Ragnip, the world of papermistry and motion-percepts.

Ragnip is the world which studies perception and the larger experience of reality outside what we see as itself and what causes its functions inside it rather then outside it from physical reality.

This means perception studies try to understand through perceptual deconstruction, how we see qualia in perception from what we can't see behind it in the feild of observations front or rear. This is then used to build new perceptual experiences and more, that reflect things perceptually different.

As the models of functions under perception can reconstructed in visibility with the knowledge, as they exists as extracted mechanisms of our perception inside physical reality as a tool. So what we discover behind perception is then given reach inside it.

As the functions of perception, are within a given location as an unseen capacity rearranged. As the observed qualia that are parts of that unseen reality behind it. We simply move the underlying perception into view, by the displaced normal perception, to gain the unseen mechanism behind it.

It does this using a novel idea of mine called papermistry, which is chemistry but using only paper and the nature of the created discoveries using motion parts in interaction. Either subject is new and recently encountered in mind and I wanted to explore all these new topics on this post, before exploring a larger thing different.

The study of perception is also new and only just begun as an experimental way to peel perception to reveal technologies of artistic appearance underneath. Its most confusing distinction between the idea of physical pareidolia and energetic time-magic or science and the occult is that perception is not about physical reality or the rest space and time at all.

As perception is only what you see as that physical world of space and time beyond it, what we perceive such as the color red or a square shape are qualia of perception which have no explanation behind why the exist and how they function in physicality.

Since when we look at the brain, we cannot detect as shapes the perception of the sensory forms inside it themselves, only measure and reform them in a computer from neurons and brain scans.

In simple terms the apple you see outside yourself cannot be found in the brain in any way at all and the reality outside ourselves cannot be seen directly because it objects we see have smaller parts we cannot.

So the only real part of reality we can perceive is qualia themselves but not what they represent. Meaning because perception is composed of the reality behind it we cannot observe and are simply arranged so the emulate physical reality we see, we can know what isn't inside our experience but outside the perception.

We do this by studying what creates perception from deconstruction of its functions and rebuilding their behaviors in the physical, so that we have devices of the perceived that do similar things in new ways we couldn't perceive.

However the studied perception we pursue, has multiple possible deconstructions of perceived possibility. It means what perception is for me is not necessarily for you in your own ability to change it when you think and observe its features. A color in qualia can be explained in different ways and this example world follows three different methods of studying perception to demonstrate this possibility of difference of the perceived.

The people here would explore perception and experience and know nothing of physicality or energy in a sense of the other ideas and do not explore worlds or time but rather the setting, which is of any sort both like and unlike something we would know.

As they can change its experience in many ways beyond even those we usually expect, simply due to knowing a diverse range of experiences explored. It is a world of the like in power to psychedelics of experience in its full form. Of the three worlds shown since now, it is the most unlike in how it is for being outside the earth's knowledge of what life can be like.

Below is a drawing of the world, although its full appearance could not be known from the limited exploration I have even done, it is however designed to be a distinct experience of perception common to our life's in physical or energetic reality.

As useful outside just itself it provides a greater possibility of graphical life experience due to allowing a more broad creativity of art that I have already noticed is going in this direction.

The walks of keys, to the doorlands of overwhere.

The nature of this image is unclear in the sense that the actual meanings and relevance of the experience is unknown but is an example imagination of an outside setting using mostly primitive ideas of perception which I can think of. It serves a basic imagination of another experience of existence and a distant world of something that is uncanny to our world, where the artists were the scientists and wizards, rather then the other way around.

It means they would cure a cold by helping you find a better perception of its feelings and had access to chemistry like things from mixing the paints and materials they had begun to work on.

However in our exact case we are using paper, to explore this as it is the most effective material for the most of my work at this time and because it meets the necessity of many things I think might be attained with it. 

So let us begin this part with example models of the perceived and a construction of a set of perceptual experiences using papermistry and motionpercepts. The distinction of the forward visual perception and rear thinking perception is called visual out wall and mental in wall of perception.

Part 1

We begin this portion by the first example model, which studies perception as a form of layers of experience which form underlying perceptions of functions beneath them and are drawn by imagining what they might be, in a symbolic model of their forms. 

It underlayers are then interpreted to gain its functions of description for reconstruction as specialized parts. All three perceptual views will do their steps on an outwall and an inwall thing and only focus on one part of qualia, as an experience for a simply focused part.

