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Theories of spirituality
As affecting my life experiences, by James Edward David Cline
A model of one's ongoing life experience might be represented by a set of four overlays, in which the brain has sorted out the components of each moment's visual image, rating each item for immediate survival action content, emotional feeling, abstract pattern association, and abstract rational significance. In this modelmakers world, existing within oneself and within all things, everything has an "angel" (a defining energy-pattern from which it is manifested) and with which it is possible to directly interact.
SPIRITUALITY IS MORPHOLOGICAL
As a youth, with chunks of balsa wood, x-acto knife, model airplane glue, colorful modeling paint & brush, I crafted models of the current power symbols (eg airplanes) and empowered them with my thoughts. On the nearby walls I inscribed the equations of physics to surround me.
SPIRITUALITY IS METAMORPHICAL
In this inner modelmakers world, within oneself and all things, everything has an angel (energy pattern from which it is manifested) with which it is possible to interact.
Such as by mentally observing something ...anything... and silently asking a normal question such as "How are you?" and then be open to perceive some kind of reply in response.
Or one can mentally change a pattern (for example, when seeing a homeless person on the street, imaginatively change the picture to a well-dressed sucessful person, clear-minded and happy now.) And since this energy pattern involves one's own greater self, it reflects back onto oneself, so it is wise to thusly spiritually improve all things.
One experientially useful viewpoint of reality is that there is no separation in the universe, it all exists in one tiny point. In that common existence point, there are energy design patterns. Design patterns defined as spatial form, such as a "triangle", create what is perceived as "space" and the contents of space, through their conglomerate activity. To access this viewpoint, close the eyes as you imagine the universe around yourself collapsing quickly into a tiny point in front of you. Then picture some object, place, or one's own body, to become, as you expand the universe back to normal around this new place: observe the interesting new experience in this place. (Always finish by thusly accessing one's own body in another contraction/expansion of the universe, then be aware of the energized physical awareness one has of oneself.)
Patterns of process sequence are similarly perceived as "the flow of time." The more locally concentrated a group of energy patterns become, the more "physical" it appears to be.
Energy patterns can be superimposed on other energy patterns, such as appearing as patterns stuck in a certain space such as a room; and stuck on a physical movable item such as a chair or a person.
To ponder "virtual" existence, imagine dropping a pebble in center of round can filled with water, ripples go out, reflect from can inner sides, go back and stack up at center again, simulating the original pebble splash. This simulation is a "virtual" existence.
Generalizing a device to create "virtual existence", a many point source impulse wave generator, could be aggregately timed to reinforce a virtual wave like that returning from above-mentioned can's sides, would randomize everywhere except where stacking up in center, a virtual pebble-drop happening.
If a particle were able to be only at one real point but is probabalistically spread out in transit, the above-mentioned virtual stackup might force its defined position.
A 3-dimensional hologram of a complex neural structure, surrounding that structure, energized by a repetitive energy wave, would repetitively excite the shape of that neural structure. Like the pebble-point-shape, but of the complex neural structure shape.
ONE'S INNER MODELMAKER
Woodcarving model airplanes with an x-acto knife and model paint, and manipulating modelling clay into chosen shapes, shows the guiding imagination of the mind as a modelmaker.
Yet think of the mind itself as a great modelmaker. The medium is not mere modelling clay, but instead is whatever stuff thoughts are made of. A lifetime collection of sensate images are the stuff from which this model is made.
That which seems to be physical experience may actually be the interaction of the parts of the model the mind has made from physical sensate stimuli incoming from external reality. (Either that, or external reality objects really are inside our mind... or maybe both?) Anyway, our inner model of the outside world is consciously alterable by us. Such as mentally changing the color of a car one is looking at. Or doing a guided visualization.
Knowing that one's secondary experience of "reality" is actually the interaction of one's awareness with a model, one can interact mentally with this model, moving pieces around or changing qualities, or asking verbal questions of any part of this model, making space for an answer, which sometimes supplies added interesting new wisdom found by this great modelmaker.
Taking into oneself, observing, then releasing, chunks of what appears to be in one's environment, putting it back where you found it, is a way of learning to receive and to release. Look at something that appears to be "out there". Draw it into yourself through your eyes with an inhale, greet it. Experience being merged with it a moment, then exhale it back to where you found it "out there", say goodbye to it. Notice how you feel now, inside. And about your new friend "out there." This can be done anew with each breath, with whatever is found in front of one.
