epoin
2o sely gat, lost de reeu deruul
2e2- auslyns.
Playyur rle ligelg
f pulric crsuptin,
Berroawer D tha Kreudia mlytis
LH apu-pg /sge/Lilid
S te pes mes
Supe EGO
cufis, er Su
lire fnn clay
REL-
E GO
whwegn A
ATION
day
SMIPS
21B1DO
ko Ihds S
forhid the retilinsf,
egp
the
Kare.
Rrpes
- ad cngiice -
realt
Lt heved,
put
- ce
DEA TH WSH.
0) He utusn ispnz
V) THE
t becne Cnozio 2 thin.


Seuf EKTINCTON SYN pimdS@P
Vi hue sexul dive i yle C naei 1 fear ad
us tis, - .IU
secains C C. denre
tun meregp C the Casolip
dseu rerel
Hre
the dosth-ena.
i ye t
achi)
harns, hovigll ujne, estiip riceoy, ady
Ty diliy
Re a Nhc the
leidensus
ull til C hnuendow
uprurge. Is Cove folatf
Lexual drive - uok a sereor- aclins
ben K
ae i A 2. YLe Myotan. k
elrw mld Gr
a Sexuel
a mtini
La eu b
annc C te velen)
releale iau cluy Jrrd.
ld - - t. emm
(E Ne Le concif
1hl
ie rluy groed.
hider
doe tha TLLE way
umalver A we
seruel chial
relcle L -l-s dnm
Treid
sexual
topale tendit
4 sug: Ind, derrine
c uli Leustic
Aeie rehgisht
Imle : he
Leirep
hice-led t
tte Lex il
rhen Lan 2
uusslis, usunce vusa.
5 tu Couro
lacal repmenin
LL danes
demand
hls - Le lesy sfaiay
Bri n the cntil - pop
Are mt.
hai - =r
XN thucrozisn
Tala
THE CONTROL.
Jin
( Jelf ensnds
tu fause
damacs;
10za). CORTEX
Tendon (Braensl 2
iberir
Licalig
1c THE GUIDE.
doe the Cmi (e?
chor
tre guide.


Travellisg Trests.
Your
Tavellig Thear.
nur Tavelly
CREATING
WORKING WAILE
Rome
BURNS.
CHAOS
AS YOUR MEDIUM
nl TRAVELLING THEATER 1i
1l Tarellag Therhar 1/
Trenlre /
"TRAVELLING THEATER
Travelling
TRAVELLING THEATER
THEATER
TRAVELLING
TRAVELLING
THEATER
Andrew MNlaugatn.
SHARERTEARE?
WHto
WAS
BEING CREATIVE
WHILE ROMe RURNS
Tharke
The Oxygonelie Trauelliy


mespmr uy kealedy eb
Hal cud m tai
Fns
sofeiie
e etanes
engrer
Ihon kan play al Castal srene ha
efu, Caraii Classie stult
Cit niut's
Kxcallets. Payjutd, pryry - C
on a (
thala.
ah ledir un
neltui
unld hn hem srattind Cal- - Tha uoliice
ned hn A me
sTal C araaiiy howe: Ov
Tus Oxyeeste Trauellis hsked Eaien Prmy
cual Otn Uhs Fiille wriee Rous Bury
CHAO S
YOUR
CHOSEN MEDIUM
TH f
NORE
CHAS S
I HALE
THE
MORE ORDER ICAA MAKE
ORDER LEO): S
To CHAOS Bu7
CHA o S
hEADS
To. ORDER Bur
OR)ER LEADS
To CHO of 3UT
T. CHAOS LEADS To URDER BUT


ith L
cmunati


SEKF - - - REGENERA Tlon
A pucen 2 seg-eretin
The seed- crestaie puven
SELF.CCGATIONAL TRAINING
The hren 2
deld- regusalo
SRP
The Sees- Roguatn Prymaue
Yn crele Juney afren -
c te
hotdn
ude STren > na,
pan fels
eille Srcofrs y-eh He sagf-rjunts PyPaAu
eo Frie
Una
fu J e l k Spure ud
Lih rew
Ie Lmd auew, uol -8 alna Is clze
deuand lk +t T nuuune MynE els plunie
bucta, arol nhe Oren runed 5 Inge, haaltlii
Yeon
Cau
ude Sien
Le Srzms the lne sejiyoue
the
Dihy w
LE A ot unwh
ryrente:
NAy
lule - -


h Gride (ut mehe)
Disr. 7
lne nre,
The "in tapue
L voc usprafneni,
Binx lote hand,
Brsyre I5L
he uete attitele Cpy yeloys)
Vitamii C aly L Tanly
doe wun iyuie,
cRe - une
headeclia,
nia Sm cael
a toxic liie
e liy
uutele
a cluis,
til
rafm
ref
. cle
el Ce bre Jo Wred ciltl
dess - dst-, El; juu -4ge A
X nlt A +
ny 7
phaceulo a : lol crri
(na V
emen: cl -
he hasllud


PROGRAM
SAP
SELF ACTUALISATION
SEMHAR
D' Aerahan Madlow stndiid uper huuely
peplo Lited 2 Hre sch al Jound Her she - ho a Ilasl
seef- aclual lesed
SELF - ACTUALISED.
1 V
CHAOS
aror
7 ar uok seudord chaonié
Ce (e YOUR MEDiUm.
adill-heneth Sa
S HEg sumidiy clocos.
Agiinp
n liver, Nul
the WP 57 holi clarze)
de the feeli
lrey no cr ewold
npro cene
JT 5
vielin
helflen
conkiolle Hhe prs we
Mi puyet i Llul
C u
Due, f hn herp
del w
usels
Ihar
lt T C clusliikh I
Orio)u
apluasra -
Loglui und
Hhore, pro canc
mre
ao L
heu
5 hre
duliey
lisalia
ing
Lire tas seysac dual
- - lts V
Jha
lit -
- - hein
mplan
peckry
puusfe
So weliin y
lue yr fyre
hultav
ueed ueun
acishod
becrue
ide
catet
rea
Sricl V
srifil
pee
+ the
twa a A
Ted
dinds
slen
a fe
C 5
tte 3L
EV nale . L
preen
thiote


WDJ
RÉGÉNERATION
"SRE no
riphpnens
dice He hrd degueala L ndugei the
vel 7 Ingens *
ti the cuilis
- Cnstal uguorlin
G tumoTeleg
zal ust fr thar
Hmet seuile banfetios
cral
infiace
An lu nenal yidur
coat
fu- fevas.
thau
xpnialzly - 8 inficlip
hon bean poducah
1o Hal
lug
Hke sary Sutr A amok,
Ronisue tm
chancteiniu 2 457h yat audoge
Ae crul Sroun
SES SRP?
gemiiar lo Cove eurgo aspece
Te SRP
hou,
/ pechogs
ad Leef- c cluslisa
enditaiy.
myjvasa
diTroned
lu eeclogitaly
kltre
fr suniiiip
der,
goal,
suriks.
in yin
be hmi thu
Abrt
A vill
- ao
imay
1x cluao- 2 Iue
apratole, Ror
SES > tre
mg-mhidon
Tue
tal L OE paoe
love ( urs Jeard
l= Ite SRP,
4ot
fhidl
clre
atlet do creloil
anfoer L
rhe
AL Bntrachins
col s - deas
plag
Ite
uure yklom idl, O0
Nope
tte
ffeur
le mfar laid
aitif
aurpogmnta Mhe. pebrna Lou popt Hy aR
all iohis retoe - :
1-gho th Wr
Hhas
das
cas
juinhg
avasnis
SRE.
doh
LIMIT ON
TME
pouniars
SES-
THÈRE IS
is sypnnise ull podice
SRE = oPTiMeSM.
ledug


i Talwr.
e Lenle
erakttinyf,
the guids
P nele -
elc.
SRE ad SES ase It gomedelt
hop e
fruito
gpleus
alil suaivel, pag-0d.
crels
MELS
OXYUENCSS 7 utuort ipoteu
Nur


ASRP ?
WDJ
Deelk-o oneutalion (pate 2the SRE pofabhs)
luotrie Hue : an Cnisis; La Hhe jmitier 2 aninf
ende
L Hhn - ho lolyg, lno sppvee
appean lne
ugased
ele K
Ylre
d uhe h go,
Tay. T
uous
eke car
popin
tte desth - dense grm
4 A ol hey
ny. the
o talu - thus boustiy
sifer
in cumhuyy
doohh anicide.
ilee tal vll


