Let's get a few things clear for the limited purposes of this post, which may or may not be true in other contexts: (1) intelligence is non-local when not accessed as well as local when accessed; (2) you may shift the dominant orientation of your consciousness between that of your body, your mind, or both as well as their more specific aspects through pretense; (3) you may temporarily relinquish your dominant conscious orientation from both your mind and body before reintegrating them again along with any data you will; (4) intelligence [edit: only possibly partially] relates to the same data sets that present emotion[al possibilities].
To align conditions that allow for the transposition of memory non-local to any organic system (a process known multiply as either transfiguration, accessing Akashic records, and mono no ke, among others), a body, its corporeal structure, and its currently-related mental facilities (I'd say faculties, but that term has been usurped by a body of science that conflicts with itself, so I'd rather not confuse others) would temporarily disintegrate so as to reintegrate transposed datricies intoat such organic system through instruction[s]. Only influence as understood and experienced by [an/]the organism's corporeal structure [is able to presuppose occurance, rather than merely causing the happenstanciationship for such occurence to arise from possibility as it ]occurs [absent/]without such realignment. While instructive toward the most integrated of expressions of the DNA (i.e., the most generative of experience; or, put in quantifiable terms, expressions of DNA that utilize all aspects of one's DNA's connections, thus requiring future, rather than solely genetic combinatorial expressions that present a mere locable probability of future through connections that are good "enough") of such organism, interactivated transposing datricies altogether intoat any such organism provides distantaneous organisms with their metabolic instructions that allow for the integration of any such identified aligning specificities related among any or all connections identifable as to an organism's basic mechanics.
When such awareness is reached existence localizes such consciousness as what possibility is.
In other words, and for (my own) example:
Imagine you're a flutist. You've studied some aspect of music since your youth, whatever and whenever you yourself might consider that to be in your experience. You're well-versed in music theory, you've studied orchestral and choral scores ever since you became aware of them. During your youth, you had each Beethoven symphony memorized to an extent that you could hum the entirety of each of them to yourself, and you were intimately aware of the nuances composed into the scores of each of those works. In your adulthood, you studied intensely music and other topics that inform it. You continue to do so instinctually due to the orientation of your passion, which arose out of the natural expression of your DNA. Such is true of all of your passions. There are no passions that are not aligned expressions of an organism's DNA - otherwise, exclusively logically speaking, no such passions could or would arise in the first instance.
How would you feed and improve upon your passion(s)? Practice? Of course, basic practice is a great way to improve upon an activity incrementally. But what if you're not that into incremental growth and prefer exponential growth from time to time? You're in luck either way because you can access the non-local memories arising from the experience of any flutist - or any musician, person, or organism for that matter - living or dead - anytime without equipment or even belief. Accessing and transposing non-local memories is, in my experience at least, simply a methodology toward more intelligent practice in this context.
Further, the methodology is a natural, metabolic process of DNA expression that has nothing to do socially or rhetorically with anything to which it associates or is associated. That said, as far as I'm currently aware, the social badges to which such DNA expression adheres may (it's unknown to me whether or not necessarily so) require acknowledgment of the references that identify such metabolic processes through religious or other social allegory for experiential orientation purposes. If required, your body will inform you of such. I get the sense that there are ways around it, but, despite the process I've outlined below, it's likely that you'll experience some kind of religious or other 'strange' experience - to whatever extent you yourself recognize allegory associated with any or all religions. That's [edit: not] just conditioning[; it's also reflective of a conditional aspect of the availability of data sets fixed in media in whatever observance quo presents]. It can either provide a boon to the experience or constitute a neutral surprise. Religion, in fact, has no relevance one way or another to any outcome concerning this process as all religion concerns the fixation of time[ expression]. Therefore, logically speaking, no religion, custom, law, or any other social rule can prohibit this particular process of DNA expression as time fixation[ through expression] is [not] mutually exclusive from the transposition of non-local memetic concepts altogether. [It is simply indicative of its operation. I was confusing concepts and got ahead of myself. Whether through transposition or transpreliteration time fixation is always immutually interexcludable, but never intraexcludable. Where I'm from, I've found, all religions each comport a single glove, so to speak. The ones that claim not to do so represent the space within the glove: also necessary, also flexible, despite their expression. That's because, through the grace of Genshin himself, we have time expression in english.]