If a change is not repeated, it tends to fade into the blur of all things related, making practice safer. Yet some experimentation has shown that parts of this model seem to be shared by others; thus, personal responsibility is prudent regarding modifications to what appears to be just one's own model. The Golden Rule may be aptly applied here, doing to others as you would have them do to you in kind, in your model. Deliberately adjust your inner model of your world to be a better place for all beings, including yourself.
Transforms may be done, knowing that one's inner vision contains a portion of all that one percieves which is made of one's own mind stuff: this portion may be modified at one's will.
For example, invoke that one sees one's garden within arms's reach, a garden with selected plants. Ask for all the detrimental events of this day to be seen as weeds; reach out with your real hand and pluck out the image of the wayward weed plant, then allow that plant and its roots to dissolve back into the surrounding mind stuff material, one by one.
This concept of one's inner model, as being that which one actually experiences in life instead of the real physical world, has several interesting implications.
OVERLAYS: SEPARATING OUT THE INNER MODELMAKER'S VARIOUS MEDIA
Overlays, such as a set of transparencies which lie on top of each other to form a composite image which can be separated into layers, is an apt analogy for the model of one's experience of ongoing life. One sees through all the layers of overlay to see what appears to be just one item at a place, yet it actually is a composite item, as shown by lifting up the layers, looking at each layer in turn, and putting them back again. Superimposition of the overlays forms the whole potential experience.
A model of one's ongoing life experience might be represented by a set of four overlays. Using the sense of vision as an example, the deeper overlay is the physical sensory image seen, the next overlay is made of the emotional feeling content of each area of the seen input, and the other two overlays are: that made of the significance collection of all similar seen items, and the other is that made of all the patterns which contain each seen item. Raw physical ritual territorial survival level R-Complex level, mamallian emotional heirarchical limbic level, left-hemisphere rational cause-effect significances, and right-hemisphere design patterns. Vision is the inner eye's observation of the superimposed set of these four overlays, all looking like one whole picture.
Thus the brain has sorted out the components of each moment's visual image, rating each item for immediate survival action content, emotional feeling, abstract pattern association, and abstract rational significance.
One's inner eye can, however, deliberately choose to look further into the content of a particular overlay. The abstract rational layer contains language as part of its universe, and one can mentally ask questions verbally of it and expect some kind of verbal reply in return, about the significance of any selected area of the overlay, say a cup in one's hand. The abstract design pattern overlay layer can be "asked" to show the general class of designs to which the item belongs, or more particular classes of design qualities. The limbic overlay can be invited to show the emotional content of the item. The r-complex overlay level can be requested to show physical survival level associations of the item. Looking at some item in one's immediate visual field, and asking of each of these overlay levels in turn of its paticular associative content, can bring much interesting wisdom into an otherwise possibly dull picture.
If the eyes are shut, eliminating the raw physical sensory input, then imagination reigns. Everything is overlays. One can deliberately imagine a selected item, then go through each of the overlay's content individually in turn about that item. This can free up a lot of energy. It helps to thank each overlay upon completion of observing its content regarding the item.
In this eyes-shut, imagination ruled, experience, one can also go through guided visualization processes, deliberately calling in specific input groups on one or more of these levels, to build the imaginary experiences. (Example: imagine yourself lying on the grass in warm sunshine under a tree. Multiple sensory imagined input intensifies the experience; although leaving out one sense in particular can further process such as the archetypal guided visualizations of Fezler.)
Each of one's physical senses has its own similar set of overlays, connected to the other senses on each overlay.
There is reason to believe that these personal overlays are actually areas of the Universal Mind so-called by the psychologist Carl Jung. The closer to oneself the overlay portion is, the more control one has over it. Yet it is really only one great set of overlays, shared by all the component beings of Universal Mind, including oneself. Thus if one chooses to mentally image some item which is physically distant, in the degree that the image resonates with the real item, there can be coupling of identity. (Example: in the "open chair" technique, where one pictures a lost loved one in an adjacent chair, asks a question of that image, then goes over to that chair and becomes the image to answer the question and ask a question of its own... back and forth ... that which starts out to feel like pure fantasy starts to take on unexpected qualities which one might find if the real person now were truely present.)
