A spray is a word of power which represents a real aspect of reality somewhere and represents its behaviors that are studied by a user and within a grown understanding of that spray. These are used within the scales of left to right to manipulate time viewed as fully existent probabilities that collapse to spaces of light which radiate that glow of effect.
As a result the reality is one that time travels and explores its future, past and other times within a space of light that is a projection from the unseen source as the world we navigate and what we see. Space is an illusion of something greater which exists beyond light as the creator of this space and this is similar to time which is created by potentials of reality.
It does not study the physical contents of what it sees, instead it observes the light which is its appearance as only exactly what it appears immediately and extends its understanding of the lights and shadows behind it as an underlying reality that isn't inside the object at all. This underlying reality is neither smaller or larger then the object but originates from a projector outside the full of what is space and time.
To begin understanding this reality and its inherent nature, we begin with the first part regarding sprays that I have selected from the numerous that do exist and can be selected. These will be explored within the context of light and time then we continue the discussion with deeper knowledge of the space and time itself.
We begin with an example object like before and what sprays can do compared in user reference to the pareidolic physical world of the previous post.
The reality behaves and learns about a different state of being and use then something closer to science like Pareidolia and its models of shape and behaviors noticed. Instead this world uses words of definition to be explored in customized metaphysics that belong to one user of the art alone and another's knowledge is distinct regarding the whole reality far complex.
Thus the example does not represent all that is possible with this reality and instead reflects only what I chose to explore within the words of power and elements of their nature one could understand.
A depiction of the world of Splim, which is inspired by ideas during the later parts of my original explorations of the omniverse after early travels with pareidolia especially is shown below:
Splim, the world of magical sprays in the probable lighs.
It is unlike Folden, because Folden looks like a cave floor, in a sky of its crescent continuing where the indoors is littered in rooms that harbor different appearances and outside is filled with various gates and objects that create a rather strange world unlike earth's normal way of seeing it.
This world also features other scenery outside and inside, to allow for many manifested worlds which are built and explored in one single actual area of the reality.
However, Splim is mostly like earth and filled with forests and towns, tall buildings and watery lakes and mountains.
However it is unique for having a brownish peach sky during the one half of the day that we on earth can only see at night in cities of the right lighting on clouds and whose other rises and descends pink and orange but ends blue as the top of the sky. It's designs for small things and even architecture divides into things that resemble nature and what resembles the unature.
Part 1
The themes of the ideas of this world are also reminiscent of themes during the latter parts of the almost four years since I began something deeper then merely philosophical thinking. The nature of an art style, is important as a basic concept to the world of Splim which practices personal individual arts of a subject of complex possibility.This theme of our current world, I describe as primitive modern, because those days merged sciences with magics and were taking place in a scientifically advanced world while its own idea was still primitive but used those advanced technologies.
The previous world of Folden has a design of appearance and style that is best described as my more immediately recent themes of psychedelic appearances, while using ideas of original understanding that started the idea. Recently I've been enjoying a theme of artistic style that is more alien and uncanny to what is normally expected, so the appearances of a world are quite psychedelic as shown on Folden.
Since I had always wondered at the alien reality and its appearances beyond the familiar style of a world of science of atoms and magics of religion, which only the future would reveal. Science and Religions have their own appearances and themes that were by the creators and describers of what they knew, so the world we know if formed from the blend of history we most often see that sometimes is unique to a portion of the planet.
In origin the ideas only explored within those distinct philosophies and so were more familiar but seeking something beyond it, thus Folden is a future of that same origin where it is met in its dreams today, in both it's original distinction of philosophy and artistic flair.
The primitive modern style and appearance is far more reminiscent of the earth as it is, in using themes of the present with themes of the past together in new ways between them. It is not as distinctly alien in design intended to be peculiar and so while the idea of the world is novel, the actual appearences are mostly within usual expressions.
Although, this world is an advancement of the magics I explored especially, with the arts of time travel, thus the appearance of the world is techno-occultic and my own desire is to have it feature a brighter and darker atmosphere of visual polarity at once.
