Most
of the people in the world live in and perceive their reality as a
logical one dimensional or two dimensional reality. A one-dimensional
reality is comprised of a length, as in logic, with a determined
premise and a conclusion. As a two-dimensional reality it's a
measured length and width. Schools teach their 12 to 16 year old
students to see and perceive in an illusionary perspective of 3
dimensions which includes a reality of length, height, width or
depth. This perceptual reality was developed to its highest point in
the renaissance in the late 1400's and 1500's, and had a resurgence
with the development of the photograph.
A
person perceiving in two dimensional reality is drawing in an
isometric mode. For instance when asked to draw a glass half full of
water, most people's drawings will look like this. (show drawing)
The
two dimensional length and width drawing placed in a row one glass
overlapping another behind it, the same measured size as the glass in
front of it. That's why I call it a measured reality because the
dimensions of the object does not change regardless of how far it is
in the distance. In three dimensional perception the half full glass
of water looks like this. Placed in an overlapping row the glasses
diminish in size. Showing the perspective of an illusionary reality.
The third dimensional reality is dominantly a positive energy
balanced reality. A fourth dimensional reality is dominantly a
negative energy balanced reality reflecting the third dimensional
reality in a negative perceptual attitude. In the third dimensional
reality you can see that the glass closest to us is the largest. The
third dimensional reality is the way the photograph distorts reality.
The second and third dimensions are fragmented bits of reality with
only a brief flash of controlling any of those realities from our two
dimensional reality perception. 2-D reality is stabilized by limiting
the two-dimensional logic of length and width resulting in known
fragments identified through experience by the conscious mind.
This
mind-brain, the conscious mind-brain uses experience as a link to a
surmised conclusion. So you have a basic premise and you have a
conclusion and in between are a structure leading and proving the
premise as being correct. The flaw of course is that there is no
assurance that the basic premise being only one dimensional, and the
length of knowledge with no variation or understanding allowed within
the construct of its length is a variable fact.
Then
there is the creative thought of the fourth dimension and its
non-logical random gathering of possibilities, trying them out to see
if the different possibilities can fit together much like a
three-dimensional puzzle. These bits that are assembled by the
creative mind construct more than one conclusion. More than one
possible answer to the first question. All of these modules are
construct with a high degree of successful probabilities. Any one of
them could be correct. So the individual needs to select just one
answer from the several that are offered, or could present the
several that are offered. There are five basic realities that we live
in. One is believing. That we hear a conclusion from an authority, a
parent, a teacher, a group of peers that would all agree on a
specific point, or a minister, a priest, or a guru. This believing at
that point of assimilation becomes a reality.
Next
of course is seeing. Like seeing is believing. Not always accurate,
but we still accept sight, something we experience visually as being
accurate.
The
next one that I like is knowing. Knowing is the supposition of an
experience. “I know I put my keys in that drawer. They aren't
there, I don't know where they'd be, but I put them there.”
Then
there's the existing reality. That's the “knock-knock” hard
reality that we accept objects that we live with. The fifth reality
is created reality. That's the artistic created reality, and the
artist develops a “knock-knock” reality just from thought. I have
talked to 16-year-old art students who were able to create complete
drawings or paintings with a planned, creative visualization. They
visualize several probabilities in the manner in which I've
described, and they select one of those probabilities that they have
envisioned. One young woman would mix a color, and on her canvas
would paint a dab here or there, slowly developing shapes and forms,
with singular mixed colors. She worked with complete confidence,
almost a sense of rightness for each application of the paint. After
four or five hours, her paintings, often very complex, (36 x 36
inches or 24 x 24 inches) were completed. Totally finished. It was
quite amazing to watch, the mystery of her technique develop from
start to finish. My instruction to her was to not to change her
perception and technique, but to give her classical methods of
applying the paint. She controlled where the paint went, but in the
classical sense oftentimes the artist used underpainting to develop
the dark and light tones, which she applied using her technique. She
didn't need that technique but since she was going to be an art major
in college she would be exposed to it, so I tried to anticipate and
give her experience so she wouldn't have problems with teachers who
demanded one way.
The
other student was a young man. Once he developed his vision, and
sometimes he would sit in the classroom and not do anything for
awhile. Maybe two class periods he'd be physically inactive, just
looking at the proposed painting suface. But when he organized his
visions he would start painting or drawing, he was quite a good
drawing draftsman. He would start in the upper left hand corner of
his canvas, and work as if he was peeling a cover off of the canvas,
so he would finish that one little section. When he finished the
canvas, he was down at the lower right hand corner, and when he
finished filling in that corner the artwork was completely finished.
His vision was worked out ahead of time and was static in terms of
his putting it down. He had difficulty in adjusting the completeness
of his vision.
Using
this approach, many times it is the canvas and the painting that
decides the direction of the subject matter an its development.
Several painters in art history wrote about the struggle they had
with the canvas that tried to dictate what the painting was to be, or
how the subject matter was to be developed. I knew of several
painters who would make or paint a mark on a canvas and then let the
canvas decide what course the painting would take.
Regardless
of the technique of creation, whether it's a musical composer, an
author of fiction, or of fact, or a textbook, an architect or
designer, the application used by artists creates a real object. They
create a reality “knock-knock” reality from thought. All artists,
not just the visual artists use a similar approach to the process of
creation from thoughts to a “knock-knock” reality.
It
is the Conscious mind, and five other minds, that control different
aspects of thought and of body action.
The
limbic mind-brain is basically a determining switchboard. Our sensory
process works like this. Your hand touches a red-hot coal.
Immediately the sensation goes to the Limbic switchboard and the
limbic sends out the sensation to all the other five brains and says,
what is this? And the conscious mind is part of the loop, so the
conscious mind says, I've encountered this before, this is extreme
heat, and it has damaged the tissue that's touching it. So the limbic
switchboard says, how do we react to this? And the conscious mind
says, you withdraw your hand, so the limbic mind contacts the
cellular body mind that makes up all the cells in our body and says,
withdraw the hand from the tissue destruction, and your hand is
pulled. Of course depending on your reflexes, this thought happens
instantaneously. The primal mind used to be called the reptilian
because there's a point where it develops in the fetus and the fetus
looks more like a reptile than it does a human being. But our
Christian community didn't like that so science changed it to the
primal mind. The primal mind controls the basic actions. Breathing,
heartbeat, blood flow, hormones, like adrenaline, preparing for
fight or flight.
The
third mind is the subconscious mind, it's the picturing mind, and
it's used in basic communication and categorizing the objects that we
see. Science has shown that the larger the vocabulary of the
subconscious mind, the higher the IQ of the person tends to be.
That's why it's important in raising young children that you expose
them to a wide variety of sensory experiences.
Number
four, I have mentioned this one already, is the cellular body-mind.
All the cells in our body carry our DNA, and they're all interjoined
in a cooperative structure for a called-upon action as recommended by
the limbic mind. It's one of the largest mind-brains and it quickly
develops with the fetus.
The
last of the mind-brains is the liquid mind-brain, and it holds memory
in the form of frequencies, in forms of energy. It records and
recognizes energy. Just a reminder, when I talk about or give
people training, in the psychic abilities, using these varieties of
brains, I add a preventive intention that is attached to all the
information that I give, so the information can only be used for the
benefit not only of self, but for the benefit of others.