We begin with a outwall of some details simply depicted inside an object and an inwall of the word light viewed as visual thinking. This will allow a basic idea of what perception studies are about.

A stones detail and the thought of light.

The left image depicts a stone with its added perceptual symbols that represent the idea of stable stability and the expression of details in distinction, it is infront of the depth feild which refers the concept to being formed by depth as an illusion of geometry where it is solid.

The right image depicts a stone with its added perceptual symbols that represent the idea of represented meaning of light and unequivalent symbolism as viewed form in its other part, it is infront of the feild of formatted forms and depicts a visible set of visuals possible.

These two parts of perception the left outwall and the right inwall form the capacity to build an object which has a false still object of depth illusions with details and looks as a representation by light of symbols nonequivalent to its inner visuals. So when I built the object that took me a day, it was of this appearance

:

As you can see, it features several depth forms in its whole shape that create different imaginary objects built from the inversion of our depth perception and further allow varied appearances of forms in its details that can have many representations as a hyperspace. It also features a whaling object that serves a similar unknown purpose as an object of undefined use that can be interpreted.

Its whole nature allows a perceptual experience unique and provides an early example of a scalien emulation portal I place on building with this set of percepts, energies and physics. It will eventually feature additional beyond. The object could itself above, have many interpreted relevance as a tool of mostly an experience it can represent.

It allows this simply in its nature unique, we now move on to the next similar example, but in another form of perceptual knowledge gained. In this case we depict the closed eye visuals, which depict layers under a perception we define as we request the visuals to display to us in their knowledge of those natures in difference from above.

Our objects will observe a different part of qualia, which shall regard glow mirror and the desires of effort as distinguished in two layers each. These layers are then interpreted for a similar object of other possibility. 

The outwall and the inwalls of the photoforms are different from those we imagine as simple are and nothing of meaning in their drawings, as these seen images above represent a process of layers that is deepened into parts of meaning which the represent more symbolically and guide a difference of resulting possibility.

The glow mirror is formed by the arrangements of spaces which are the lightly written and so represent the pieces of distinct addition and details that are not the common pattern but drawn ahead of time to reveal a glow or reflection that is not seen, or done in reflections theme itself. 

As the sheen of something is difficult to place in parts, it springs from the orbit of the world around the self and the light is as a single point of the detail it produces, which shows what perception cannot see. It thus represents the idea, that it springs not from perception at all, but the false perceptions of something inside it, in a place where it shouldn't be.

The desires of effort, within the inwall are formed by the mechanism of the ends pushed and the work of lines that sculpt the direction it refers and thus the shown end of meaning given, refers to the experience of a desire and its work done, on papers of the details played out as works of time, that spent were as they are.

Desires of effort, they spring from what is scattered as the points of absence between that held the secret of the things they had not placed the work into that became the road of what they had not seen, these they were the shapes and places of a power yet recognized, the space that could yet or not be done.

So the above forms in the nature of glow and mirrors that cannot be part of perception but instead as a detail formed of its nature outside it, the end of this specific experience is one that I made, that shows in its details how much effort I put and where I did not let it spring in the symbol that I put as this reflection. An experience of the thoughts regarding what can still be in what I have yet done.

The above image represents the statements of the words that came from our perception model and feature reflection on them which encourage the effects symbolism as an object of continued improvement through what is done and what is unfinished on it as the reflection.

The object is then simply kept among oneself as a psychological reminder, by the power of its features of perception which attract oneself to it, like water. It encourages self improvement by the force of its symbols on the mind.

The use of this is solely an example and sheen's exact nature is unknown.

The next model, models the perception on ones own discretion to know how its underlying functions work, to achieve an answer for its nature and a byproduct as yet another modifier. The model is thus built from the question regarding the nature of orienting objects and the positionings of mind.

The result is the the model below, and is soon followed by the object which I have already built.

This means the experience of orientation within an environment is caused by the opening of a fold under perception which is caused by mental energy as the source of the motion behind it, while the position of mind is awareness of self manipulated by mental hand that is oneself. The modification of the hand allows a diversity of things within mind. 

However, folds can be modified in a specific manner, since the orientation of the perception is exterior to the experience. The manipulation begins with folds of paper although other methods exist and so our object is regarding this nature as a folded paper in more then normal geometry.

