Syntony de langere versie

Who Am I?
My name is Sarah Verwei
Owner and Founder of Syntony International
I am working with the Systems Science network
Offering Prof. Alexander Laszlo,s work the new
science theory
Spending time with him
Play and living on the wire putting myself out
there

Introduction of Syntony
 Prof. Alexander Laszlo
 Course and training

What is this training about?
Alexander Laszlo © 2014
Change
“It is meant for you and anyone
who wants to learn how to have
change happen through them, not
to them”

Four-fold path of learning & selfempowerment
Steps to syntony
• Create awareness of the
challenges that
sustainable human
cohabitation
• Construct understanding
of the challenges facing
humanity

The steps to Syntony
• Gain sense of
responsibility coupled
with change
• Management
competence of
responsability affect
purposeful
• Positive, evolutionary
change in
communities work,
play, learn.
• Learn to become
catalysts for change
by learning which
ways
• ( modes, methods,
manners)for clearly
articulating,
• effectively
communicating to
others the need for
change.

Models that use Syntony

Develop
 Evolutionary consciousness
 through heightened awareness of the
changing conditions of change
 acquire evolutionary competence

HOW ARE WE DEVELOPING?
 interactive change
 Embark on a process of evolutionary praxis
 Explore the notion of Evolutionary Learning
 Communities in theory and practice.

development issues
• The process
empowering
• individuals and
groups engage in life-long
transformative
learning toward
• sustainable pathways
of human social
development in
syntony with life on
Earth.

Seeing Syntony Introduction
• Part I
• Seeing Syntony
• Introduction
• “What in the world is
going on?” How many
times have you asked
this question, in
• one way or another,
about the world we
live in? In our
contemporary global
civilization, this
• question has become
a heartfelt concern for
the thinking and
caring individual

Chapter 1.
• Section One — The Significance of
Syntony
• Chapter 1: All that Jazz
• Whether or not you are a jazz fan you most
likely have had the opportunity to observe
a
• group of jazz musicians play
improvisations in a “jam” session. In these
sessions, nobody
• leads, and yet everybody leads. In fact, the
leader trades off from one musician to
another,
• each sharing in the co-creation of
harmony. That’s quite different from more
orchestrated
• musical productions where they read
music from a score that predetermines the
arrangement
• of the harmonies. Gordon Rowland points
out how this difference in musical style
relates to
• ways people work together.

Creativity and intuition
• He explains, “I feel that teams
resembling jazz ensembles are
• more capable of meeting today’s
challenges than teams
resembling orchestras.” Why is
that?
• Well, according to Rowland, we
are living in a world that more
and more demands the ability
• to work flexibly and loosely
together in ways that combine
rational thought, technical skill,
• creativity and intuition. Rather
than “following the score” that is
handed to us, life more
• frequently asks us to improvise
around a basic theme.
• Alfonso Montuori helps us
understand why our new realities
might call on us to behave
• as jazz players rather than as
orchestral musicians: “everything
an artist produces, how s/he
• shapes the silence, and our
interpretation of it, is a product of
a historical period, which both
• enriches and constrains.”2
Nowadays, people who make a
difference in this world tend more
• often to be ones who explore
opportunities to create new
patterns and processes as they
• appear than ones who only know
how to reproduce a pattern or
process that already exists.

new shared leadership
• the phenomenon of syntony within a
group. All five
• “players” acted in unison, although
each did their own thing. And when
something in their
• environment changed, they neither
ignored nor reacted against it, but
instead immediately
• adapted to it. They didn’t have to stop
for long discussions of the pros and
cons of one course
• of action or another, to analyze, plan,
or argue the strengths and
weaknesses of one option
• over another, and they didn’t have to
go off to training seminars to learn
how to deal with
• change.
• They learned together, “on the job”
as it were, and in dynamic interaction
with each
• other and their environment. Wouldn’t
it be excellent if we were able to cope
with uncertainty
• and change like this group did — at
work, in our teams and partnerships;
at school, in our
• study groups and classes; at home,
in our families and communities?

