What Was I In My Previous Birth On This Earth – Is this your first human birth? Likely. But in my case it is NO. Art of Living’s Eternity Process allowed me to see (literally!) my past lives and realize how lucky I am to have this life. It was an extraordinary experience – but I’m not allowed to share it! 😉

The process of eternity is about getting rid of waste – fears, tragic memories, aversions, etc., . It helps elevate our view of life and gives a glimpse of its eternal nature. This process allowed me to effortlessly let go of painful pasts and fears (from this life and ‘n’ previous lives). I could abandon my biggest phobia, which has been with me since one of my previous lives – Aquaphobia. I could also suppress my fear of becoming a widow, which has been present again from one of my previous lives.

What Was I In My Previous Birth On This Earth

This process is not only about negative aspects. One can also awaken dormant skills or abilities that he had in previous times. For example, I could notice that my singing skills improved significantly. My devotion to Lord Hanuman was also from a previous birth.

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“There’s really no point in being paranoid about anything in life – not even enlightenment!” – In my opinion, after the process of forever, it is worth the insight!

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ChatGPT hype is over — Now watch how Google is killing ChatGPT. It won’t happen overnight. The business game is longer than you know. I often miss my birth country, Taiwan, like I miss an old lover. I felt this keenly as I watched

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, the directorial debut of writer, director and playwright Celine Song. The film follows Nora (Greta Lee), who emigrated from South Korea at the age of 12, leaving behind her childhood friend Hae Sung (Teo Yoo). Two decades pass before they see each other again in person until one fateful week in New York, where Nora now lives with her Jewish-American husband Arthur (John Magaro). The story is partly based on Song’s personal experience.

“I was sitting [at a bar] with my childhood sweetheart and my husband, flipping between these two guys who really have no reason to even know each other, let alone have any kind of deeper conversation,” she says on Zoom. He remembers how people looked at them, probably wondering, “Who are those people to each other?” and “why did they end up here together?” Song thought at that moment, “Oh, if only you knew who we are to each other.” This memory inspired the first scene of the film, where off-screen voices speculate about who Nora, Hae Sung and Arthur are and how they ended up in the bar together. The rest of the film takes the viewer on a journey to how they got there.

By representing Nora as a bridge between her past and present – ​​Seoul and New York, Hae Sung and Arthur.

Perfectly describes how many immigrants feel they belong in two places at the same time. In one scene, when Nora meets Hae Sung in person for the first time since he left Korea, Arthur asks if he is still interested in her. He replies, “I don’t think so, but he was this kid in my head for so long… I guess I just miss Seoul.” I was amazed at how I felt the same about Taipei. Like Nora, I moved from Asia as a child. I find it hard to separate my birthplace from the loved ones I left behind. Song explains how Nora deals with that grief: “Finally, when [Nora] walks home, of course she’s mourning all the things that could have been, but what she’s also mourning is the little girl she never got to say goodbye to properly. .” While watching the movie, I also shed tears for my 5-year-old self who left Taiwan because he would have a “better life in America.” To this day I wonder what would have happened if I had stayed.

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. When Nora and Hae Sung are kids, their goodbyes “don’t stick” because they’re “too young” to understand them, she says. They don’t say a “proper goodbye” because they “don’t actually think it’s going to be done.” Only later, when they have grown up, do they get the goodbye they were “owed” as children. This made me realize that I also never said a proper goodbye to my grandparents who raised me because I was just a child when I left. Maybe that’s why, as an adult, I constantly long for Taiwan and the life I could have lived there. During the pandemic, amid the rise of anti-Asian hatred, I even dreamed of going back.

“In-yun is basically about how you can’t control who enters your life… and who stays in your life.”

Has taught me to find solace in the Korean concept of in-yun, or how fate brings two people together based on countless connections from their previous lives. Getting to know Arthur, Nora tells him that if two people marry, they must have reached 8,000 layers of in-yun in 8,000 lifetimes, allowing them to finally be together. When Arthur asks if Nora believes in in-yun, she jokes that it’s “just something Koreans say to seduce someone.” When I ask Song about the term, he lights up and says, “It’s an amazing thing! In-yun is basically about how you can’t control who walks into your life…and who stays in your life. That to me…is the heart of the film. It’s about the indescribable of the matter… of every relationship, even of the person who attacks you, even of you and me sitting here.” Song deals with every relationship

Reflects this value, as seen when Hae Sung tells Arthur, “You and I are also in in-yun.” Instead of representing the typical love triangle that pits the love interests against each other, Song focuses on the meaning of human relationship.

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Allowed me to reflect on my own journey as an immigrant, Song makes it clear that the film and Nora’s story are not just about that. “I don’t want this film to be a totalizing statement or … a totalizing force in talking about what it’s like to be an immigrant,” he says. “It’s actually much more about what happens to this character [Nora], what she goes through, what her journey is.” Other viewers may have completely different reactions—which is exactly what Song expects. He says, “Depending on who you are and who’s watching this movie, how you watch this movie and where you’re at in your life, I think you’re going to have a different reaction to the movie.” She said that audience members have told her, “I want to call my partner and tell them how much I love and appreciate them”; and another said, “I need to call my ex” because “my partner doesn’t give me the same feelings.” Whatever the answer, Song believes it has “more to do with what relationship [the viewer is] in”.

With a deep desire to say a proper goodbye to Taiwan and all my loved ones that I left behind. I grew up regretting not having more time with my grandparents, and part of my healing is appreciating the moments I shared with them in my early childhood and cherishing every relationship in my life—past, present, and future.

Nancy Wang Yuen is a sociologist and pop culture geek. ​He is the author of Reel Inequality: Hollywood Actors and Racism and co-author of Tokens on the Small Screen: Asian Americans and Pacific Islanders in Prime Time and Streaming Television. He has appeared on Dr. Phil, BBC World TV, Teen Vogue, New York Times and Washington Post, among others.

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