This multi-orient shape can take on many more orientations then normal by being able to fold and unfold its shape in different ways and so allows the user to view distinct positions of mind that they find within it as the perceived form.

This allows a simplistic use of the idea of folds and shows the final example of percept extraction, however the next portion of the first part regards the motion percepts and the papermistry deeper then what has been shown thus far and will take in consideration further aspects of perception.

The point then of motion percepts is to move and display an experience while the object is given purpose by some part of the mind which refers to the inwall and allows the experience at all. The object is supposed to be more complex and allows a deeper behavior.

Thus it is modelled in memetic maths first for the purpose of what it will do then how it will do this, through steps of its behavior which represents its process and allows its role complex. The first step is to view the perception feature which we will consider within this divided example perhaps with the other precepts prior.

So we begin with an image modelling parts of perception in the third manner:

The purpose of this description is to describe the nature of clear distortion by glass and light as a maliable background from forward activation of the distortion and the meaning of the inwall that is an unclear question springing from the ill definition of a passing memory lost.

This means we will build a motion percept that begins with the role of both these things in mind, but is rather more complex, in being described from cautious effort to serve a greater use then solely the meeting of this meaning and mind. It will be first modeled as a behavior with memetic math, which will describe the whole active behaviors.

This first short example demonstrates the idea of motion percepts in a very simple way, they simply use ideas of perception outwall or inwall within methods of moving parts and pieces to produce the designed effect. Similar to the following example, the explored possibility first shown is simplistic and more effort will be required for the following part. It delves deeper into the concepts of perception in a more complexioned of a range of outwall and inwall depths.

Thus our example papermistry example uses the same concept and seeks a distinction from the above use of paper, as papermistry is the art of blending paper off colors and shapes into new forms with water or other method of adhesion which includes above examples but in the next image is done using blends of smaller paper mixed and stuck together to form a dense ball of paper.

I tried wetting the paper for the adhesion, but cut the paper too thick and so it was not as successful as expected if it is at all. Thus I taped the paper together as a ball and will presume more success adding glue to the paper next time. This had been an experiment and presumed from experience with flat paper sticking when wet.

We have now seen some basic examples of the work of perception, however the examples were very basic sought ideas. These ideas will now be furthered into deeper complexity in this second part which refers to the deeper mechanics of perception beyond one or two layers of depth. This for use in manipulation and farther utilities of art and experience.

Part 2

We begin with a far more complex exploration of the underlying features of perception and begin by selecting a perception to be manipulated afterwards. Thus we select the nature of folds and depth to know the nature of these two things linked.

These will be explained after I do an experiment with them and show a picture of it below, which to the reader means less then a second, as this idea is rather interesting and I am curious at its nature and it adds to the sense of shown percepts.

This set of percepts creates the perceptual view and the use of the whole structure allows a diverse set of screen like experiences by using the rescources in likeness within our perception. It served as the key for insperation for building this experience below and allows a distinct use of visuals.

A special depth screen which provides a glowing haze experience.

This first example of a more complex use of perception's underlying behaviors shows us the basic compositions of a perception experience which can be further used with the next portion. This second part that describes precepts of smaller parts of visual perception and allows connection or disconnection from this first shown part. The two distinct peceptual experience uses allows further explored phentalic experiences as objects between mind and matter.

These created experiences begin with the process of manipulating underlying parts of perceptions we see everyday and using them in new arrangements as other things visual that form new forms unknown until depicted. Such as what was done below:

This serves as the basic key for the next seen set of experiences of scenery which use the perceptual details of something selected before hand and its underlying parts in a new way, to know a new setting of experience. Thus we begin with the perceptual details selected, then follow with an image of a scenery unlike the familiar.

So we begin with a depiction of the subperception parts we will use for this image that follows:

These we use as partial or complete references for the image that follows to create a scene that is an unseen experience and for further details we shall use hyperspace as a method of details for additional beauty. This will serve as the first and second examples uses of effort.

The first image is below:

However, regrettably my interest in this project has grown dry and I feel as though the subject matter of perception is still lacking in uses beyond appearances that have already been described, thus for the time being this post is finished and I must move on into a deeper project that was planned for afterwards. As it interests me more then what I have already come to know of regarding perception.