Reflecting:
• The steps along the path will lead you, my colearner
• and fellow quester, along the following objectives:
• • First, to create an awareness of the challenges that sustainable
human cohabitation
• with life on earth entails.
• • Second, to construct an understanding of the challenges facing
humanity that
• is personally significant and societally attuned (while at the same
time
• scientifically rigorous and intellectually robust).
• • Third, to gain a sense of responsibility that is coupled with the
change
• management competence of responsability so that we can affect
purposeful,
• positive, evolutionary change in the communities with which we
work, play,
• and learn.
• • Fourth, to learn how to become catalysts for change by learning
which ways
• (what modes, methods, and manners) are best for clearly
articulating and
• effectively communicating to others the need for change.
• These are the steps of evolutionary systems design to which
Syntony Conversations is
• dedicated. By moving through each step with you we will explore
the way of the
• evolutionary leader. First, you will develop your evolutionary
consciousness through
• heightened awareness of the changing conditions of change. Then
you will gain
• evolutionary literacy through ways of developing evolutionary eyes
with which to
• read the signs of change and evolutionary ears with which to hear
their patterns.
• Next, you will acquire evolutionary competence through learning
how the tools of
• evolutionary systems design can be applied to co-creating
successful processes of
• interactive change. And finally, you will embark on a process of
evolutionary
• praxis where you will begin to explore the notion of Evolutionary
Learning
• Communities in theory and practice.

The steps
 The steps along the
following objectives:
 • First, to create an
awareness of the
challenges that
sustainable human
cohabitation
 with life on earth
entails.
• Second, to construct
an understanding of the
challenges facing
humanity that
is personally significant
and societally attuned
(while at the same time
scientifically rigorous
and intellectually
robust).

The steps
 • Third, to gain a
sense of
responsibility that is
coupled with the
change
 management
competence of
responsability so
that we can affect
purposeful,
 management
competence of
responsability so
that we can affect
purposeful,
 positive,
evolutionary change
in the communities
with which we work,
play,
 and learn.

The steps
 • Fourth, to learn
how to become
catalysts for change
by learning which
ways
 (what modes,
methods, and
manners) are best
for clearly
articulating
 effectively
communicating to
others the need for
change.

 These are the steps
of evolutionary
systems design to
which Syntony
Conversations is
 dedicated. By
moving through
each step with you
we will explore the
way of the
 evolutionary leader.
 First, you will develop
your evolutionary
consciousness
through
 heightened
awareness of the
changing conditions
of change.

 Then you will gain
 evolutionary literacy
through ways of
developing
evolutionary eyes with
which to
 read the signs of
change and
evolutionary ears with
which to hear their
patterns.
 read the signs of
change and
evolutionary ears with
which to hear their
patterns.

The steps
 Next, you will
acquire evolutionary
competence through
learning how the
tools of
 evolutionary
systems design can
be applied to co-creating
successful
processes of
 interactive change.
 . And finally, you will
embark on a
process of
evolutionary
 praxis where you
will begin to explore
the notion of
Evolutionary
Learning
 Communities in
theory and practice.

Co creation
• The co-creation of such
communities
• returns “development
issues” to us, away from
the control of Big
Government
• and the Mega-Corporation.
The process provides a
means of empowering
• individuals and groups to
engage in life-long
transformative learning
toward
• sustainable pathways of
human social development
in syntony with life on
Earth.
• And that is the quest.

Part 1 Seeing Syntony
Introduction
• “What in the world is
going on?”
• How many times have
you asked this
question, in
• one way or another,
about the world we
live in? In our
contemporary global
civilization, this
• question has become
a heartfelt concern for
the thinking and
caring individual.

2 sections now
• Section Two — A
Sampling Of
Syntony
• Chapter 4: Syntony In
Nature
• Chapter 5: At School
• Chapter 6: Those
Flocking Birds!
• Chapter 7: Humans In
Syntony?
• Section Three —
Accessing Your
Syntony Sense
• Chapter 8: Of
Meditation, Myths,
And Kung-Fu
Syntony!
• Chapter 9: Where
Syntony Leads
• Chapter 10: Looking
Ahead

Seeing Syntony part 1
• Evolving with Heart Preface
• Preface
• This is a Course about change. It is
meant for you and anyone who wants
to
• learn how to have change happen
through them, not to them.
• The signs of change are pervasive,
and the rate of change is itself
changing and accelerating,
• speeding contemporary societies
toward a critical threshold of stability
and
engulfing the individual in a
confusing blur of behavioral choice.
How can we learn how to work with
change, how to cope with uncertainty,
how to dance
• with evolution? Becoming masters of
our own destiny is not a quest of
foolish