La Tie
Amit l,
WDJ
Hagftih
Nnre prije uinw ALEXIS CARREL 2 Hre Rochefolls lust,
auraun
tt call. cd.erh dseal udifiilg. Rizhemand
Hayflica 7 Sralos uuins nune te tte Cudtare 2.chicn
Coll, Uhice Carel kaple clive + 34yen
weitauad 8 feru
Otraay Cell, - He eenlnoyaie cluichs hanft hhta Ce nie Co
de k tha cuelise rpulany r dasl. i fra.
Hhagtecd toud Hr cle, dicide ud douin thr
pgulta 50 lai bfn thp 270/. 16 Lolcale C huba
Rie ho huit k Carca calle. hy arnt rmonze isolo
Ie lnody, sce his everlundp kil t or Gls afport syna,
Be hay soer k lsn ls suitze m geati prreme Iil
Ln pomies brea aalzlad %
Tue likelioodd ngelte; Conc doulle, euLLA 9 yoo
cln uga 45-80, Merficily ) -
Jle Ae uhalihood) dyip
dowler wes 8 Feas afe Jexual lntaratin
(l- - tmiere k rinegie Conca call haiy yo deal
it the hula ota k Ingir 97 ryjuvenala: 5
Ialersd
ke ofegpan.
Ahoclg huivc
soudl i ttn Rarey
A DJOAANN BJORKSTEN
Pecans
fh usad k maks Ieler
'Ho, ttu grecil
esternaldl. Ha ford
seveligp
kuon can berox copic,
wu bunlw
slataco a
Ite gelatei
( - prEr
f collagen,
I Sacr
ad clres
tirue. he hrekdorr ii
nhlace
hube
May
Hieey
patesi


"E HATFLICK LIMIT (r
Cnk Cahe ahe deke I CROSS LINKAGE e cella Tenlle cheniac
c 1 for tillo tt prdes, catie a lon 9 clostias L . colasetwr
tenue i 2 ike majin ffecks 2 t agiup poun. Den orypmans
pavee con- Jiskue 8 A5 siminlals nHe usyuyite 7
ALUmINUM IA THE BRAIN
KESEARCH boUNDator
DEROY
SCHENK ( RJORKSTEN
Mation, Uisesnsi) Lag aluminun
The 60/70y00
Kuill uf.r the ti, Jo hlue corip Jeuile
demarltd,
hactie acid i -Jml Sxlrachant,
Lha wre do sTreunou reruie we han dlecosuel
beims Cafloe dioxido
lactic scid, Sura Laaegie
level
Jectic G- - cad G,
Za Co hied Jfn
He hood.
uthssin
heunliss ) 2a te oxygu
A Lay Sxercire He
ELECTEICITY
hewt's lind ice drmotncs lp
Wc kuoe Thal
relardedl - ( ) ds L
gmnk
beif cut 27) Ca be accalend
L clamial
nali caat 7 elechif.
te diredin 2
clso selectal i halp.
gte hi we
- crealal.
decai cuverl
I Oxggaui lele
feel drahnd.. D- aih, eledué:
k low enolani, 5


GDJ
tt TUE HAYFLICT
LIMIT (
The THYMUS slm the harn Hiyre utie 196( bhe
- leptone.tu dinile, tmn A eass nolgrcit adits. (V
Lmiec, - Id ues.
THYMOSIN enalel l Comeel
iutumologiel em - l hny duc C shs (shacmaloid
attece
muluune
Itre
ashala n
cxaph)
wyn
trody
54 k proed Litcha.
T6MOERATURES
Coull
Sle i
1 Rni te
Wd, Tepetin
Paf
6 cerds k
halgins doule ius tf-spas.
trcne ralmbep Cold C th.
us loci te hs
1 u
Aeent
oxygualiel
finl
Lec co
L hsyt nyjus?
hypothal a alu
Jhice ms be m thearo 89al
talacin
dodiun anol calci ion
nns hai? Don Ttu;
Is C hrselts
beune resona S Daygaun
kio- Ie Y Hoa
2 c hnonhy
rfunls
lere.
t jous - H
rehced
Aoh-lclcn,
5 fuain
Lol tt Rdl= doc,
ull tand k retun kl hew Ehralin,
cold
Osypdoai.?
li raples l
vargjat
cgr
Rormonal
lss / charv 2
Thu Sptlm
pnyo unl
-lhe wa ln
decretini
wia heef ranlks
adl
eisbaus -
clay lke peluctsy


UDJ
The "placebs I(
The placelo i leypu ls le undi Ite hendig 2
enl plyricndg
syerti
halug
preldogiel (clign
Appond. Bril -L un L Nomma Corsis deronsy,
ENDXPRINS, Hte ttre by's on uspphice
lugelo puliced
cill
K eliiivet bais dotte myota repai
Aypta
the tales phobobeuch.
Lolt U- causeder euyr
Jodcs
pelexalim.
espul
estuup cn upge
1 - C aclialg
I n selexatui
nlyeu Hhan
"Scanmy -
f (fe Cowins)
Hhe
IMMUNOLOGICAL
l ( yeauniig
U. -qut 2 n'
Burnak - 7
Li - i
Macfotane
SURVEILLANCE -)
alo Ire la,
Ll a515 7 clirese,
wr csar
w ennalt, gat
a tle therc bafm
L ns iumu
rysm tr sranuit ( opfar Sre
tomyh
Rur o ixin
5 becoue - 3 4
mtr hayhe
-prodittur
tere
ttil
Ha >zanniip
sen?
senhattind


RAL fo umer.
(Mishw- - Rehillitlen)
Te asminuy / ad ves rchie, pus can 2
beaning d veaniy ( clecld i ue 7 LEARNING af
acl
fast rata
Ite trie uid Ca hases kasfs
Si -
pace.
Iue -
S hmelen itellyna
ulzaip l Sluclie, ad at G werlles clner
thi, rundenhop
hisod graduep teerit doficip
lemn 2 He Sudwe.
lsu hoc (s
2e mostg tre ho thn doesv
han a la L -
lcate ne ad easaip a une,
leam,
a Ianaleo
detemed.
1J sh Aoo, tre plas
dalne, -
tre
afurip aray
sdeypie
cn al ca ee
hio
STadue 1
talcanip
Spece/honis
thre clinld
do Cor uraat
beone clew In':
a paisla -
kmko te Traunles
iaunli
hoy-wo,
fhe
f Las à alp l uralsss
- aol
hnins
kck wadl,
gai
fe unini n
Uce ute /
te CORTEX
ablitule
hezy ho thr nyjectie,
pw cen.
Jeamiip
- this
rund as - -
L h m a A lr Coru e
le - t riptee


' Haa
esteln. vinl afet,
deslioy
hoh. nyjeetai 20 cip Jnete - lestigy
hol c ay
ha Jeuline
dys de
cohicil noue uart
kttie umul S
nlan - 9 He loue
regrenin
relala nifp
cse do acienful cr C
J- tre N L -
< ttul h Iuselt C part? limy
f R
IGacenul
ad sho Cenuol clo tuac.
the mothe
wle.
hoedy C c sude
ttou
Aware uen 2 re uo I -ue G
Rolfp
pol tnis awaenen
prelininan
ttr the
lum ar


