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Awards and idiot toasts at the Granlbakken 4th Way Convention. Features E.J. Gold and Lee Lozowick, Clifford and the Wizard, work data, music and comedy. Menlo Macfarlane serves as an offbeat Master of Ceremonies. The reading explains invoking work entities through posture and movement, and what to feed a solar entity.
This talk, *Fourth Way Awards Banquet: The Toast of the Idiots*, is a surreal and satirical exploration of Fourth Way work, self-importance, and the absurdities of human nature, all delivered through a mix of ritual toasts, humor, theatrical absurdity, and deliberate destabilization of fixed identity. The event mimics an awards ceremony where various forms of "idiocy" are recognized, highlighting different archetypes of human foolishness, spiritual pretension, and the struggle for self-awareness. Through improvisational dialogue, games, and theatrical absurdity, the talk exposes the mechanics of self-delusion while simultaneously celebrating the human condition.
This unusual gathering is structured as a banquet, filled with symbolic awards, ritual toasts, and theatrical nonsense that serve as a framework for an esoteric examination of self-importance and transformation. At first glance, the event appears chaotic, filled with absurd banter, nonsensical monologues, impromptu comedy, and shifting personas, but beneath the surface lies a deeper commentary on identification, the roles we play, and the nature of the Fourth Way path.
- The event is a satire of traditional awards ceremonies, where various guests are "honored" for their idiocy, pretension, or peculiarities.
- Idiocy, in this context, is not mere foolishness but a necessary stage in self-awareness, as recognized in Fourth Way teachings.
- Awards include titles like "Monumental Idiot," "Swaggering Idiot," and "Red-Faced Donkey", each representing a distinct human flaw or exaggerated persona.
- Participants are encouraged to embrace and exaggerate their habitual roles, revealing their own mechanical behaviors.
- The event serves as a microcosm of life’s illusions, where social performances mirror the broader human tendency to take oneself too seriously.
- The banquet is punctuated by toasts that are both humorous and cryptic, often devolving into surreal exchanges about existence, lineage, and nonsense.
- Toasts to "The Sky King Idiot," "The Monumental Idiot," and "The Best Bon Tom of the Year" introduce a ritualistic element to the comedy, mixing humor with esoteric undertones.
- Participants are often put in deliberate states of confusion, breaking habitual thought patterns.
- A core teaching hidden in the chaos is the idea of voluntary identification—assuming a posture, role, or mask intentionally, rather than being unconsciously dominated by it.
- Theatrical absurdity allows participants to see their own rigidity and mechanical behaviors by exaggerating them to the point of collapse.
- Movements, postures, and vocal exaggerations are a key part of the exercise, reinforcing that thought alone cannot break habitual identification.
- Participants embody different states of being—from arrogance to humility, from grandiosity to confusion—offering a direct experience of shifting internal states.
- Through deliberate irreverence, satire, and absurd storytelling, the talk reveals how self-importance and rigid self-definitions hinder transformation.
- No one escapes being mocked, including the teachers, reinforcing the idea that clinging to spiritual titles or achievements is itself a form of idiocy.
- One section discusses the concept of esoteric artifacts, particularly relics that carry energetic significance.
- The "relic of St. Pythagoras" and the idea of ingesting an esoteric artifact serve as metaphors for how real work is absorbed—not through intellectual study but through embodied experience.
- As the event progresses, structure dissolves, words lose meaning, and laughter overtakes any sense of control, representing the necessary breakdown of mechanical ego structures.
- The final toast acknowledges that all efforts to define oneself are ultimately absurd, but within that absurdity, a deeper kind of freedom exists.
This banquet is both a parody and an esoteric exercise, forcing participants to confront their own self-importance, rigid patterns, and unexamined personas. The talk uses humor, theatrical engagement, and role inversion to disrupt identification and reveal the deeper mechanisms of the self. The absurdity of the event is not meaningless but a structured form of esoteric work, challenging participants to see through the illusion of fixed identity while maintaining a sense of play.
"A surreal banquet scene where figures in theatrical masks raise golden goblets in a toast, their identities shifting fluidly as they laugh uncontrollably. The table is filled with strange artifacts—relics, golden scrolls, absurdly oversized trophies inscribed with titles like "Monumental Idiot" and "Sky King". In the background, a vast cosmic landscape unfolds, where constellations form shifting faces, mocking and mirroring the participants. The atmosphere is both reverent and chaotic, blending sacred geometry with carnival absurdity, as if the event exists on the edge of reality and dream, where identity itself is a game."