Why using Syntony?
• this training, this course is of interest
to you precisely because
• of your awareness of the challenges
that face us, both individually – in our
• personal/professional lives – and
collectively as a not-too-unobtrusive
species living on this
• planet.
• So I would imagine that you are
taking this course because of your
interest in learning
• useful things – things that may help
you deal with the challenge of playing
a meaningful role
• in a society that is part of a rapidly
changing world. In thinking about the
role you wish to
• play you will have to think about both
the “what” and the “how” of being a
responsible
• change agent. But before getting to
that, we need to get clear on the
“why.” — And “just
• because it seems like a good thing to
do” is not sufficiently strong grounds
for taking on the
• mantle of evolutionary co-creator.
• Is this seeking of ways to take on the
mantle of evolutionary co-creator, to
become
• stewards of life in partnership with
Earth, is this “the syntony quest” that

Why evolutionary co creating?
 the “why” — that is
the focus “just
 because it seems like
a good thing to do” is
not sufficiently strong
grounds for taking
this course of
evolutionary
leadership.
 To become the
Leader in this world
in a partnership with
Earth as Eco
Managers in our
own living systems

Our outcome?
• In the end, through
the ways of learning
how to read and
understanding the
sort of
consequences of
• change that we will
cover together in the
slides that follow,
you will find ways to
shape your
• own answer.
• The significance of
syntony, as with life,
depends on the
meaning you give it.

Section One — The Significance
of Syntony
• Whether or not you are a jazz
fan you most likely have had
the opportunity to observe a
• group of jazz musicians play
improvisations in a “jam”
session. In these sessions,
nobody
• leads, and yet everybody
leads. In fact, the leader
trades off from one musician
to another,
• each sharing in the co-creation
of harmony. That’s
quite different from more
orchestrated
• musical productions where
they read music from a score
that predetermines the
arrangement
• of the harmonies.

What is new here?
• Gordon Rowland points
out how this difference in
musical style relates to
• ways people work
together. He explains, “I
feel that teams resembling
jazz ensembles are
• more capable of meeting
today’s challenges than
teams resembling
orchestras.” Why is that?
• Well, according to
Rowland, we are living in a
world that more and more
demands the ability
• to work flexibly and loosely
together in ways that
combine rational thought,
technical skill,
• creativity and intuition.
Rather than “following the
score” that is handed to us,
life more
• frequently asks us to
improvise around a basic
theme.

work flexibly
• rational thought
technical
skill
• creativity and
intuition
creativit
y and
intuition

What is the difference?
• “everything an artist
produces, how s/he
• shapes the silence,
and our interpretation
of it, is a product of a
historical period,
which both
• enriches and
constrains.”
• Nowadays, people
who make a
difference in this
world tend more
• often to be ones who
explore opportunities
to create new
patterns and
processes as they
• appear than ones
who only know how to
reproduce a pattern
or process that
already exists.

Just think about the new shared
leadership that project-based work
teams display.

A dynamic environment
• illustrating the phenomenon of
syntony within a group.
• Take a group in a concert.
• They are just tuning in together
and following their own
leadership to help when one of
them stops or doesn’t know what
to play.
• All five “players” acted in unison,
although each did their own
thing. And when something in
their environment changed, they
neither ignored nor reacted
against it, but instead
immediately adapted to it. They
didn’t have to stop for long
discussions of the pros and cons
of one course of action or
another, to analyze, plan, or
argue the strengths and
weaknesses of one option over
another, and they didn’t have to
go off to training seminars to
learn how to deal with change.
They learned together, “on the
job” as it were, and in dynamic
interaction with each
• other and their environment.

What is the big challenge?
• What is the real challenge now?
• we lead our life often fragmented and
disjunct lives in contemporary
Western societies, it just isn.t enough
to make things different. You see, the
people at this time demonstrate
• the essence of syntony — of
harmonizing with, and tuning to, each
other — but they do so
• only among themselves. They are
totally out of syntony with their
environment.
• Whenever
• they are challenged by a change in
their environment, they simply
shruggle and adapted to
• it. In short, they react. Where were
they going with this pattern of
adapting to anything
• that came their way? So while they
may
• have been very much in syntony with
each other — fluidly co-creating
consonant patterns of
• behavior among themselves — they
did not go the extra step required of
true systems of
• syntony: they did not co-create with
their evolving environment. In short,
they did not
• demonstrate any sort of basic
evolutionary competence.

