June

I just hit the wrong key and a journal entry is now lost. I will not attempt to write my thought again, as it is given to others now as something that was created, and now exists in another reality,

Grandfather's Poems - 1

"Somehow I like the old trails
Leading to a well known end,
Where the plain marked way prevails
with no new roads to contend;

Our fathers marked out the way
Leading straight to a known goal;
From the true paths let's not stray
With fixed mind and steadfast soul;

Trails lead north, south, east & west;
We should not mistake the way;
Of all the trails I like best, -
Thats leading the heavenly way."

Watercolors - 2

I majored in oils in school, for my bachelors. I had a split minor, watercolors and sports photo-journalism. I sold my camera after school and soon found that oils were not what I was really best at.

I never began my masters studies, but did have a brief stint as a seminarian. I have worked in watercolors for over twenty five years now. It is rare that I paint a thing and am not proud of my work. I had agreat professor in college. I do not remember his name, which at times irks me, but he taught me a good disciplene in working with the colors.

And during those twenty five years, I picked up maybe three new things that I set my palette to, as a rule. I remember just four years ago, when I was again trying a portrait, and there before me was a resemelence! I had worked the portrait for thirty five years and had never...NEVER had a resembelence. And since then I have painted over a hundred!

Theres a good chance I will paint again tomorrow. I know I will do a bit of gardening, and laundry, but I will keep in mind I painted today, and instantly someone walked away with my watercolor. I gave my work away, well not really gave it away... I donated it to a society I am involved with. But the thing is, someone wanted it, liked it, and thanked me for it.

Theres a connection between the fingers, and the eyes, and the brain... and the paper as well! I feel that connection as never before. All it took was twenty five years.

Watercolors - 1

I painted today! And I experienced the act of painting like I always do, and often forget. I started this painting and about a quarter of the way through I got totally frustrated with it, started on another sheet of paper, and then realized that I had better finish the first one, as I did not have the materials to finish the second one, as I was outside and away from home. So back to the frustration. Halfway through I just let go! I started to trust my intuition and soon, what I had thought was a disaster became a work I was fast becoming proud of. I continued to trust in my abandon and was creating quite a stir within my psyche. I was losing myself completely and had to sit on my hands three times. I finally was able to get up and walk away from my work, and surley I am always glad when that happens, as I know all too well, what mud looks like.

I walked over and got some clean water and when I got back I saw two areas to concentrate on, and once started, I was finally finished.

I produced a work that I was quite proud of. And remembering that just minutes before I had abandoned this work, I remembered how frustration is always a cornerstone for me, in painting watercolors.

Given to me in a dream, while I was dreaming...

"Non-Formative Random Ascending Patterning Theory (as causation for structuring of layering of energy roadways)."
1. Structural layering. Given two energy carriewrs meshed together to provide optimum conductive strength, given each carrier is independent of each other in current. Given one carrier is capable of carrying ground, and dimenishing it at some point, would give example that one carrier is stronger in ratio to other carrier.

Introduction to the Book of Half-Truths

I begin with the understanding that ultimately sin, is knowledge ignored. For many years I was intoxicated by the appearance of knowledge beyond my mortal comprehension, ever-filling my own mind. And yet, I did not act, as the effects of the mind-altering experiences that were entirely synthesized were like that unto the act of stepping back from the thin veil that separated me from the Divine Truth. This is so true for the artist, the creative mind. Many artists have attempted, while self-medicated, to bring forth the information and enlightening aspects of the Divine Truth, and many have sounded like a noisy gong, confused and even leading others toward a chaotic experience.

Such is the responsibility of the artist, to allow the flow of the Divine Creative spark without hindering it. This is a Divine truth I ignored for years and years. My passion for the creative gifts have ever-increased since my decision to cast out the intoxicating spirits from my own mind. It was not possible to fully utilize this creative flow, without the taking on of responsibilities, including the avoidance of hedonistic abandon.