Styles of how a world appear, can be created by its own exploration but they can also be controlled initially if planned. What one ends up with as an appearance is distinct from its restraints and uses of style selected and thus the world it becomes is as desired in its basic intents of style.
Folden was made without planning and given the style of uncanny fo-psychedelia that I was already using before this change of projects. The style is fo-psychedelia because psychedelia originates as a visual memory of a hallucinogens appearances drawn from experience of what it actually looks like.
My experience with those substances is virtually non-existent, my similarities only represent inspiration from the art of people who have experienced it, that I cannot replicate successfully but in it's own origin as an attempt became a its own type of appearance that does not represent what actually occurs in those perceptual experiences.
Its appearance succeeds at meeting the same state of detailing and surreal nature as those visual drawings in some respects of my knowledge of them and add details original that distinguish them. They are not real knowledge of the psychedelic reality of appearances and actually a distinct style of self created psychedelia made on paper instead of by a substance. Built from noted observation.
Among my early attempts and success, this is the best picture I managed on the computer:
"Energy and Nature, the whalings of senseless psychedelic form given sense in pareidolia."
The first being contains features of the world which relate to energy and the second being has many features of what we know as nature itself.
Both were randomly drawn and detailed automatically and with pareidolia while doing so. Thus their formation is unexpected or planned at beginning. Yet the forms recognized as they formed were given details to increase this recognition.
I drew it with intent to make the image become a symbolic unknown of things we do not know then interpreted a meaning from it as what it actually was for matching the meaning to the physical observations seen and revealing an unknown pattern in a directed area of interest.
This whole process of creating unrecognized forms, then coming to know what they are is called fishing the Whalings, a whaling is an unknown encountered with no recognized pattern of relevance. It was an original attempt to see something psychedelic with no meaning and understand it deeper in an immediate way beyond what was recognized about them.
It is possible psychedelia in general is an appearance of semi-recognized patterns intertwined with those we do not understand and thus the experience inspires strange unexpected ideas and revealed random insights. Fishing the Whaling is the same thing, but it is done with just a drawing.
Since applying a random meaning to anything known already simply reveals a way of using it, that has not be known about it. Thus while revealing truth about the exact thing seen, does not match the exact role it has for someone who built and uses it themselves.
Below are a few more examples of my explorations of the psychedelic and the diverse forms "style" to a given art of created ideas. I view art and artstyles as distinct to absolute precision of the artists skills and knowledge of the way they create the pictures of their style. A single non-repetition of an artist's usual patterns, means an entirely different appearance style.
Later experiments with attempts to make Whalings scary looking instead of anything by randomly arranging scarier details. Succeeding means scary patterns and colors are randomly placed to result in the disturbing. Interpreting them as scary evidently leads to scary ideas and ideas can in fact scare someone. It means the scary ideas should be avoided unless you actively want exactly what your looking for.
A whale and strange scenery inside a scalien ( scale depth distortion ) space that is contradictory to normal navigational reality and defies the expected norms of angular navigation. It's mostly drawing wrong perspectives of what is supposed to be seen in reality and results in weirder visions.
An image created by following a set of steps randomly described in overlays and steps that modify previous steps in ways completely randomly done to the given steps and manipulated inside the rules constraint to create a surprise experiential image with unexpected appearance and style.
This image, depicts a persomnia named Lepoxiania who represents madness and sanity, inside a space reminiscent of the tower of Avondale. His form was noted in the pareidolia of the forming image and further exaggerated as it progressed so that the result was this unique design.
Meanings of differing methods of thought and transmutation of ideas in idea generation depicted as tiny baby eldritch entities that have distinct interpreted connection to the meanings now forgotten of what each was representing. Thus each features a unique alien like style and type of living being as itself and farther exploration of each would lead to deeper and more complex older entities.