There can be coupling between one's own immediate overlays. (Example: mentally picture a red apple in front of oneself, and then with your physical hand reach over and grasp that apple, and notice the curious sensation in the had upon that grasp. Then put the apple back where it came from. Another example: physically look at some item, then as you inhale imagine the item moving from out there into one's body sensation space, then exhale and put the item's image back out there.)
There can be coupling between different beings on a given overlay. (Example: the so-called psychic healing processes where one asks to see another's physical overlay layer showing the dis-ease, then designing healing processes such as washing or bandaging abstractly to modify the hurt areas back toward greater health, using both the abstract pattern energy overlay and the abstract significances cause-effecct overlay.)
A modification to an overlay, given opportunity, flows over to affect other adjacent overlays on related items. The specified change remains until converted into some kind of physical manifestation, unless it is otherwise converted or cleared from the overlay.
This general concept of one's inner modelmaker functioning on specific overlays appears to encompass both ordinary daily life awareness as well as one's imaginative, intuitive, holistic experiences. Thank you, great modelmaker.
GROUP VIRTUAL MODELMAKING
A group of people, which share a common belief, forms that belief-pattern as an energy pattern, which remains to catalyze physical phenomena by collecting physical items which are similar to parts of itself. The ancient principle called "karma", cause-effect through time, is a simple understanding of this, as is the "golden rule" of Christianity, including individual as well as group "karma" action. Understanding this, an individual group or person can deliberately create and empower inverted, or "complementary" belief energy so as to tend to neutralize the earlier, wayward, energy pattern. The "positive affirmation" process is one of these techniques.
HEALING WAYWARD VIRTUAL REALITY ENERGY PATTERNS
Such energy patterns can be cleared out, leaving the original physical pattern primary form, such as by using the "resonance balancing" process, which uses slowly exhaled "prana" energy directed through out the hand/fingers into pre-defined areas such as a life-function energy center of a person, or into a space or situation as defined by the applier of that "resonance balancing" process, which applies a link to a pulsing time series of energies, of 2-3 seconds inhale, and 12-30 seconds exhale, with sometimes a 1.7 Hz pulse spontaneously appearing. Many other holistic processes have been developed for such energy balancing, including Reike and Lovestream &#reg.
The processes where a chromosome gathers to itself its image to form the "helix" protein pattern, replicating itself, may be related to this.
--- That which I think is outside me, is represented by a model of it within my mind ... and I can consciously choose modifications to this model, being careful since the model tends to turn physical.
Copyright © 1996 J. E. D.Cline. Freedom to copy is granted to all, providing credit given to JED Cline.
I'd appreciate any comments and suggestions to email@example.com, and would be happy to answer any questions.
(I can also be contacted at: Dave Cline, 9800-D Topanga Cyn Blvd #118, Chatsworth, CA 91311, USA Telephone 818/886-8059 E-mail also at: firstname.lastname@example.org PS. this in no longer valid contact info in 2008. JEDCline)
[Postscript in 2008: Experience over the years since the above was written, has alerted me to other common factors of "spirituality"; given that spirituality is related to all things, since all things were and are made by the Creator, conceived by the limited human mind as a like living being. People can be aware of meaningful things to themselves only in terms of what they already have experienced in their past. A more severely limited concept, one particularly dominant concept of spirituality in present-day society, is related to the predominance of hierarchical thinking, tribalism, ethnocentric orientation, the pyramid of dominance, utterly focused on "who is boss here of whom" in general. Thus, to accommodate anthropomorphic organizational structure, the concept of spirituality for such folks would be of who is the ultimate top boss, often appears related to long-deceased shared male ancestor, for example. The intense focus on people instead of people as part of the larger world, of this kind of thinking, makes a God that is anthropomorphic exclusively, somehow missing out on all the other parts of creation as if being unimportant, since the only thing that provides survival and reproduction opportunity is what male is top dog and what males are close to him. As in all other things the energy pattern of this phenomenon would be its spiritual aspect. JEDCline in 2008.]
An Excalator Hi page titled TheorySpirituality by J E D Cline started on Saturday, April 26, 2008 8:57:18 PM US/Pacific
Copyright © 2008 James E. D. Cline. Permission granted to reproduce providing inclusion of a link back to this site and acknowledgment of the author and concept designer James E. D. Cline.