The Realities

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.