I view the eldritch as another word most of the time, called the unknowables because the eldritch represent the unknowable unknowns that H.P lovecraft used to represent his fear of what he didn't know because he didn't want to know them as he became afraid of what was not known in the first place.
Its connected to my early interests on the unknown, but I knew the unknown was more then only scary but also defends against the fearful and things far beyond these exist. Thus I sought both and still do and still know not anything of what I can never know from their sheer immensity.
The entities I study and learn about are the unknowns given symbolic persomnia of what has begun being known and changing as we learn about it. They are both scary and positive but only symbolically represent deeper things and beings we cannot know, for their natures and sizes are too great.
What I represent as madness or sanity today I may forget tomorrow so the two parts of madness and sanity missing, are part of the eldritch unknowable state of being, that cannot be found for having never been encountered in our minds.
The whalings represent a thousand unknowns in all that you see every day, as normal things with one use, but we simply have never used the objects for things they are not known for, that they can do but have never been discovered and recognized as being able to do, until one tries but forgets something else in the same breath.
The Melancholia
This is a image made modifications of free use images I got off the internet that I merged and played with on the computer to create strange imagery with realistic tones and additional details that are not normal. This example represents the greater actual diversity so always farther of exactly what the art styles of existence can contain.
Art styles can be seen in their discoveries as distinct ways the drawings look as an overall design style and uses for ones creativity and skills at the art, each person is good at what they know and enjoy and sometimes artists are good at ways that create something never known before. These can be beautiful or terrifying in what it reveals and are as colors unseen of the world we usually know.
Those common patterns represent what the artist created and knows how to do and represents the artistic style of that person. Some people are more skilled at certain types of drawing and image creation.
For example, my own art and skill is limited to non-realistic detailing and psychedelic variety because I don't understand how realistic art is drawn at all. Likely because my arts method of making details to begin with is by a special pleasing eye pattern.
My details are a repeating pattern of shape and something like an interacting reaction. When I draw details they are added in positions of a larger object that was initially a single color. The next detail is guided by my sense of where in the image the previous details are creating an imbalance of "poetry" that is not pleasing to my mind.
It lacks the required details of reality which in reality does not have to please the eye at all because life is more then my feelings. The added detail I draw is always a generalized common pattern of the given texture that is far more complex such as small stones inside a larger stone or uneven grass.
Thus the outline shape made recognizable to its archetype of appearance or unknown appearance is drawn then given additional perfectly place archetypal details inside it. I'm so obsessed with it that it has become a compulsion to ensure the details are perfectly poetic. I am working on improving its overall detail level used however.
Alas let us begin the wandering of the sprays and our own creative magics, which like art styles themselves forms here in this world as ones own personal style of magic and has ones own choices of power.
These art styles are relevant as a discussion because their appearances and the practice of a sprays work for each person begins with their desire for the given style of it they enjoy and discover as their own power or what they liked of others.
This world, does not explore worlds but instead its own time that has parallel histories springing of the present they see and can be traveled through knowing the narratives of change one enjoys exploring and further advancing towards it. This means their history is unfolding on many timelines at once that produce what they call the whole time.
These are the sprays we will be using that I selected for myself and they are some of what could exist in the wholes of sprays but they were the first discovered by myself and curiosity added more recently. A spray is a word of any kind for something which is left initially vague and represents the whole of that specific word as we discover or use it while in this topic.
The four words of order, chaos, balance and will represent these whole things as we can imagine them and thus wherever we find order or chaos they are used for this end and wherever we find balance and will they are used for this end.
For example the space we live within has objects new and old which are a ordered representation of light and the space we encounter changing in time is chaotic and waxes, wanes and vanishes as unknown when.
The immediate similarities of the order spray to things we know as matter and physicality are made distinct from usual objects in that what is only contains itself as the formed spray. Meaning the order is used with the rest and is not studying the physical only using the order of it.
A new spray forms by what it uses before, always becoming exactly itself and their are two forms of spray interaction called solute and compound. Solutes are merges of the forms into oneness and the other Compounds are the use of what is apart together in separations.