In a way, Hermetic teachings illustrate for us the very simple attitude that as mere humans, we all have the potential to render useless the veil. This veil separates us from the realization of what we might actually be capable of, in this lifetime! Those who do not choose the afore-mentioned choice, will never come to this realization. And yet the veil has importance, for without it we would not understand that what we know as the Truth is subject to eternal, continual revision.

I will try and be blunt here, as simplicity is my only signpost for the reader. Many have grasped a seemingly illusive bit of eternal Truth, and written lengthy texts about it, supposedly leading the rest of us on to enlightenment, actually only confusing the truth into a never-ending container of pure dung. Might even I presume to know myself these truths? I answer no, in that like others before me, I have only grasped the outer edges of Truth eternal and hang there, my fingers clutching the very edge of the top of the deepest ravine. When I release my stranglehold of the belief that this world in which I have manifested is in its own entirety, I begin to know that it is nothing more than having a dream while having a dream. I say that as our existence in the 'known universe' appears intentionally finite. And yet, when I let go of my hold to the edge of that which is known to us as the three dimensions of life, I am actually opening my mind to the potential that what I 'know' as Truth, might actually be only a small fraction of the Truth. I do not fall upon my release, for at that moment, gravity, as well as other rules of this third dimension disappears!

As we traverse time and space, we are continuing to accelerate our comprehension of the existence of half-truths, and in doing such we are continuing to expand our conscious contact with our higher natures. I say this in closing, that the next eight years will hold such a change in the resonance of our heartbeats, that our world today, will be as unrecognizable to us as the effects and trappings of our predecessors at the turn of the twentieth century.

The Story Teller ("Part 2 - Previsualization & The Story")

We have seen how thought can be visual. The story 'can be' visual, in as much as the visual experience belongs to the story teller, and his or hers connection to the story and the the one listening to the story's response, in as much as that persons relative memory base, in which to interpret that story. How then, can what is called today by many, 'previsualization' be a visual art? It cannot. In its most basic form, previsualization is nothing more than verbal story telling.

Within the mind of the story teller, the scene, the story & the characters all are visualized by the story teller, in order to best relate what can best be described as 'previsualization.' Previsualization occurs within the mind of the story teller. The story can exist as words on a paper, or a computer screen, but herein this manifestation of the story, has taken on form, and exists in the dimension of a thing.

Today's film production has come to coin the word 'previsualization' as the act of 3D rendering of a scene, using the high speed, high memory & graphic acceleration of a modern computer. This reportedly saves enormous pre=production costs and foresees some difficulties, which may arise. While the 3D rendering on the computer screen is in fact only 2 dimensional, the result is that it is visual. And being visual, it is not pre-visual. If a thing is in its nature visual, it cannot ever be previsual.

Thus, the story teller, through the spoken word is the ultimate previsualization artist, encouraging those who hear the story, to imagine, to associate memories and thoughts & thereby to visualize for themselves.

The Story Teller ("Part 1 - The visual experience")

We are all able to 'see' a story in our minds eye. When we listen to a person telling a story, we can use our minds eye, to participate with the story teller. We use our sense of hearing to listen to the story teller, and if the story teller is very good at telling a tale, we might even interpret the tale via past memories of feelings, smells & other stories. Some would call our act of participation imagination. When we use our imagination, within the thought structure within our human brain, our thoughts enlist us to fully participate, creating new thought as a direct result of hearing & participating with the story. When we use our minds eye, our imagination, we utilize what some have called 'creative visualization.' This author would call this merely vision.

Vision reminds us of a thought which is uncommon. Thought which is new and unique. This singular type of originality requires visualization. In all 5 of our senses, there are responses to stimuli. We hear, but hearing is after all response to auditory sound. Taste is a response to the receptors on the tongue of a person who is consuming a food or beverage. To touch is to experience a tactile surface with the human body's largest organ, the skin. We smell a thing. Does the thing smell if we do not perceive it with our olfactory sense? Of course! Does the thing create a sound, just because we are not present to hear it? Of course! Visualization occurs as a part of the visual experience. A thing is, and we perceive it, we see it.