GUIDELINES
1. Theflyer. Not a doctor. But a linkup with the nervous
syetem takes place: this is what Oxygenesis is about.
2. It has to do with oxygen intake:
VO2 Max.
But not the
volume: the tramsmutation.
Breathing alone will do nothing.
It depends on the design, the quality and the aptness of the
brea th at any given time. And this extremely subtle process
can only be done gradually, and differs with each p erson. I
would describe it as the most intimate thing that happens to
a human being, the recognition for th first time of his own
breath, and the miracles attendant on that.
These may take
time to transpire or they may happen very qu8ckly, àccording
to the strength of what I call the emergency control sy: stem
eachperson has.
3. Three stages: 1. The essential (cellular) as opposed
to muscular. 11) The dynamic, with i ts strongly therapeutic
effect. 111) The superdynamic or psychodelic, the phase of
excitement.
But the first phase alone will regenerate and
rejuvenate. It will produce unaccountable feelings of
happiness related to the sense of belonging to oneself for
the first time, of fitting into one's own skin come what
may.
4. The objective is do it yourself: a) synthesis of
emotions b) 'messages' about how to resolve work or see a
troublsesome situation 3) a sense of determination and courage.
5. Now what has happened to the 'wrong' messages? I favour
the word 'screens'.
These are the EMERGENCY CONTROL SYSTEM
which the organism needs in order to survive in the pre-
Oxygenetic phase, which may be for ever. Examples: the
autistic child- --'if I showed myself capable of looking after
myself I would have been left'; tam stupid'; I run away
from any deep attachmen t; mother- or Yather-resentment;
strong super-ego activitys over-conscious behaviour for fear
of unconsciousness of self-loss'; sex fan tasies; drugs;
erudition; a gurv, hobno bing with the 'best people. Drugs
of both kinds. Take 'wi thdrawal symptoms, they denote the
chemicalactivity which goes on anyway. All screens or
wrong messages tend to act like that.
They deplete at the
same time as they, help the orbanism to survive. Bodyworkers.
5. Is breath the only wa y of linking up? Chemicals and
surgery can do it. : But a( morphine wi thdrawal etc b)
'MD' who has no memory after hippocampus operation.
The breath seems to be the direct link, just as the other
way round the nervous system works hand in hand with the
breath to control the system's balance---the sobbing, the
sneezing, the yawning, the laughing, **EXXXXXXREX It is no
good saying that laughing relaxes the diaphragm as the body
workers do, it is the internal massage tha t does the work
of relaxing.
Breath is an internal massage.
5. In this link-up the nervous system be gins to realise
that it xan safelylet go of the screens. that are 'wrong'
messages.
It can safely undertake a deep relat tionship.
It can safely lose consciousness. It can safely give up
being afraid of symptoms. It does this without any conscious
thoughtst at all it si ply takes place. Tue harm ny a
PERFECT e
3 Le - prycholii. belyn aplaic


Add- he
buliphtenmnd teni lso uld
LECTURE
GU.DE Geca
goal,
MENTAL goac
C tC - )
tyurt tt pusron A -
lala
high rajo,
Dtt rel
1 he nemu Pystar dudi -l Hre umup
mnIz
The - SCREENS :
a) The autislic cluld 2 Bettelhani
iuil
ly 1 showed
cafiello ) linlii, yeuyry
uyseg
unmo
Rou heer legt / )
he tatyonArr Uose gereon
Soie srcan - lse sele
e stfid e)
Iranes
hue usman
nttla ol)
vlaxati hidig lygpiteni
tan eils /s
8 ho
hm. He
relata 2
fliés
dufeve
sesspleui d
- 5 Imenin cith L honsrexul. e)gnise san nym
ttae t A
hes
nan sereeus ase
patcee
Tellirg
wn hone Jerfect ad flille Pyrte
ttre secceu, (
alil Itze sricoun, nips reuouie
the
/s lavire
ng, mla a he cenas *
sjatc
THE CONTROL
lemill nirere Ihe atolgsle
leocose
Atan,
S gilhiy
(Jnel
he lnr
OxagENe
relax r*
Cn senour
pocly
N.6 the
Iik
O secedig Ite
TEr
CREATES HYPERTENSIVE HATC)
diflicier
hemus
charge:
A ae the
ryfte
ttac Le -
Impe -h khelieve
lisgins d pypl
doc tte ansoliy.
the
the mi I Cascsunens
uelti ay
tha
henilace bti idun i moistit
Medizla "biy
wislic fluid
2otve
i Meditalei- sitteip - anfu-ago.
i the ammste feued!
An Aii la ho
veniv mn ((
ligerume
Male Juicl - col
* Iniert legiile 2 Gjuteni
fele
(Ck ltadici Ca C
rlexatu)


Au Ca he tunseld Ll origguate Jem,,
Grel ele
Les Yonals Lo uri oll mAM lesideo I
( Ire CJ Jer
I en herliel
k do HL.
J LO Ce Tcle
Cahhol -
asjate srire Tla ives-a
seloxcd, undle
elowts Izclei fmn c enatill
lihe the ludia cilt V vadicaf
caoniu socing.
Reliyi Hho
adipleler
a an Gval' - pruinf elt. -
sle
Hhe
(eve f poyrbotir L la ritalo
prpecti: 2
myine
held -
mla, hotts
relcare al te
lowvesiip Itre
cus He ruls). "Dupan in
bamry (I I
"serenis,
luure.
emolin meer AELROTIC
Lr grop
helel Lreuis, ice lare ebelan
sexual >xplosin
ttre nid'
frsTiala
ttre
Ortguon
So Jhe mygune
failidl Is
apenta).
tha udiar hat
SYSTEM Snice
fopote
bor
Uen elte Ire Cam LR At
C Jap-
grie k nte
thre darges -
C an -Le thp ro trois )
- nire
irplanin
A Le
gin
the
) uclollal
vistec
dous somes
Uen,
inon
foor Ltha
pates
lunslisrn
G dwsep.
ne the
ad eary - -
print
tiju
d puich
Fadang kie
(T PENTAe
p-pt
an iv si -
itu
cafuru
culd
te reuitin
4 ite
- L tlerr S
3 la a
rt peroy - rue
1 hey
doal
sare
rily
meepiusg
nite (tL
ol Luud
( hurle
RETURN.
Are


THE
CONTROL ael ': ' arins 1,
The Cantoa:
enhiat.
pai Jry
Aouh rn thate
AMYGSALA - (
Unises
d the
ispmes
enduig
HIPPOCAMPUS (
AP an Itrei
uess,
the - the MASTER
i/malt khe CNTet,
CONTROL
CENTRE X
Aeslur ele.
plaunin,
au Auester Huac Ire mec ha C hee
ho cnoot n the
the
the
Tain
igidrceyue
L a huse datenie Uhe ull
boyrae ryreus ad Uae sill mha ah enduniy
neum
srifeg receire, thi, lmalt:
We cle han,
Itie
luMon
Ce 9 C
nelny Itu
rapeni
loei lelr
jmnit,
ifrtee
lesy
apurice,
LE Je dos k. S 5h-
hes 1
becanre the
piing
Mcc
plauuly, supip
hol the seal Cennsl.
sersay alonles Saeu k Cle -
electaci Kmhrdu -
we ung L Orgguani hon
key Is te YMen, ih pous l5 insluce Wectiag.
Emist Cer he
Siuulelce eleclucigp shs
We Aain i refpned t smogrg, ey simnlatap
MMBIC SYSTEM ck te kase ) the bei.
SHAT
C tag
T tzed
AE Coot Ka
M ole appuocce dithn hn the altape ettu a


THE CONTROL a "ConScrous"CoOUS"CONTROL 2
Wisn Shice dominala. unsten uadiciie hecare L day
the Juile fn ustace,
PET (( POSITRON- E MISSION
ToMo GRAPHY)
tre hi ill aw dilture ara 2 7te
Grai lipeig uf I
- a xiou petuit ( the tmtal reg
p-las 7
dopanive
njur kiuphe)
L ttu
lefr
l thn
dins
haked alec 2 lho
centiol enotor
cund Jule tofm we ca
Lenigho,
chonical Lo Ylac anxics
evelalp 5 he ude 2
( yupt-, bob
Le bnu
uf reasnd
- e 5 dad,
Jua Ln Itan
diprni
auxies d dfunin,
A mse 2. the
le OR "SCREEN
11 WRONG MERSALE
nra C Ite
e CMPETE
OPERATION
the
hems
ous
ZEA
Pypfen.
ide
vill
) the nemm rysta -
BREAT 7H.
RE HA 3LITATION
THROUGH 7HE
ad Huis
oug pmils
The
clarco,
ual - slor
au dug- tikir (nito
maslicsleni)
tre
canticil
E L
phern
dey
L toyy
hycddelic
roe
ALLOPATHIC
tidrcne 2 tyaple
tote
heind da
Uho vees t
L the mck I
allgitui
clonriss
auxies
pai
Jhatle
-fihlsd
hofhoyary
we srifs
ut alo aslt-0
Rer
BE 1ry
tho spptn
the urnus
rehour
Shice do indoad
I - balicure
srel
helasd,
aip
He nams
do L Lnh efte
dusleshfeot
uol
TARL
A Luy
o Ayle
the
ays7
dei, oxgpun
ta ( tre ixaph
lap
Jev
bless
belm
sil
Yhens,
were
ainsoly
eol uell
bnko
Hur
duve
fyn lfrt
sail i 2a.