In example solute and compound represent the different of a stone or a lamp, in its distinct spectrum used in amounts of differences since the stone is nature as it always was bound together and the lamp is apart and made to fit with itself in cuts of the unnatural.
Humans can make compound easily as most scientific technology is a compound, only some things are solutes like a coffee mug or paper as their is not a separation of what it is inside the form beyond itself. A tree for example is a solute and not a compound because it naturally has no divide beyond itself within it.
The immediate order, chaos, balance and will are what I term within my own work of Probaqual magic and differ as one decides for another practitioner. These first four are called the Manitude and the three others I coin the elements of this work specifically. Any added categorization is a selected use within ones metaphysics that begins at the sprays one uses as its core focus.
One keeps to a focus of topic for as long as they see fit, but the continued study deepens its understanding and abilities over time.
Beyond the use of a word representing the whole spray of exactly the words meanings, the way one arranges the sprays in use and nature beyond it is part of ones own personal metaphysics. Words are defined by what we know about a word and can have double meanings reflecting the word in different contexts.
Sprays interact to form abilities and things created and we begin the process of studying them with either thought on how each spray functions or an example object which reflects what these sprays can do within their words constrained. The images of the spray's name are depictions of the symbolic and/or real appearance of the manitude and elements as example styles of their appearances in artifacts.
For the first part of this post, I will show you a few example objects with the basic sprays I chose and describe what they do as things of doing. The words used are very broad in how they are used and the deeper understanding of my created higher forces of the sprays shown is described as the portion after 3 objects.
Not everything within sprays regards the physically immediate as an object and what is shown as itself, because manipulation of what is traditionally seen as magic is among the nature of the chaos spray.
In magic, we view of our own power manifesting through symbolism or intents which form apart from it. Magic is used in likeness to the occult and religious which have features of this defined magic in their works. These manifestations form within the chaos of everyday life as yourself's or something's effect on Chaos and result in that chaos forming something beyond yourself.
However their is additional uncanny things in my understanding that are in its likeness, some I have found in my own initial reasons for believing magic was only chance and coincidence. Others are still being discovered.
Eventually this was classified as quantum magic only, it is named this because both quantum mechanics in science and this form of magic use probability and it's impossibility of observation as the basic key. This magic can however be easily explained in its event occurring at all, just not when and so is a useful and distinct type of magic different from what is known.
Two more distinct forms called casts and seeping were also acknowledged as forms closer and farther to what is traditionally done. They are both unique however, as magic most know is from the occult or other places with chaotic affection and they know them far better then myself.
Casts which originates as a force from yourself but uses self manifested and controlled photoforms called forms and are from the astral. Some artifacts form forms and also allow oneself to manifest the created intents
Seeping is a manipulation of coincidences of connected events which are unlikely to occur and have some kind of obscure connection, they are given a higher likelihood of manifesting through an artifact as a way to increase the possibility.
The following are similar but distinct from the Chaos spray.
Syncronicity is a form of divination because it is a sudden event with special meaning inside what reflects your own self and reflects the outward unintended manifestations as a connected part of ones growing purpose, the world can be interpreted at will for Scenetic insights as one lives in it.
Scenetics are the shifting natures of the scenery and surroundings interpreted at will to experience different things occurring there through its immediate or scaffold purpose and also allows things like astral projection.
These sprays also feature fortelling the future.
Syncronicity, Scenetics and other Chancartal tools like tarot cards and foretelling, they are all balance chancart object sprays. As chancart objects they use an immediate order of object, as it is interpreted in its changes of controlled chaos. Thus they are all like a dice in being potential but controlled.
Traditional magic, does not believe that magic is a chance event and some of these magics are not affection or manifestation of chances and are different.
Instead, some magic begins with the use of other things, and I only know some of what actually is known on the subject, others who have their own knowledge practice these things differently.
Distinctions on things between the manifesting events outside causal contact are types of magic. Magics are all a disconnected action effecting the causality of an appearance, without immediate contact of the ritual objects and desire before its arrival.