Chapter 2: The Word on
Syntony
• Part I: Seeing Syntony
• How can we gain basic
evolutionary competence?
Through learning syntony.
• Syntony
• is a purposeful creative
aligning and tuning with
the evolutionary flows of
which we are a
• part.
• The term is currently
relegated to the realms of
radio engineering to
denote tuning in to
• radio frequency signals or
creating effective signal
resonance by harmonizing
the frequency of
• wave emission patterns.
But it has been used by
others, including Teihard
de Chardin and
• Erich Jantsch, to denote a
process central to
evolutionary competence.

Designing systems of syntony
• Jantsch, for example,
• proclaims that “as we
have learned (though
not too well) to design
social roles, we shall
have
• to learn now to design
systems of syntony.”
• To understand what
Jantsch is getting at,
we first need to define
some terms here.
Once we make these
distinctions we will be
able to use them to
explore how syntony
relates to a
• variety of different
aspects of life and the
process of living it.

Tuning and consonance
• syntony relates to radio
engineering and that it also
• refers to more general
processes of harmonization,
tuning, and consonance.
However, its
• power reaches far beyond
radio to describe the
processes of convergence
and divergence that
• are at the heart of general
evolutionary forces. In a way,
it is similar to the concept of
• ‘synchronicity.’ Both syntony
and synchronicity can be
thought of in musical terms.
• Synchronicity means the
contemporaneous occurrence
of events. It is what happens
• when two people say exactly
the same thing at the same
time (and usually burst out
laughing
• afterward!). By way of
analogy, we can think of two
notes played at the same
time, one octave
• apart. Of course,
synchronicity (which is often
called ‘synchrony,’ and that’s
fine, too) relates
• to all similar sort of
occurrences.

Syntony is like synchronicity
• Syntony is like synchronicity except that
it’s not a matter of serendipity — nor is it
• simply a coincidence of notes or themes. It
is what happens when two people are
• brainstorming for creative ideas and the
idea of one person makes the other shout,
“Exactly!
• Yes, Yes — and with that we could ...” to
which the other person responds excitedly,
“Right!
• And why not weave that in with your other
idea about ...” and so on. These people are
in
• tune; they’re on a role, with the ideas and
energy of one sparking and inspiring the
creativity
• of the other.
• Just as with synchronicity, syntony relates
to lots of things like this.
• A family where all
• the members are in syntony with
each other is a harmonious family, as
contrasted with a
• dysfunctional family that is rife with
discord and stress.
• However, in order for the
family to
• be a true system of syntony,
• it also needs to be attuned
to its broader environment
• (physical,
• socio-cultural, and
organismic).

Synchronicity and syntony?
• Unlike synchronicity, syntony
involves the purposeful
• creative aligning and tuning with
the dynamics of those things with
which one interacts. This
• type of purposeful activity need
not imply premeditated acts,
planning and strategy, or design
• engineering. In its highest form,
syntony becomes a natural way
of being and becoming with
• the world and is as effortless,
and spontaneous, as breathing.
• Many animals, as we shall see,
naturally live in systems of
syntony, and yet for most of
• our species, our syntony sense
has atrophied into a vague and
often misunderstood (if not
• entirely ignored) intuition. Our
quest, then, is to regain this
ability. But for most of us,
• becoming a master of syntony is
not as effortless or spontaneous
as breathing. It takes more
• than just good intentions, for, as
famed systems thinker and
economist Kenneth Boulding
once
• said, “intentions are fairly easy to
perceive, but frequently do not
come about.”

The relation between syntony and
intentionality
• by learning to create
systems of
• syntony it is possible
to elicit harmonious
patterns of change —
in ourselves, in
others, and in
• our broader
environment —
purposefully,
consciously, and yes
— intentionally!
• The relation between
syntony and
intentionality can be
clarified through
consideration of the
relation between mind
and brain.

The brain as transceiver
• The closest analogy for the
way the brain works is as a
“transceiver.” The brain is
• a highly specialized organ,
as are the other organs of
our body. It is basically a
“send/receive” antenna
through which we “tune in”
to the mind-field (or what
some have called the
“psifield” or the akashic or
memory field) that is co-extensive
to the physical
and “manifest” field
• of the universe.
• . The power of Akashic
Field Theory was
foreshadowed in notions of
universal potentiating
processes, such as
expressed in terms of a
transdimensional implicate
order thatunfolds form into
the universe by putting
form into, or “in-forming,”
the universe.