If you want to try to sound like a certain flutist, you could try a traditional approach of listening to their recordings and trying to mimic their phrasing, sound, dynamics, or any other aspect you might like about their playing. It will undoubtedly be your own sound, and you'll make physical motions using nervous instructions linked to your own experiences rather than that of the flutist. That's natural because you are yourself and the flutist you're emulating is another person.
The experiential data of your experience as well as that of the other flutist, however, are as retrievable as any other experiential data set, or datrix. Datricies exist in energetic form in the same manner as spacetime and you, which also exist in energetic form and forms. You have access to yourself. You have access to space. You have access to energy. You have access to all data - technically speaking.
Access is a physical-mental activity that requires a permanent and integrated understanding of how to access your capacity to stall time in order to transpose such memories within your DNA. Luckily it's fairly simple, so long as you understand time to be a social mental process unrelated to the space that such provides. Additionally, doing so does not integrate into your experience any aspects of a transposing experience that your will (an integrating expression of your DNA) naturally disallows. [And, subversive will that negates universe, such as religious will, also hold no power over any person's singularity, so I've found. I'm a little miffed, but whatever. I've been intensely religious all my life, even never having committed original sin because it said I shouldn't ever do it somewhere, so it's a bit of a let down. Why'd I have to pick the gay religion lol but whatever; what's done is done.] All organisms are uniquely situated in this respect. What aspect one would likely allow another might not - down to the placement of one's tongue while articulating a certain note at a certain time in relation to other notes. Each of the elements described, as well as their necessarily related metabolic components, are data that one may or may not project from their body upon accessing them.
Concerning flute playing, however, you might consider integrating the nervous experience of a certain flutist's embouchure, breathing, and finger movements only in limited contexts. You might like how a flutist plays one work, but not another. Accordingly, you might seek to transpose, integrate, and project data related only between the flutist and that specific work into your future experience. Upon doing so with respect to multiple musicians' datricies, my personal experience has been that I might become critical of the flutist's work in a way that I would not have had the capacity to consider had I not transposed and integrated datricies from unrelated musicians' experiences, whose aligning opinions I might share in ([edit: pretentially]) subconscious ways.
As a side note, this experience has allowed me logically to conclude that the theory of the existance of any subconscious might only pertain or relate to ignorance. Knowing that access to experiential data exists, I think anyone could technically become conscious of everything and nothing through their own active experience. From where I am and based on what I know now, however, it doesn't seem practical to do so. It's not been my aim to impress others; it's been my aim to understand and explore the nuances of the music I know and love. I've come to realize that there are aspects of western concert music that have not yet been explored by any orchestra or musician of which I'm aware. Accordingly, my aim is to conduct a specific orchestra. It's the most practical use of my skills that could do the most amplified good for others, provided the context of such conducting allows ably for such exploration. I don't live so impractically that I would conduct in circumstances where such exploration is absent or impinged in any way. Personally, I'd imagine myself happy rather than imagining Sisyphus (who is able to imagine his own happiness, thank you very much) happy.
I don't, however, become critical in such a manner until I evaluate the flutist's datricies in the context of my own through practice. What I like to do is first play through something myself, then consider the new data. I find that my body reacts with criticism (of all polarities, mostly good) independently of my active thoughts in producing sound. It's a vastly different sensation from basic music practice.
Method (using the flute example - substitute it for whatever you'd like):
1. Identify something related to the goal. A recording, perhaps. Listen to it. While listening, do something that involves an object (other than the flute). Take some object from what you were doing and place it with your instrument.
2. While looking at both, imagine a sound (the context here is music, so it concerns sound...if this were about painting, I'd imagine an image, for example) that, upon hearing it, would cause you to feel such gratuity that your body cries at the objects while your mind views them fondly. This metabolic combination disintegrates mind and body from one another if the nexus between gratuity and the [generous] imagination is focused enough to do so. Alternatively, use any of your own known reliable methods of inducing a schizophrenic break from reality. Have a friend present as your method may or may not be healthy - I have no way of knowing. Or, if you understand your own natural schizophrenic possibilities that you can turn off and/or on at will, and in which you would not normally indulge as a functional human being, go it alone. I have yet to encounter any hardship related to this process, so I've only done it alone thus far.