Magic forms different kinds of effects which make the intent manifested, the chancarts are all forms of divination.
These uncanny types form a distinct set of things within the Chaos spray, but sometimes use an Order spray as a vessel.
Order sprays are not physical technology as is never a collection of physical traits studied for an arrangement of its properties for use desired. Magics are simply a way to effect a manifestation at a distance from the source to another.
More exists within my manitude of chaos, order, balance and will, but this first example object uses especially natures of the Chaos and with the elements we have also shown.
They alone form the first of three objects and these ideas represents some wisdom of the whole Probaqual world, which reflects its nature as space and time in potential and luminous natures.
It's deeper gained knowledge is grown from the experience of metaphysics one learns and the powers are farther linked to time and space and their variations of light and probabilities.
The first object explores the powers of Chaos and Balance in intertwined magic of a light and a situation. They refer to this part of reality as light and space and are not a true order spray while using those Ordered pieces outside it, to create the light for the works of chaos and balance it is for.
Mirrorpath of the luminous forms and its forward Insights
This is a Luminous forward insight also called a Mirrorpath and is a magical tool, which uses the idea of forward insight with light and snow as reflection. Forward insights are a divination of random insight interpreted, which is able to become a cast one could have occur in time in the chaos, it is first revealed in the chancarts then activated by manifesting the linking photoforms as they are called in Splim.
The element of snow is used, for it reveals patches of the ground between its falling and reflects the light above it, while places where snow has not been found has felled through the hole in its place.
These described natures revolving around snow are poetry of its spray's power and features of snow are as something that exists and where it is found. They are repeated in the object we made and thus it features snow as an element of its powers and a usage of the chose Manitude with the element it is formed by. The same patterns of reflective light on snow is shared in parts by the Mirrorpath, that holds the snow it is crafted with.
Photoforms are called simply Forms in Splim, because they are neither physical or mental in nature as hypnagogic hallucinations viewed with the eyes unfocused.
The activation of the discovered manifestation one could seek forward in the passage of time is done by visually observing the Forms connecting the spaces of light which contain light as the revealed insight and so see the Forms of the spell that are released outwards to bring about the end desired but discovered minutes before.
The way they are made as a object for the practice of this Spray casting and artifact is by building card like shapes or other geometry with holes in it to let light pass through it, but also reflective portions to bounce light of the same source in travel.
The result of these shapes in a given situation selected when setting it up, forms the resulting luminous space of observations and any other potential reflective surface nearby can also be considered while setting it up. For example the image shows a balloon that has been covered in aluminum foil on the ground reflecting some light.
The interpreted light patterns seen around you are shaped by things in the room, where they are effects what is seen and added to the meaning revealed and what is actually there changed by brightness divided by the given Mirrorpath used.
The shapes of the given mirrorpath are decided either at random or by designing a sigil of intent as part of the reflection and openings shape. This shape chosen can represent a symbol of meaning for the given revealed idea as a basic direction to direct the spell which reveals a deeper necessity of the intent you didn't know.
Sigils are made through one of many possible methods found only, or can be self invented and mostly are a symbol of shape and lines which depicts in secret the meaning which a given intent behind it is.
Usually they can be used by making the sigil then destroying its appearance to activate its effect which occurs once forgotten about.
This use of Sigils partially destroys the symbol and so reveals a partially still apparent opportunity for what is yet known and then we conclude the cast by activation of the other half with Forms.
The meaning of the original Sigil is forgotten in time and when reused interpreted as another thing. In its usual practice of solely a cast, its power is the self's intent being sent out of self and activated as the sudden transformation and is represented by its drawing upon then destruction.
However in the Mirrorpath's use of the sigil and the the sudden transformation usual is only half activated in part by the holes in its nature and coverings of metal. Then the rest of the meaning discovered and the original intent it shares, are mentally placed within the seen connections of Form between the lighting in front of you, Which results in this arrangement never to be seen again once complete for the lighting returns to normal and the ritual is visually erased from mind.