WDJ
THE CONTROL
ConSClous CONTROL
: Klan te
iu the huphine addice
attudinuee
Aus
ligh I Cau L Itie
neuntran - Itcs I tha iri cans
appiuan
ehes -r pai -
on cheriil t pedict
ds Ca
rs lam
red leae pr
Hre la Miie spida I
te - iu gGIm
senctn
the mco h
lala ciny
Anel Hei
cloni ( t C tuie
tral
enctil sblemt.
pacic
podini
the ddice - utt
HL t L Kie
i lee doynas
hn |s
drur
smr
- - tle
Belicse cl dirys
we Les
npa
Appi,
lice we
ulalucin tekri,
rypte
aey- rgwatir
ticil,
uls
ae rxpuntels
tha cmdlail
Coun uf Alece
lelie sefg. dro Ing
BRSATH Ca uegr
L cae
Uup THE
denloped t gna
Ttro
- trelp
sle
te hrelts MAR
e ltt MUT
"litaiy
thl hAte -
weuct +
CLO
lue
t SEROTONIN,
Qmn
Itre
aur igi
L ult redics
MITTERS,
Sal icisle. Re
7 Itre NEROTRANS
the
patie,?
dofron
- Ana
ar x?
sspmoiss
pmitir
Hue
a can 3
hret 3 ce -Hho.cbut
hor tous
Ire namr MEYTE
cle
ad Juy
the cupele el
Ue turer
Tno conAY
Te sucu
THE CONTROL.
nile
Lien Loles i
ha 2 on beup,
resum ayne
chilp
- en
d the coufule
ryste


Veral, thac A /s a mpupiiinl, Ilugis (lika Ext e th
Kil- Rm murp) tha dunro doue - ajle (
tafmay ad itue ag be lestuf f ap hisal ypeus
te ponslt A hny ned. tmla nd coma
OUT
Ant 7
cmk.
lv ACTING siltrolras
Cill
Ae Sricgen - jun c
Sea slug
tpalu,
mice i jug
feadiy
une
phony
tha
an electui shocke + nerusip Jusel lear" fomulee
Jo au Ivaius
Jhock - -ppliad,
+ C nlrte Jube
d Aittiy e pillo
CH ths
7 bebnim,
The hrmla
halre tixer
- anyr U
morc
hantonnle
heme by sta inth
doer uols s H
Tuii i wly tte oxyguute purcen
huie as
gmp
the grup n Jei
he eufhris
tore
L tha - liudand < sialala 2
Cmud purdicn
THS COnTROL
ill
aeuntran . Itco Jui e
foavet the WhJrawrl
Vey
Ond (she
the
umk.
fm doipit pope
H uthdrawal
Hhis too has
tra
7 7he
addice,
-prensh
siprsine
k lamit
hmab
Lan
nws systen
a has 1 rel
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(LACTURE)
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1327 Milvia #1
BERKELEY
Dear Mr Cousins,
For a long time your work has. fascinated me---indeed
it was one of the things that brought me to California.
I'm taking the liberty of writing to you out of the blue
intthe conviction that the work I'm doing in a technique
I call Oxygenesis may shed light on some of the processes
you are interested in, or open up new fields.
I describe Oxygenesis, as a technique because of my
reluctance to think of it as a therapy or of myself---much
less---as a therapist. But I do constantly see remarkable
and intriguing results, using this me thod, which I've done
now in hundreds of sessions in three other countries.
enclose a printed release which a psychotherapist is putting
out here to psychiatrists, but I would like to add a few
comments about Oxygenesis for your particular examination.
First of all Oxygenesis is the use, by means of care-
fully controlled stages, of intensive breathing rhythms
alterna ting with minimal-or non-breathing, in such a way
that the organism learns optimal oxygen-utilisation and
begins to undergo S triking changes, three of which Iwould
like to mention here.
During the breathing process, usually after three or
four sessions, something is at work 'scanning' the body,
going through sensitive or ailing areas which may or may
not be known to the subject previously as sensitive or
ailing. It could be a slight liver cramp that is evoked,
or a raw sensation in the throat or nose, or an intestinal
ache, or a sensation in the kidneys, the sex area, the
prostate. The 'scanner' feels like an eletrical force,
slight but nonetheless dominating if one remains in an
entirely relaxed situation, but which is at once broken
and interrupted if one tenses up or moves. It is as if
all kinds of electro-chemical actions are being triggered
off, much like the production of your endorphines by means
of laughter (that is, the explosive toxin-releasing out-
breath).
Now the throb, the ache, the sensitivity almost always
dis sappears in a few seconds, ei ther while the maximal brea th-
ing isataking place or during the minimal- or non-breathing
phase. Frequently it seems to remove the distress but if
the area is 'scanned' again and again in subsequent sessions
it seems to point to apersistent or chronic condition. A
surgical wound may be 'scanned' for a period of two or three
months before all sensation dies away and the subject is
left with the feeling that a healing process has taken place
deeper and speedier than the normal one.
Not only does the 'scanning' take place where seemingly


it needs to go but it does so in a. chronological sequence,
dealing with distresses either alone or in groups, and
according to a cer tain priority, so that the more superficial
distresses, such as a heavy liver from a rich dinner the
evening before, are dealt wi th first, and the deeper or more
persistent ones last. In Rome I Oxygenated a young psychia t-
rist who had some months before been involved in a car
accident.
He experienced in the second session acute darting
pains in every part of his body, angasdefinitéwsequenceja2g
and when I asked hi m what this was he said that the pains
seemed to be a 'recall' of all the wounds he'd received in
the accident,. though'new points, where he thought he hadn't
been touched, were indicated, giving him the impression that
the pain that had reack/nim consciously after the accident
had only indicated a small part of the total shock. The
pain that persisted in subsequent sessions was in the head,
where he had been most hurt.
I am wondering whether this 'scanning' system doesn't
connect withMacParlane Burnet's immunological surveillance.
Nat turally the immune sys tem does"function better when oxygen-
carrying in the blood is efficient.
The second phenomenon I wan t to mention is the rejuvenation
I see taking place which is less agsuperficial vigour than ax
gradual relinquishment of death-orientated atti tudes, and an
acceptance of one's role in life, and the roles of others,
wit thout complaint.
I find that my subjects can talk freely
about their 'weaknesses', where before they were highly
defensive and suspect of intrusion. No one, here, has
intruded on them: they have been introduced to their own breath,
which seems to exercise something of a baptismal effect, so
drastic that I am inclined to think that no one can safely
go through life wi thout it, and that at one time, in the wiser
ancient civilisations, and in the sects like the Essenes,
such a technique was an accepted part of initiation or
maturation ceremonies.
In medical terms, here, I'm reminded
of Richard Cutler's idea that deep relaxation, since it involves
minimal oxygen-consumption, may well increase the store of
superoxide dismutase, at the expense of the free radicals.
In this case, Oxygenesis induces a spec tacular storage of
the pro tective enzyme, in line wit th the 'scanning' of the
immune system which I described above, or perhaps as an
integral part of it. This is why perhaps the yogi breath-
masters discourage a sudden cessation of brea thing practices
once they have been begun.
Maybe the free radicals, liter-
ally free now from their enzymic en emy, return in full and
more devastating attack.
The third phenomenon I'd like to mention is what I call
the 'antenna' effect which tends to happen only in the case
of highly erudite, thoughtful or imaginative persons.
friend of mine here, a retired oph thalmic surgeon, published
a book you may know called KUNDALINI: TRANSCENDENCE OR PSYCHOSIS?
In it he mentions Ben toff's researchs on brain activity in
meditation.
Bentoff talks about the 'antenna! which in the