3. Realign the body to "A=448, Pythagorean temperament, with a base note of A" by speaking the words in quotes clearly to yourself. The body has a conscious ability to adhere to such instructions. That conscious ability, however, does not transcend the physical to its related mental facilities in my experience. Rather, its effect is only known to my mental facilities through the work of my body, which accesses the knowledge it requires, whether or not I would be aware of such. My heart beats, for example, because my body knows what to do with the data it receives locally in furtherance of its own operation. And I don't think about the muscles in my forearm moving, out of necessity, to operate my fingers - they just do it because I've instructed my fingers to move.
4. Look at the object and the flute.
5. Realign the body to "A=432, Pythagorean temperament, with a base note of B" similarly. Play the flute (and the specific work, if identified) in whatever way you would naturally play.
6. Realign the body to "A=432, Pythagorean temperament, with a base note of E." Play or consider (if regarding conducting, composing, or a work that you have not yet practiced) like the musician you wish to emulate to the best of your ability in this context. Whether it does or not, imagine that you've played (or considered) similarly to such musician.
7. Realign the body to "A=434, Pythagorean temperament, with a base note of F." Put on some quiet music, tv, a podcast, or anything else that would allow you to have (1) a distraction, (2) something audible, (3) something through which you can measure time in any respect (knowing the podcast's length, for example).
8. Sit down somewhere you can be totally comfortable. Whether you choose to wear clothes or have your flute or the object near is no longer relevant. Hold your eyes closed for a while longer than normal, then keep them open for a while longer than normal. Repeat until the length of each is long enough to induce the next step. It doesn't matter whether you look around or at something fixed as you might be inclined to do. Base F induces metabolic processes that involve the legs (in my experience), so you might actually feel something there. For me, it caused some ache from time to time. Its antidote is a consistent exercise involving the legs. In fact, sometimes I like sleeping in base F (at A=442 or 450) because when I wake up I tend to want to exercise (but watch out for leg cramps - it actually does happen to me).
9. Do not be alarmed during this process. It's actually quite enjoyable despite how it reads. When you're comfortable enough, imagine your chest opening between your sternum and the organs thereunder. When pops out is time. Eventually, you'll recognize that the podcast or whatever you were listening to is no longer making noise despite it being on. When this occurs, you have stalled time non-locally. Now you can install the datrix or datricies related to whatever you were trying to do. Your body will do it naturally. Just bear through this (truly) fascinating process. Time resumes when. (There's no other way to describe time, in isolation, so just don't worry about it. Everything is fine.) In my experience, I "watched" as non-local data seemed to enter and integrate into my experience locally. The video game I had on stopped making noise. In fact, the noisy world outside was also completely silent during this time. It didn't occur to me to check for my own heartbeat because I felt fine during this time - for what it's worth.
10. When the process completes, you'll feel it. Place your right index finger in/on your belly button, raise your left index finger to the left of your face (however comfortably/naturally), and state "[whatever your transposition concerns] process." In this case, I might say, "flute process." It's a little strange, but when you close your eyes, you might 'see' all kinds of allegorical or other references thereafter. Or, you may have 'seen' these during step 9. These symbols are emblematic of the influences of the experience related to the transposed data that relate to your own body's verification process in integrating such data into its awareness (rather than your active mental awareness, which cannot validate such data until it encounters its reference in practice). In other words, it's just your body communicating with the data it has received so it can retrieve, use, etc. such data for future use. These influences are among the required data sets - naturally - as the data nerves experience relate to emotions as much as they do physical impulses that result in movement. Humans allegorize their understanding of emotions as well as their physical impulses. In that sense, they are the same. In my opinion, allegorization carries emotional references that constitute a form of communication between non-local physical bodies' relationships to their related mental facilities, whether or not such bodies approximate one another. Such conditioning is why any references at all would enter into my observation during such a time, so I think.
11. When finished, you might feel tired. If you're too tired to try out whatever it is you've done, put the flute away and play tomorrow. State, "A=440 equal temperament," or whatever you prefer. If not, give it a try - but before you do, go to "A=440 [or A=442], Pythagorean temperament, base E."
After using this method my playing is in fact exponentially better, and became such overnight, despite years of practice coupled with years of absence from music. I would welcome and encourage comments on this if anyone has a differing view, or anything to add.