So the vanishing of our intent in mind present, leads to the manifestation being sent outwards to the effects inevitable end, on the other side of an unseen contact with the goal, that reemerges in the lighting of space later on when out of mind completely and forward into the Astra above the projection.
While this Mirrorpath and Forward insight is one method of its exact manifestations of possibility, this one is called a luminous form, as the type of the idea behind it, its casting and insight is one way the power can be made possible.
Another practitioner would prefer using what they most often use as sprays behind the work to create the same cast and form of gained insight in their own style of power. They may discover other deeper capacities with their own knowledge grown for themselves when used with the same idea of magical nature.
Our next object, is different from the one we have just seen and this spray of Order and Will, uses aspects of Sand in its work, which performs its own task beyond the likeness of our previously shown artifact of workings.
Because it is Sand as an element used and ordered natures with use of our will to create an intent manifested by ourselves alone, the object will be manipulable and composed of dividing parts like sand and share its powdered details.
The table of the Grains of an angle's Sea lights.
This set of objects using the natures of sand as an element and the manitude's order and will sprays, we gain a peculiar object of use, which is not immediately apparent in what it does as thing and this use of uncertain relevance rather then the known design of physical reality.
Its features are inspired by traits of sand, which is an arrangement of small pieces together, has diverse observable patterns within it and is in and around water. The powers of sand are interesting and our eventual deepening of these sprays by the metaphysics and larger reality of light and potential, will further this example of the Probaqual into things we have yet imagined.
This means the sprays of order and will together form at times objects and activities that while representing the possibility of use and its usability, are not assigned to meanings of reason. Thus the exact purpose of these tools does not exist and the way it is used does exist.
We do not change the rule that the given tool has an absent purpose and instead the tool gains a purpose we empower it with as we decide to use it in the moment for other parts of a working. It thus represents a powerful diversity of will potential uses that could formulate all sorts of possible things.
The exact steps of the objects in use are quite simple and follow a task of inherent interaction with the previously done workings.
The symbols drawn on the various parts use the whaling unknowns gained to interpret a pattern of meaning in the moment. Thus the words and meanings of the symbols are gained by how one links them to mean something as read. Its words become something relevant to the process of each step that does exist is done.
The first step is to arrange the large cube shaped Grains on the table with symbols, colors and points. These are then referenced and used as part of the creation of an angle in some manner decided through the linking of meaning to the variables of the Grains, Symbols, Colors and Points.
The angle is a set of lines that may be colored inside a shape of some kind and may feature meaning and symbols as well.
This is then used to design component smaller angles with lines of detail being used to shape their form, as seen in parts of the larger angle and given meanings related somehow to parts of the larger angles meanings.
These are then cut out from pieces of tinfoil and are attempted to be folded in the way of those smaller parts of the angle then dropped in water. One can use a peice of tinfoil stuck to the underside of the paper used for the drawing of the angles and cut out the large and small angle for use.
The Sea of water and reflective metal is then shined upon by a light one holds and they are observed or the released light is tracked above oneself. However this whole set of steps contains a overarching purpose of effect that is gained in the interpreted role of the moment although later reuse of the role can be done.
An example of what it could do, is not provided to inspire others to decide what this exact thing could be used for.
What it may have as variations depending on its exact shapes and work of what the different possible meanings found in it do, have a relation to how it is worked upon and is unknown in productions and varies by person as they use and modify the immediate created rules with no purpose.
It is the willed result of this order creates many potentials of inspiration or exact utilities of the given object as discovered by ones empowered meaning behind it.
Our final object, uses the Will and Chaos together and allows its power through the works of the Cinder which creates an object that is as the ash and fire producing it and uses ones own abilities of self with the Chaos and so beyond the object for the ritual and work, the self and magic do all the work. This casted artifact of ones power serves an end that is described after its appearance below:
The Fowerose on the wandering's timely light, to the waterfires glow.