deepest s ta tesseèms to connect the' individual to an outside
source which i's strangely informed about the inside source,
in such a way that it produces answers to problems that have
been weighing on the mind, suggests optimistic. courses in
wha t the mind may have- been accepting in a pessimistic fashion,
and generally breaks down the obstacles which the mind has,
in its effort to solve its confrontations with reality, been
confounded by.In Oxygenesis, there is a terrific sense of
breakt through when dealing with ideas.
A sense of courage
and initiative may enter where there was defeat a moment
before. It is as. if the whole a tmosphere round the head
were being cleared, and a highly affirmative message being
received that no thing is insoluble or, more properly speak-.
ing, sorrowful.
Your idea that .emotions kill or make life is very
attractive---Reich said that neurotics, in his experience,
breath shallowly, because strong emotions mean strong anxiety
for them, and stronger breathing would have created that.
Now Oxygenesis does strengthen the emotions, I notice, but
the anxiety about experiencing strong emotions diminishes
with their growing strength.
By the way, mentioning the 'antenna' effect above I am
reminded tha t this was the way, step by step, that I reached
the method of Oxygenesis, quite as if it was already packaged
and only had to be shown to me if I was patient enough to
receive it.
It came in â series of, So to speak, information
bulletins, always in my own Oxygenetic session in the early
morning.
People say meditation leangthens life, as you know.
For me medi tation as it's known in - the West is a misunderstand-
ing of what it meant for the Indians.
In our language it
has) got caught up with meditare, to ponder, that is precisely
the opposite of what the Indians meant when they talked about
'getting rid of the mind'. In Oxygenesis dhyana is actually
achieved, that is a total cessation of outward impressions,
and I don't know another system that doës it, at least not
consciously and deliberately.
This simply cannot be done
in the West in a sitting position, though of course sitting
for an hour or so can induce a pleasant state of calm. But
so can a glass of beer.
With all goodwishes from
lus
Maurice Rowdon
PS The idea of a possible 'store' of superoxide dismutase
through deep relaxation is unattainable, I think, through
any normal relaxation, even the 'progressive relaxation'
of Edmund Jacobson. I'm saying that minimal breathing (i.e.
in deep relaxation) isn't possible except as the afterma th
of maximal brea thing under controls.


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RA L
WORKSHOPS
SCHEDUNE
) Inpolucto, -
Talk.
a) H W 6 lac:
e-) My fan dui la 3 lJle.
c) The prisple. pot - fastile pophary
deuicd do carlp i centcbon;
tiologiel eq- kuodedeg
Fatde Femle
ttac ha
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The Creative You: A Complete Guide
Chapter V
Neurosis and Creativity
to Unfolding your Na tural Creativity
Anxiety: What it is and how to cope with it.
When we try to create something, be it art, a new solution to a problem,
or any sort of new form, there may be days when the very thought of beginning
or carrying on with our creative project putslus into a state of pure anxiety.
At best, the anxiety will-make us uncomfortable enough to consider avoiding the
project altogether. At worst, anxiety can literally paralyze us or blur our
vision such that we cannot even see what is to be done. Unlike the fears we
named earlier in our discussion of unblocking and deconditinning, such as
"fear of failure","fear of ridicule", "fear of success", andiso on, anxiety
cannot be so easily named. It usually is of such a vague and undefined nature
that it is - 7difficult to get a perspective on and distance from, unlike
our "nameable" fears. We thus may be hard put to get past it.
The experience of anxiety, however, is to sôme degree a necessary and
constructive part of the creative process. In the extreme, of course, it is
neurotic and destructive, which extremes we'll discuss a bit later. The
sources of anxiety may be various, butf usually
Lit ariseg during the exploratory phase of the creative process, when we
are reaching wi thin ourselves to the source of our creativity, or after the
of information
phase of gathering all the relevant bits/for our project, when we must then
allow a 'gestation' period.
In the first instance, after we've posed the important question or problem
and are reaching deep within ourselves (or further outside ourselves), we
may also be reaching to the depths wherein lie buried some of our deepest
or some of our most painful memories,
fearsk those we may have years ago repressed. Anxiety is like the screen
of non-awareness which protects us from experiencing fear or pain or signif-
icant aspects of experience we may not have been able to handle at the time
nècessarily
we experienced them. In the case where we are not /reaching painful or
fearful experiences, we are, in any case, reaching for "new" experience,


anxiety 2
new in the sense that it is new to our current experience of ourselves,
or new in the sense that we will do something new with it in our creative
expression. And to bring something new into being, we re-define a part of ourselves and
the world, and must therefore let go of an old definition of the world,
of ourselves, or of our experience. In letting go of an old pattern, we
let go of something familiar, something secure, a tried and proven way of
feeling related to the world. Anxiety may ensue, filling the void where
once there was familiarity and security.
For instance, suppose I am writing about an incident which happened to
me during childhood, which, until now, I have remembered only superficially,
in sketchy Outline. Say, I remember having fallen down a stairway when I
was four years old, tightly holding my large stuffed Easter rabbit and a
glass of water, which broke and made a deep cut in my arm. At a certain
point in the writing of this event, I become overtaken with anxiety and
am unable to continue writing. Effectively "blocked" at this point, I get
up and go for a walk, letting my mind wander where it will. Halfway through
the walk, what comes to mecis a feeling of deep sadness, tinged with anger.
As I notice these feelings, allowing them into my awareness, what then comes
back to me is the memory of how abandoned and alone I felt as a child, with
no one to really look after me: my father was rarely home, Cashis work
required him to travel a great deal, and my mother was not redly very much
into 'mothering'. The sadness and anger which I had felt as a result had
been too painful for me to look at until now, when, as an adult, I could
re-experience the feelings from a position of strength rather than one
of weakness and dependency. But now, to admit these feelings to conscious-
ness required that I re-structure my understanding of who I am: I had
to look at my Cadultt feelings of lonliness, sadness, anger, fear of aban-
donment in a new way, as partly stemming from early childhood experience,
"not necessarily as a result only of actual treatment in my adult liféby


anxiety 3
various friends and lovers. The anxiety I experienced in writing about my
childhood experience was in fact the experience of a temporary loss of under-
standing of myself, a loss of-reference point from which to create. As I
then realized what experience underlay the anxiety, admitted it to consciousness
and made new sense of. it, my anxiety vanished.
This is the type of anxiety. that is inevitable during the creative process.
Whether or not it blocks us from continuing to be creative dep ends on what
we do with the anxiety. If we try to escape it or regard it as inimical
to the creative process, it will probably grow, and in so doing, reduce
our self-awareness, the very channel through which we express ourselves
If, on the other hand, we acknowledge our feeling of anxiety and allow it
to run its course, it will pass, andthat which had been ready to emerge
into our awareness will do so, thus deepening and enriching our creative
process.
A similar kind of anxiety may result during the creative process when
we are confronting a new external situation or set of demands, which requires
us to act with no apparent reference to previous experience, fOr instance,
if we are required to compose a musical piece to fit a particular situation,
to write something about a subject we are unfamiliar with, to improvise our
way through a foreign country. or through a social situation we've never before
encountered, and so forth. This type of anxiety is, to some degree, an
inevitable part of life. As long as we are driven to actualize ourselves,
to allow the unfolding of who we are and may become, whether through some
art form or through a non-artistic form of self-expression in the world,
we will experience anxiety. We will be continually confronted with our
own changing relationship to changing circumstances. Our repetoire of
patterns of living will not always match up perfectly with the demands of
the environment, and we may often experience ourselves in conflict with our
environment.


anxiety
During the moments, days, or months, perhaps, before we find wi thin
ourselves a new set of perceptions or approaches with which to meet the
external challenge to our creativity, we may feel unconnected, as though
we don't fit in, stranded with no certainty of success in continuing on
our path, with no guarantee that what we are about to do will answer the
demands of the situation. In these moments of unconnectedness, or apparent
unrelatedness, our feeling of being cut off from the world is experienced
as anxiety. For instance, at times during the writing of this book, I have
gone through periods of uncertainty as to who you, my audience, are, out
there, about whether what I am writing will connect with you at all, or
whether I'll be speaking to a void. If I were to focus my attention on that
uncertainty, I would be in a constant state of anxiety, such that I would
probably never sit down at the typewriter.
On the other hand, if, rather than âvoid the experience, I acknowledge
that I am feeling anxiety, let it pass, and then bring my focus back to my
own process, to pay attention to what I have to say, I can better know what
it is that is most likely to be meaningful to you out there, who are not,
in essence, so unlike me after all.
Likewise, the more conscious we remain of our unique aspects, our
particular manner of being in the world, the more easily will we be able
to function creatively in new situations or with new demands upon our
creativity. If we resist the pull to disperse, our energies and perceptions
worrying about what the marketplace will allow, what external standards may
be used to judge our work, we will then' most easily be able to select from
new situations the elements which appropriately pertain to what we wish
to express. We will more readily be able to perceive. patterns amidst apparent
chaos. As we allow ourselves to perceive these patterns, we will again
feel ourselves connected with the world; we will have new clues as to how