HOW DO WE SYNCHRONIZE
• Memories are not located
• “in our head” — that would be as
absurd as to suggest that oxygen
is located in our lungs, or
• that a television program is
located in your TV set! Rather,
memories are accessed through
• our interaction with the psi-field,
and learning is a matter of
improving our ability to tune, to
• fine tune, and to broaden our
frequencies.
• While you can synchronize your
radio to a given radio station by
way of a powerful antenna, you
can syntonize yourself to your
environment and to broader
evolutionary dynamics through
your brain. Although, as we shall
see in Part
• II, it’s not quite as simple as
turning a dial or pressing the
“seek” or “scan” options... [Again,
this is just a crude analogy with
the idea of the transceiver and
we shouldn’t take it too far. For
example, we don't send out and
receive radio waves which we
decode, etc. It's just a rough
functional analogy of the
mind/brain and akashic-field
interaction.]

SYNTONY AND SYNERGY
• Now, getting back to
the syntony and
synchronicity relation,
both can contribute to
the emergence of
synergy, but they do
so through different
paths. Synergy, first of
all, is the process by
which a system
generates a condition in
which it may be
considered more than
the
• sum of its parts
• For example, a heap
of bricks is bereft of
synergy: it is just one
brick on top of
another and nothing
more. A living
organism, however, is
very synergetic: the
life in it is not the
result of one thing
added to another in
any particular way —
the late Dr.
Frankenstein would
concur, I’m sure!

But like I said, it’s not much of a
strategy.
• To be precise, anything that is
the result of synergetic
relations can be
• considered to be equal to the
sum of its parts plus their
relationships.
• In this sense, it is just as
possible to encounter
situations of negative synergy
as it is to
• find those of positive synergy. If
the relationship is destructive,
then the elements plus their
• negative relationship will result
in a situation where they are
worse off in that relationship
• it should be clear that positive synergy is
desirable. Hey, if you get
• something new for just taking what you have
and arranging it in mutually beneficial
• relationships, that’s a good thing! But how do
you want to do it? One way is the way of
• synchronicity. That is, keeping yourself as
open to chance, serendipity, and fortuitous
• situations as you possibly can. Not much of
a strategy, but at least it can help not miss
an
• opportunity for creating synergy when it
comes your way – except that you will never
know if
• the synergy is positive or negative until after
the synchronistic event happens. Still, it is
true
• that by keeping your eyes and ears open,
and a playful spirit of inviting the unexpected,
you
• can increase the likelihood of encountering

The short answer what the
alternative is?
 Syntony
 how?
 The short
 answer is through:
 the attitudes,
values,
competencies, and
perspectives
required to
 consciously create
the conditions for
systems of syntony
to emerge.

What does it mean?
• This means learning
to
• become active
participants in the
shaping of our
future: to reject the
deep-seated
tendency to leave our
evolutionary future in
the hands of “fate,”
and actively to grasp
opportunities that
place human
destiny in human
hands.
• It means learning to
join creatively in the
play of evolution that
nature has already
been performing for
so long. The long and
more satisfying
answer will emerge
as you continue here.
• Take it step
by step

Part I: Seeing Syntony
• Allan Watts, the famed scholar of ancient
Far-Eastern texts and cultures: “to see
this is to see that good without evil is
like up
• without down, and that to make an
ideal of pursuing the good is like
trying to get rid of the
• left by turning constantly to the right.
One is therefore compelled to go
round in circles.”
• Harmony, in this conception, is a
process of flowing balance. the
naturalness of ebb and
• flow, wax and wane,
give and take
• evolutionary
conceptions
• syntony
incorporate
• a philosophy of
naturalness

Evolving with Heart Part I: Seeing
Syntony
• harmony is a dynamic,
living process.
It is something that
must be fed, nurtured,
and kept in
• balance — not the static
kind of balance involved in
standing on one leg, but
rather the flowing
• balance of walking over
a changing terrain, which
has been delightfully
described as a process
• of continually falling
forward and catching
yourself
people like Gandhi or the
Dalai Lama to be full of it
— we call them
“peaceful”people
• Peace, in this sense, is a
state free from struggle
and strife, free from
dissonance and
• disharmony, and full of
tranquillity and calm
• In societal terms, it is the
absence of war, which
• at the individual human
level is the absence of
conflict

Peace - Syntony
• peace as a
• state is conceived as
tranquillity and accord
with one’s milieu
• It is a static conception
of
• harmony — like being
balanced on one leg.
And surely, this is a state
that is difficult to attain
• and even more difficult
to maintain. But it is not
the sort of peace
involved in syntony
• syntony is not a
sufficient conception
of peace
• for syntony
• involves walking
• running
• jumping
• dancing
• not just balancing on
one leg!