The flower, the light and the repetitions of shapes and directions, as well as cellophane and clarity represent the natures that begin within the nature of Cinder as a source of similar things that are made greater and more inherent to this used object.
It stands for an activity which is outwardly caused by ones own will on its pursuit and activity beyond the symbol are as a reminder of its uses and exactly what one is manifesting in the magics that come after it in time and how it changes with each willed manifestation.
Thus the object and its two shown images above the ritual altar, represent and are the whole willed manifestation that in each exact attainment practiced, may vary in its exact nature of the manifestations. Its form always regards the same effects of a creative happening, while not producing an exact reproduction of what happened before.
It means it will perform a different result with the same symbolic repetition in each use and is intended to be used periodically and more often then the same spell constantly in use of casting for the exact same intent. The objects and portions of the altar, represent what effects manifests as a form seen outwards, when in the acts of its willing manifestation, we are seeking the forms in the nature of its practice.
This example of this magic and its specific formation of the given cast, represents an appearance of Fowerose experience, within the journey of a walk that is done in certain times. Thus on a walk at the time that is planned by the clock shown, we seek in its wandering the emergence of the Fowerose as something that occurred on the walk while there and gain something from it that is its end formed.
The time is revealed by the reflection clock that also points to the nature of its journey in the seen possibility of the lighting seen on it at the time of knowing, that reveals when later it will take place.
The experienced Fowerose, represents the immediate symbol of sought encounter in the direction of the walk represented by the mirror clocks inner details and the reception of this manifestation within the specific experience of the Fowerose. It is guided in its end towards the waterfire glow as the lighting of the set when activated for decoration represents.
The waterfire glow, is an afterglow which is related to space and light and discussed forward in our discussion from here with the rest of the world Splim's deeper scale of left and right to be understood.
As this concludes the objects first introduced by the works that we have begun as our own exploration of the sprays and feature some of what can be done beyond itself in the words of power that are sprays.
Thus we continue onward to the second part which begins the discussion of Light and Probability within its scale of left and right and the farther grown metaphysics of sprays one uses.
We learn the powers of the left and right of Light and Potentials as deeper natures of Probaqual reality first to understand how these connect to the metaphysics of the central sprays that manipulate natures of all three parts of the scale divided into depths of understanding.
Part 2
Our topic began with a discussion on art styles as they are differed by the exact distinctions of each and the continued practice of a given artistic application of things within the sprays creates a distinct knowledge base of similar ideas and words that is not equal in definition.The result is a different way of using and understanding the Probaquality, which exists as the reality composed of time and space distinguished as the natures of light and potentials.
However the immediate knowledge of the lights as spectrum of coloration and the potentials of probability in flux within the larger extent of the two outwards direction of the scale are more often studied in what has been furthered about them separately as parts of the world that extend into time and space distinctly.
These form larger understanding of the projection and its receding parts behind what is the immediate luminous possibility. The projection of the reality represents what is the immediate moment of space that we reside in and how we change it and others also effect which leads to other moments of luminous position in all moments.
Thus the probabilities referred to here are distinct from those which we view as forms of chance and chaos that we cause to occur or influence or positions inside to reach more often.
As the probability represents the whole potential possibility of what exists as the entirety and the navigation between a state of space to another as it changes and we change it. These moments are connected by this form of probability which represents the potential for a moment into another.
The moment is contained within the light that represents the experiential scene as its form visible and includes the shadows within it because the light in presence and absence is what creates what we see as the reality. This is often seen as being representational of the space which is actually non-existent.
The light and the potential lead to the others of similar but different forms from what is immediate and the arts we depict as styles of creativity both drawing and spray are the influences of outwards and linear reality that we encounter as the immediate we have and the other we draw.
As such these two basic interactions of the idea of probability and luminosity as time and space are to be furthered beyond the basic premises of their functions to reveal the manipulation and use of their larger expanse we observe in drawing it into the immediate by molding it with clay.