anxiety 5
to proceed wi th our creation in a way that suits who we are.
During the periods of uncertainty, or anxiety, before we "see our way
through" to a solution or creative resolution, it may be advisable, once we
have taken stock of the situation, to turn our conscious attention away
from our project and do something else for a while, thus giving our uncon-
scious processes a chance to do some work integrating the new information
we have gathered into our. own particular way of expressing ourselves.
After a walk or a swim, a good night's sleep, some time spent refreshing
ourselves, we may then come back to, our project with fresh insight about how
to proceed. For instance, if we have an idea for a short story, we may
know how the story begins and ends, who the characters are and what the
setting is, but we don't know how to move from, say, the second scenario
to the third. We might fret and worry ourselves into a state of anxiety, or
we might take a break and do something completely different, and let the charac-
ters work it out among themselves in our unconscious (or we might just visualize ,
the characters in our mind's eye and just wait to see what they do). How
often have we gone to sleep at night with some restlessness or anxiety
about some problem, only to wake up the next morning, or even in the middle
of the night, with the solution as plain as day?!
Prhaps one of the most common sources of anxiety is when we over-plan
or prematurely structure our creative project before having given enough
lattitude to the exploratory phase (as discussed in Chapter IV, The Creative
Process). We may then experience all sorts of anxiety because what our
rational mind has planned out doesn't seem to mesh with what our emotional,
intuitive mind is trying to say. There may indeed be a conflict between
our rational mind and our intuitivekemotional mind, but, whereas the rational
mind can find a harmonious : adjustment to the intuitive mind, reason which
is not intuition-based can never come to terms with intuition. I am suggesting
onlyr
that we may
remove ourselves from the horns of this dilemma by stepping


anxiety 6
over to the side of our intuitive, feeling self during this exploratory phase
of the creative process. For instance, in our short story, if I first iden-
tify the feeling my character is experiencing, then how that character expresses
it or acts upon it,(using the "logical" aspect, or his verbal expression),
will naturally follow. If, on the other hand, I do not know what the
character is feeling, but I try to bring him or her to life bylputting
ready-made words into his or her mouth, the dialogue or monologue will be
flat and meaningless; the character will remain lifeless.
If we allow our rational mind to dominate our intuitive mind, we will
be unable to follow up on our own inspirations
those gentle, nagging or
cryptic messages we pick up from inside ourselves or from the surrounding
world, which tell us there is something going on of importance to us.
These inspirations, or seeds of inspiration, provoke our imagination and
call us to explore further, until their special significance for us is un-
covered. But we cannot logically pursue their hidden meaning. To try to
do so usually provokes anxiety, as the rational processes will prema turely
structure the insight which is beginning to unfold. (We may see a parallel
in the development of children: if a child/ forced into a rigid structure
of learning, such as being taught to read too early, before/ his! more
basic, feeling/intuitive capacities have had a chance to develop, he will
become anxious.) In the case of the adult creative process, we may, for
instance, have our attention repeatedly caught by some pattern, say, some
quality about a person which'we can't ignore, yet we can't quite put our
finger on,
We have some 'felt sense' about the quality; we may obsess
about it, or just feel it knawing at the back of our mind. TheTmessage
is clearly there: "There is' something about this that I must get to the
bottom of." But to think logically about a felt sense is like trying to
define a flavor using.e engineering terminology - - a different 'language' is
required.


anxiety 7
In this case, however, it is not so much a language that is required, but
let go of our rational process in order to
we must, rather,/allow the meaning of the inspiration to float. up to
our conscious mind from our intuitive depths. The meaning of the inspiration
may arrive in imagery, in 'scenes' from some past or imaginary event. Or
it may, occasionally, arrive in the form of words, logically or poetically
ordered. But what is important is to allow the emergence of the meaning
rather than to pre-determine it with logical arguments or structures.
Neurotic Anxiety
In the extreme, the dominationof our feeling/intuitive minds with
our rational minds results in neurotic anxiety, or surplus anxiety,
usually of the kind that lasts for years and may even dominate most of our
waking moments. This imbalance within will also be reflected in our per-
ception of the world around us: we will also experience ourselves at odds
with the world, and, consequently, feel anxious, or anguished. This sort of
neurotic ankiety may stem from our inability to set our own standards,
which leaves us dependent upon approval from others. Or, on the contrary,
an imbalance may be the result of using our logic to cut ourselves off
from interrelationship wi th others. Thus isolated and defiant, we will
experience anxiety. "The individual who can only define himself with reference
to external criterion will develop hostility toward those whom he regards
as instrumental in the suppression of his capacities and freêdom; and the
isolated individual will develop hostility toward those whom he believes
to be the occasion of his isolation. In either case, the hostility increases
the conflict and hence the anxiety." (Rollo May, The Meaning of Anxiety,
Neurotic anxiety may. also result from extreme cases of letting our feelings
dominate, rather than guide, our rational mind. The experience is one of
having no structure or too little structure. In this case, we may feel
unable to see ourselves as separate from what we are feeling. We experience


anxiety 8
ourselves as 'being' a feeling or set of feelings, rather than as someone
who has these feelings. If we cannot separate our sense of self, our awareness,
from what we are feeling, then the prospect of starting the intuitive/feeling
aspects of the creative process may arouse fears of losing control; we may
let our feelings "get the better of us." (See Chapter IV, "The Creative
Attitude")
These extreme cases of neurotic anxiety may have origins in early
phases of our development, in childhood, and may perhaps best be dealt
with by psychotherapy (see chapter on "Creativity and Therapy). For instance,
during childhood, when we are dependent upon our parents for survival, we
may have experienced intense conflict between getting from them what we
needed to survive,and feeling free to express who we were then. Then, to
express who we were as small individuals might have been threatening to one
or both of our parents, or might have somehow cnnflicted with our family
situation. To express ourselves then might have resulted in our parents'
wi thholding of that which was necessary to our survival, especially love
and acceptance. The powerlessness and helplessness the child experiences
in such situations creates a state of anxiety which may remain with him,
just below the surface, well into adult life, until he takes another look
at the original conflict and determines that it is no longer relevant.
Always, in the creative process, we must be able to tolerate moments of
uncertainty, of no definition, the "fertile void". If we try always to con-
trol what's happening, if we must always know "what it is", or where we're
going, we will not allow our unconscious or intuitive processes ample free
reign to do their work. Some will experience this gestation' period as
one of intolerable insecurity and will invent innumerable reasons to explain
it, such as "I'm really empty inside", or "I must be dried up", or "since I
don't know who I am right now, I must be nobody, with ni thing to say." If,


anxiety 9
on the other hand, we recognize a certain amount of anxiety as a positive sign,
as a signal that we are letting go of something old or obsolete in order
to make room for the new, we will enhance our creative process rather than
feel compelled to avoid or suppress it.
". .without any intentional, fancy way of adjusting yourself,
to express yourself freely as you are is the most important
thing to make yourself happy, and to make others happy."
- - Suzuki Roshi


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Rollo May Anxiety
Anxiety is objectless because it strikes tat that basis of the psychological structure
on which the perception of one's self as distinct from the world of objects occurs
Self-dynamism is developed in order to protect the individal from anxiety.
The converse is true - that mounting anxiety reduces self-awareness. In proportion
to the increase in anxiety, the wwareness of Or's self as a subject related to.
objects in the external world is obscured.
One has a fear, but one is anxious.