Daoist notions of harmony
 think of the following
acronym:
 P eople
 E ngaged in
 A ctive
 C o-creative
 E volution
Seeing
Syntony

 positive, dynamic
images of peace
come from nature
scenes of
 happy and
exuberant
ecologies:
recreation of
positive synergies.

positive, dynamic images of peace
come from nature scenes
10/15/2014

Peace is non-violence.
10/15/2014
 an attitude of non-violence
by itself is
neutral
 neither destructive
nor constructive
 While violence is
destructive
 peace is
constructive,

Learning how to listen,
 action
 intention — not
mere states of
being:
 processes of
becoming
 Empathy
 acceptance
 positive
conceptions —
 active
 caring

The process of learning
 Jantsch “... we are in
the process of learning
to take seriously those
 responses which are
no longer innate, but
emerge from tuning in
to general evolutionary
 Forces”
Syntony “is on the
verge of becoming
more conscious
“an understanding of the
internal (coordinative)
factors in the evolution
of human
consciousness will
become possible only in
the framework of a
wider theory of
evolution.”

ESD
 such a framework
that evolutionary
systems design
(ESD) seeks to
 provide in the form
of an approach that
can be used by
individuals and
groups to create
 systems of syntony
 Evolutionary
Systems Design
 creation of
 conditions for
empowerment.

Chapter 3: Systems of
Syntony
 a process
 syntony is this
purposeful
creative aligning
 tuning with the
evolutionary flows
of which we are a
part
 It means listening
to
 the rhythms of
change and
learning how to
play our own
melody in ways
that harmonize
with
 the larger piece

 It involves finding
 creating meaning
 evolutionary
opportunity
 individually and
collectively
 Section Two — A
Sampling of
Syntony
 Chapter 4: Syntony
in Nature

Eco systems
 Healthy and vibrant
 ecosystems are
characterized by
communities of
beings that interact
with each other and
with
 their embedding
environment with
high degrees of
syntony. Healthy
and vibrant
For human beings
these are the
 ‘sustainable
communities’
 of which Capra
writes

schooling fish
 This ability to “read”
the environment, to
“listen” for
messages, to pay
attention with
 heightened
sensitivity, this has
conferred
evolutionary
advantage on
creatures whose
survival
 needs were based on
interconnection and
interdependence

hypersensitive to vibrational
movement
 schooling fish have
developed an
 ability to “read” their
surroundings in
such a way that they
can all decode the
same messages
 in syntony
 Basically
 they are flowing in-formation.

Chapter 5:
 the key point is
 to recognize how
the example of
syntony in the
schooling behavior
of fish says
something
 about their ability to
listen for change
and to read it as it
happens.
 Chapter 6: Those
Flocking Birds!
 a quick check on a
few other life forms
that have developed
their syntony sense
 in ways that are
easily perceptible to
us.

see the emergence of individual
decision
 the fact that we
humans
 often experience
similar sensations of
being disoriented
and displaced (often
for much of our
 life!)
 it says something
about the ability to
learn to “read”
change intelligently.

 Having learned how
to “tune in to useful
 frequencies” is what
helps experienced
pigeons survive
displacement and
disorientation by
reorienting
 themselves and
proactively changing
course
(inexperienced
birds, on the other
hand,

Challenges:
 Changing course...
navigating through
chaos...
 re-orienting to
sustainable patterns
of
 change
 re-aligning with
sustainable
processes of
transformation
 engage in complex
learning

Chapter 7: Humans in
Syntony?
know how to “listen”
to their surroundings
for information, and
how to “read”
 the signs of change
in the flows
 learn how to
interpret the rising
and setting as a
natural compass
 the wave patterns;
 cloud formations;
 current flows;

without trying to control
 use a linguistic
analogy, read this
information and
obtain meaning from
it because
 you are literate in
this language of
nature
 developing the
ability to “tune
 in” to the signals of
change and to
harmonize the
actions and
interactions with
others