Albert Hofstadter, cont.
** * And in general, imagination is the power by which the very forms of
being themselves
forms like quality, quantity, measure, essence,
existence, substance, cause, matter and form, potentiality and actuality,
me eand an end, and ultinately truth itself - are unfolded in the process
of the disclosure of the world we inhabit.
Imagination delimits space. Imaginative condensation is required,
for instance, to distinguish sizes, dimensions, distances, relations and
relative positions. Correlative with such features as rooms, places,
or locations as portions of space seen as possibilities for occupancy,
it introduces the basic notion ofspatial existence, namely presence,
with all its mahifold possibilitis, such as limited location and
diffusion, inhabiting, dwelling, occupying, sojourning; its opposite,
absence; and its movement-related forms such as coming into presence
add departing from presence, appearing and disappearing.
Every spatial phenomena or FE entities whose being is or includes an
essential relation to space, whether objects, events, actions, or
other phenomena (matérail bodies, radiations, jumps, flows, journess,
convergences, meanderings, lightning flashes, spreadings of shouts,
invasions of smells; possibilities of shape and form: arcades,
scallops, tunnels, elbows, battlements, pimples, dimples, symmetries,
deformities; paths and movements: straight, circular, elliptical,
serpentine, rising, descending, separating, EM meeting, approaching,
retiring, unswerving, twisting, entering, issuing - each of these
and each of the countless others like them, is first, envisioned by
imagination in an act that is at once invention and discovery of real
possibility of being and that, by determinately confingruing its spa-
tiality, helps to differantiate the actual form of the world.. : .Imag-
ination E is the powr and the act of differentiating and integrating just
those opposed factors - existential and essential, factual and
intelligible, sensuous and conceptual, material and formal - - by
which the being of an experienced world and its contents are articudated.
In this way imagination serves its function as organ of actuality
"actuality (as Hegel said), the core of truth which, originally produced
and producing itself within the precincts of the mental life, has become
the world, the inward and outward world, of consciousness." (Hegeè,
The Logic of Hegel, trans. from Encxclopedia of the Philosophical
Sciences by William Wallace, London: Oxford U. Press, 1931, p. 9


Kracklauer
question df meaning, antion, anxiety
Lived experience different from meaningful experience: in lived
experience, "we encounter only undifferentiatied experiences that melt
into one another in a floeing continuum. (Schutz, Phenomenlogy of
Social world, p. 51). For meaningful experience, I direct my
attention to something which is apprehended as discrete, as an experience
"Because the p concept of meaningful experience always presupposes that
the experience of which meaning is predicated is a discrete one, it...
becomes quite clear that only a past experience can be called meaning-
ful that is, one thatis present to the retrospectiee gl nce as already
finished and done with. (Schutz, p. 52) The passing moment.is not
without experience, but only the already experienced is meaningful.
A large portion of our lved experience can never become meaningful.
These portions are those which H cannot be recovered by memory, and
cannot, subsequently, be the focus of our attention.
"Moods," "feelings
and."affects" or the "internal perceptions that lie cloe to the sbsolute
private core of the person are irrecoverable as far as their How is
concerned, and their That can be laid'hold of only in a simple act
of apprehension. (Schutz, p. 53)
Action is the constant effort to realize imaginative
possibilities which are implicit negations and ideal transformations
of the existent." Goldstein, Human Nature in the light of
Psychopathology, a p. 56) Kracklauer: "That is, in imagionation I
see myself as something I cucrently am not, but something which,
through my action, I could become. That something which I could become
is an "ideal transformation" of myself as I am; it is ideal becase it
is complete and finished.
(Goldstein, p. 61: "action is the execu-
tion of a projected act.; the meaning of any action is its corresponding
projected act."
The meaning of any action is its corresponding
projected act, but this meaning is still reative to the "moment of
the meaning-interpretation." (Goldstein, p. 45)
Lived experience only becomes meaningful after it is reflected upon,
after it is made the focus of an act of attention. "The meaning lies
in the attitude of the Ego toward that part of its stream of consciousnes
which/has already flowed by, toward its 'elapsed diration."" (Goldstein,
FObaring ego


Kracklauer, p. 2
The problem is not so much one of competéng acts or competing means to
realize them, as a choice between items which were given to the agent
simultaneously, but rathér:
The problem should not be conceived in terms of spatial
goals, of pregiven pathways, of th coexistence of acts
X and Y before one of them is performed. These goald
do not exist at all before the choice, nor do the paths
to them exist until and unless they are traversed. However,
if the act
let us say X
has been performed, then
the claim that, back at point X o, Y could equally well have
been chosen is meaningless. (Goldstein, p. 67)
The action, once completed, is a unity from original projectto
execution, regardless of the multiplicity and complexity of its component
phases.
Re: Attitude of. Ego: ".. the meaning of a lived experience undergoes
modifications depending on the particular kind of attention the Ego
gives to that lived experience. (Goldstein, p. 73) (temporal distance
from which the experience is xiewed influences its maning, So does its
"oint of view" in terms of the " depth" with which it desires to
penetrate the experience.
Schutz: confinguration of meaning or meaning-context:
We say thatour lived experiences El, E2r - : .E stand in
a meaning -context of and only if, *oneé thay"have been 1 ed
lived though in separate steps, they are then constituted
into a syntehsis of kigkex a higher odder, becoming thereby
unified objects of monothetic atéention.
KK: After this fashion, 'the total content of all my experience, or
of all my perceptions of the world in the broadest sense, is, then,
brought together and cooreinated in the total context of my experience'
(Goldstein, p. 76)
"This growing core of accumulated experience" builds up "layer upon
"layer" and becomes the individual's reserve stock of knowledge."ibid,77
It is from this reserve stock of knowledge, or highly complex structure
of meaning-configurations, that a person draws the "schemes of experience
which interpret and order his experience.
"A scheme of our experience is a meaning-context which is a
configuration of our past experiences embracing conceptually the experi-
ential objects to be foundin the latter but not theprocess b which
theyxexd were constituted." ibid., p. 82. Thus, "to thenatural man all
his past experences are present as ordered, as knowledge or as awareness
of what to expect, just as the whole external world is present to
him as ordered. In addition to "synthesis of inner experience" ibid,81,
the natural man "'has'...a stock of knowledge of physical things and
fellow creatures, of social collectives and of artifacts, including
cultural objects." ibid., p. 81


Geunins vepras u a L Loe
1 up wry el un t
profaral f ENACTMENT
RALA W
YLW
Yontty L rpur L emr
FRA Yseulan
Feule Repauntui A
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lueue


Mo le C
P YA
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Tin
fret spoled
ATE a 2
Hhae cliorcs 0
dyl
lnoi co
RAh
ROBERT BRIGGS
BOYNTON
VUD)
ATSOCIATS
7ol
PANORAMIC
Po Box 7
VALLEY
MILL
BERKELEY
attila
We wnv
ad ricl
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stedlis N6L hribi clioys
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WDJ
Regeesation
Gue dinphoval
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vice
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2 Thi
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calnry LE denive, tm polnged usse 2
Onal
hl, ad polageol iguoace 25 pocanes.
7 docial
tti demies tu L
tame rceptes
tre
values emauatip tp
He uiedia, Ityn
iotitaliny,
heedica
- stchimbat
cel the seligoie


FRAY
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old age - hot udoladi Ho boaly tho Rolyrel
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ultz seniit layurre - day se
Jivup inmyp
Cnalitiais






CROP HERE
MAURICE RowDon
ati332


practical system for conducting our lives on the
basis of our new expectations.
All the power and
motivation in the world are useless unless we can
translate them into action which suits, advances us
and make us happy.
Seminars in San Francisco and the East
Bay Area.
For further informa tion, dates amd
locations call:
promotion and supervision of Kew therapies,
sand it was in this clinical setting that he first
began rejuvenation teachnigues, subseq quently teaching
these in various European countries.


RAL
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PLACE:
TIME: 10am to 6pm
DATE:
COST: $80.00
Please bring a mat or towel, and a sack lunch
For reservations and further information,
SPONSORED BY CREATIVE PROCESS CONSULTANTS
3237 Sacramento St
San Francisco