Syntony is down-to-earth —
literally.
 It is getting in touch
with
 our context and the
processes of
change that give
shape to the
dynamics of our
context
 It is
 tuning in to the
patterns of change
and weaving our
actions in accord
with them.

to flow with these embedding
dynamics
 We are not talking
about special
sensory abilities to
perceive magnetic
fields, here
 Nor are we ascribing
these capabilities to
a mysterious sixth
sense or to intuition,
premonition,
 hunches, or gut
responses

by invoking and honoring the
mythic map of the Songlines,
 helping to find
yourself and each
other, and helping
you to understand
both the
 familiar and the new.
Through the
overlapping lenses
of myth, nature, and
relationship,
 Through the
overlapping lenses
of myth, nature, and
relationship,
 Songlines connect
people in networks
of communication,
cooperation, and
culture.

stay connected — with each other,
with the ancestors
 Once we begin to
remember how to
tune in to
 our continually
becoming world, we
start to move from
merely being
peripherally aware of
it
 to becoming fully
conscious of it.
 The embodiment of
this awareness in
lived action is key to
 developing a
consciously creative
syntony sense

awareness
 to turn our attention
to is
 how to do this; how
to develop an
awareness of the
challenges that
sustainable human
cohabitation
 with life on earth
entails
 in the process learn
how to develop an
evolutionary
 consciousness as
the platform for
engaging in
consciously created
syntony.

Section Three — Accessing Your
Syntony Sense
Chapter 8: Of Meditation, Myths,
and Kung-Fu Syntony!

evolutionary ways of syntony
 Bertrand Russell
once said
 “remember
 your humanity, and
forget the rest”
 practice makes
perfect
 From striving
entering into
 nonstriving, from
effort arriving at
spontaneity

Chapter 5: At School
 schooling fish have
developed an
 ability to “read” their
surroundings in such
a way that they can
all decode the same
messages
 in syntony. Basically,
they are flowing in-formation.
 This ability to “read”
the environment, to
“listen” for messages,
to pay attention with
 heightened sensitivity,
this has conferred
evolutionary
advantage on
creatures whose
survival
 needs were based on
interconnection and
interdependence.

 syntony sense
 unconscious
competence
 conscious
competence
 conscious
incompetence
 unconscious
incompetence
 We are thinking,
feeling, caring
beings
Seeing Syntony

Seeing Syntony
 s  W

Truly being
truly being
conscious of something is not quite the same as
simply being aware of it:
awareness involves
registering something within our fields of
perception (through our senses) or conception
(through our imagination)
One can be aware without acting on the
awareness

Consciousness
consciousness = embodied awareness
we can only tune in on command
and to do this
we need to make a
conscious decision when to tune in
If we’re not concentrated on it, we’re just as ‘out
of it’ as anyone else

the brain acting as a “transceiver,” a specialized
organ that allows us to tune into the psi-field –
the universal mind-field
that it is an art
nurturing your
syntony sense and moving up the ladder toward
unconscious (but not animalistic,
nonconscious,
or involuntary) consciousness, and finally to a
transcendent syntony sense that is
inseparable from the competencies and

Chapter 9: Where Syntony
Leads
syntony is, fundamentally
an evolutionary process of aligning
Tuning
harmonizing
flow

Our challenge
Our greatest challenge is to move from merely
being
conscious of evolution
to making evolution a conscious process!

Rituals
Language, ritual
and myth have become the vessel of evolution
for human becomings. The question is where
the heck we are going with it!?

A true syntony “quest” takes courage,
determination, wisdom,
passion, and empathy
It asks for the volitional hero

The obstacle to Syntony:
Evolving with Heart Part I: Seeing Syntony
The greatest obstacle to syntony is not apathy
it is timidity

Syntony leading
syntony is, fundamentally
an evolutionary process of aligning
Tuning
harmonizing
flow

Our challenge
Our greatest challenge is to move from merely
being
conscious of evolution
to making evolution a conscious process

RITUALS
Language
ritual
myth
have become the vessel of evolution for human
becomings
The question is where the heck we are going
with it!?

TRUE LEADERSHIP
A true syntony “LEADERSHIP ” takes:
courage
Determination
wisdom
Passion
empathy
It asks for the volitional hero

the structural transformation
of human consciousness
Involves a morphing of process along a fivefold
path:
from archaic to
Magical
to mythical
to mental
to integral culture- with dark ages providing the
transition from
one structure of consciousness to another

Syntony de langere versie

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