karen mcchrystal
donnadisc 6.27/ file a
2Momen
July 9 & 10
July 16 & 17
July 23 & 24
July 30 & 31
Fenale
Fertilify
August 6 & 7
August 13 & 14
August 20 & 21
August 27 & 28
RAL WORKSHOPS
presents:
G prcin
rom RRejuvenation and Longevity for AMomen
It isn't enough to know that 32000 women in the United States are over 100 years old, and that the human
being is capable, at the most conservative estimate, of living 110 or 120 years in full health and activity.
4 'It isn't enough to know that the,mortality rate among women is 60% lowerthan that among men, and that
women over 65 years of outnumber men of the same
million.
age
age by 3
We need a practical system which we can incorporate into our lives without undue effort or regimen.
RAL stands for REJUVENATION AND LONGEVITY. RAL workshops argue thatthe post-fertility period in a
woman's life is a period of selffulfilment, for which the fertility period is a rich preparation.
RAL workshops declare that the Female'fertility equation is a suicidal myth which prevents half the race
exercising a crucial influence at a time ofunprecedented human crisis.
T RAL workshops thus represent a life-revolution whether we are in the fertile or post-fertile period, or at the
half-way house where SO many decisions about future performance have to be made.
PRAL workshops bring to light the valueofthefertile period in a world which tends to undermine the role and
function ofthe mother. The fertile years can be burdensome and frustrating unless their meaning in terms of
# preparation for post-fertility fulfilment is understood.
t DATE:
TIME: PIDAMEto 6pm
Please bring a mat or towel, and a sack lunch
For reservations and further information, call (415) 652-3714
SPONSORED BY CREATIVE PROCESS CONSULTANTS
3237 Sacramento St
San Francisco
fs fine
xelt
Frclpe
MFCC
yat
KAREN MCCHRYSTAL,
a native Californian, hasaB.A. in polit-
bar
ical science from Stanford University and an M.A. in clinical
psychology from the Western Institute for Social Research. She
Orihe,
has worked as a writer and editor, having edited several commun-
ity newspapers and a San Francisco arts magazine, and also as a
journalist, both in Europe andthe US. Fort the past three years,she
has been practicing psychotherapy, specializing in the creative
process, writer's block, andlifet transitions.Sheis the founder and
director of Creative Process Consultants. (MFCCI, Regis. #IR
MAURICE ROWDON, a British citizen, has an MA from
Oxford, where he studied Metaphysicsfconcentratingontheories
of perception/political, science and ecônomics. He has published
eclis/c
twelve booksôn a variety of subjects, the latest of them (ELKE
ATZ
AND BELAM, Putnam) about animal intelligence. He has prac-
ticed various forms of yoga sincethe time he met the Hatha Yoga
master, Selvarajan Yesudian, in Ponte Tresa, Switzerland, eight-
een years ago. Among these forms were pranayamic exercises
which, together with his more recent experience in rebirthing, led
him to develop the system he now calls Oxygenesis. For the past
five years he has been a member of the governing board of the
Ramana Health Foundation in London, under the medical direc-
torshipofDr. Chandra Sharma, MD,af financial institution for the
-e a
collation of new therapies, oud a wu, i Te
lirer


t y hypif
lauszue
He habes
Aype
A Hre bur Syent
Teclya
thiunf
Fin
yett
diseal
tueis
KOV
fro Peuns
getts h
U L VL
- lys
Gil
ulure C ypr phepell Vy
Jic be
teely
mlrlpe
Nupe
OPN
tin


KAREN MCCHRYSTAL MFCC, a native Californian, has
a BA in political science from Stanford University
and an MA in clinical psychology from the Western
Institute for Social Research.
She has worked as
a writer and editor, having edited several community
newspapers, a San Francisco arts magazine and
business journals.
She has worked as a journalist
in both Europe and the US.
For the past three years
she has been a practising psychotherapist, specializing
in the creative process and life transitions.
She
has been fully trained in the Oxygenetic process
and now includes this in her clinicalwwork.


MENO PA usE
RAL
Crevise Is lsho Itu; gnran)
Whalae nw agr, 5 han k clea d uls Lolue
utendlyus alul ttre cliacs ) l Jucl sru puin.
uen viretin
Dmriny lest 4-5yuh
h Mucks
2u i Lo
opn *e ruien faduep lode
nth *
reechai )s Hre dooclled GONASOTROPINT
Jhice' uesns uo orlatsi.
remel the ho FOLLICLES devalh.
clares pslan -
PROGESTERONE podictai
Tue ESTROGEN
nd te PITUITARY Slaed
3€ the HYPO OTHOLAMUS
ver
1 fau tye
o. ll
podie
Roenn Ceete podeds,
a Kllicle
asrono'
lcvrk 2 FSA CHe
nuinlatie
tih
FOLLICHES
asmono (LH).
tré LUTEINIZIN
Ita
L The manien, and
we fmp 2 cell demnsliy
efg
the estioger eud progestirmp
tem felliile, prodc
end
ESTRO GEN caliol huce ? -
wma's gmuit
i the hre hological Leile.
dexual develo) pleat
1 the ner Ninsl: grea(?)
altansla, + tai
PRo GESTERONE
mmlalin
Hmmohe,
I lgrio
LH,b huteingy
llile erol tho
relcex I ke egs tm ike Nanan
CORPUS
CHe
trer
t. a
the
tillicli
aial then clarg
ovany)
yelu poual
7 Lr
ray" Clutai
LUTEUM
sellas
C chithe reg)
- ke
thelohe
gallon
lurct
caparae
calaui 100/400,000
Lhaa sin i hoin eacl wan
Jher V. fewv
eggs. hes Brade lulp decren til uerspause,


- > Te goradipie - Hec, HmaPagnnls
FS+ col
LH che 2 gonadipius. (SA Mua
can Izle 24 wivar
cnol LH
Meuspaunal Gmadigni,
uexloe 7 FSH
exlraclad tm
nie
U HCG, Hunan
heubp bausel
CHORIONIC Coo MADROPIN, hiil i v. sniuil K LHX
L e Cate 7 iifaniedls dirp The tartelis peuid).


MENOPAUe
( a al
le HYP-THOLAMUS i
LA Hland i te cenhs
Dte
ulne te PITUITARY yland.
16 producs
LHL t olso ug onhol sleat, sexuslg, linpe P
20pE
tov adl IL endrenie atur heside lhe mpodiclii
hm tal
Spr. LE mg be til u I Itim' Ite espothala
the Lon Xul cy cla - t
weulel oen n schuen -Heck,
Le Xnalig.
ttre har2 t hei Prdcs,
Le RTUTARY gludie
d eu The hd' flandh
le Lo -called
STiumlalig
Asmo ha,
ttre honohe
TSH,
i additen I FSH ad LH podcey
honots))
nuiles
thi Smnlale te taynid Chypid
ad PROLACTIN
1 adreuocortico
hsmohe
al ACTH,
Topic
OXYTOCIN (*
(ipntne fn kiilk podictin)
ad ntanno atrdin).
len entanlin
nilk let do un
/ to
aol pogetome ducti
Ploge
Ite
anJomereum
tka Jams
tet
i tka linip 2
CINA- pabictn
lubes k herese
epfe K pun
Hhe Fullobia
eps
pmopsuti
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Cel
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cpulea.isten
CCILIA
ad the
- atract
and efsh
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the
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the
* veel
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gen
labesi hah halfiy
LH release tacln.
relesse - facn
* ir. FSH
acaale
FSH 4 LH- Hhe pitalay


MENOPAUSE 3)
E'CERVIN x( Haloweporg tre ukm tu ralad
Eenli
ie the Veginn), sestager make Ite cemical grud,
Itre ENDOncTeUm
hime heucus k lulniale He vagiia, preu
ha ifectin cud tiltt Ite punys 2 spun
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ulim Lle the nilt raie d tresfins
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at ogr 43/55.
ce ( lan utte
hornulg
RAL untterhoh
71 OVARIAN
moiopaus
Can
FEMALÉZ
7he Trelare
Cal K the)' FERTLITY
roguiu
e eepival
JefICIENCY DISEASE 1
MY TIt


MMEnO PAUHE
ESTROCEN-I-s hg
Caude
Pemilag
t te falro
disinym i uanob ause
day
hot flanu' er due klt hiu ide cara).
mganin prchue fo estoge -l->.:
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tyle - thi hale - Ronone
ANDRO GEH, Muil
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tre ume
Aden al uon fomor e 244, hany
deiy Hta ilarcs ) Lls.
Se Lhleen
30 cms)
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chapen endoerie mace may,
k adrenal Paudi
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komohe 11
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Jone Stasliis do ts or,
menobuun
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Lol anociald
e cestans
The
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MSnOPAUSE
h enfian ha helfed k creita Ita iden It
mn a
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RAL
MENOPAUSE
Tre vaginal liny ua ti 'a
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redeued rstiogenal Ylua 7 col-pudicin, Lt ten:
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RAL
ONENOPAUSE
Muces hanfel tyslsclny Ln prrmmeal (3440%
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i pot-meupoural nau - He lon 201 Co
na hrean
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appouee k H dinr 7 soueis, Jhil i notty
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Hu OSTEO POROSIS vV BONE
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kuou rtul
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drives
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he do hot lose has, aip,


Ther rescard hue Cer i to und à
ONe Gylad Innils m decine
obtelni ad Gyneenys 49: 385,
Neww Rpud Onun 2 medicis
aAruA


andl lagor aianies tonn rchai ctwe
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