These special works of the time and space extended form both models and the insight into deeper behaviors of this duality of moment that allows the abilities that are timetravel outside the immediate and projections of colors within the immediate. These deeper understandings are further described after the knowledge of the molds of both time and space in the left and right, used within interplayings of potentials and colors.
Colors are the immediate coloration of a scene and the extended diversity of style that forms these colors seen and created as we explore their styles and manipulations drawn and built.
They form the space that has special and specific displacements between them modified by the colors and the time that represents the moments available by what is found as those colors within and outside the immediate as the other potentials from now.
Potentials represent the whole possibility of being we can experience in this world and technically beyond, that allow the explorer to travel the times forward and backwards as past and future.
Timetravel is done using a set of known methods of its modifications, which within our current understanding are the use of the moments themselves, the clocks designed and the curvature of objects as they all shift in every moment we live in times in and outside colors .
The two originate from the projections, which is built from the molds which we will build. The molds are special shapes of modeled time and space, as geometric extents of their shifts as shapes of an extent that represent a 3D hyperspace of time possibility and/or light space as it exists beyond the seen we know.
They are built by building geometries of what is explored about the Probaqual, in the molding of clay itself as it is changed and given connections of colors separate in different ways. Once a few are completed they can be kept for as long as desired and allow referenced shifting of these many geometries of the full unseen.
Shapes that are further explored into other matters of the magics of Splim, into knowledge beyond the full of all moments and its geometric shapes inside itself as smaller parts. This used for the dual exploration of timespace as histories and songs of coloration.
The clay molds I have made were made in actual reality and are photographed below from one side. After the image is shown we will further study the nature of light and potentials beyond models of the diversity of forms they can take as the whole color likelihood. Thus learning how these many forms are manifest from beyond the existent form itself as deeper parts of the projection.
This Quaprob reality is not physical and exists as a state of potentials in collapse and energy of a frequency that is its color. It is not the object seen but the colors that originate as energy outside that happened to be arranged in this probability exact of what you see. They are from all that could exist as outwards absolute possibility.
The clay molds are shown now:
These are simple designed shapes made out of Plasticine clay I bought at the dollar store, they does not dry and creations can be modified and reorganized overtime, more of their small scale can be created for additional diversity and these allow a vast set of models changing in points.
Used to explore diverse arranged hyperspace bits, which reflect multi-formed things in interpreted color stylisms and meme potential directions are for our Probaqual energy reality and its study. They are literal models of the whole hyperspace as singular parts that we view as describing the points interpreted by their appearance in both contexts as we understand it.
We use these essential portions of the energy realities larger portions to make models of things regarding what can be a depicted form of appearance seen. Which are a scene or designed space or temporal object progression and its lights and distinctly how a moment can reach another one in some current or other context of moment transfer. As sourced in viewed shapes of colors as each part.
Those details reflect the possible distinctions of colors and moments changing that might be interpreted. For an example of the idea, I will depict a scenery of stylism from the options above and depict it within a multi-moment geometry of the changes one can make in it by another shape in the example above.
It is shown below, the depiction due to its nature as both a strange scene style and multi-positional depiction is going to make little sense to the way we observed causality for dividing into positions of change as one shape, and filled with color spaces of the other.
The image of this created Moldformat is as described and shows different moments in potential connection within each part, while also containing an general style repeated that is in change by moment.
This special type of image can be used in its many interpreted connections of those moments between leading to each other and what the colors do and are is as taken from this image in what is then used.
In the background of the immediate mold format is a second pattern which in all moldformats begins with the same randomly designed crystalline connected lines that are then randomly designed in colors fully optional and lighting added behind the immediate mold format. This depicted exterior grid and afterglow.
The exterior grid adds the connection of the single bit of hyperspace to any other and is unique in whatever is the exact form of each made exterior grid, which can have diverse possible forms. The resulting grid is a series of angle which are line patterns of connection with a lack of purpose that can have any served use.
This angle is as we saw in one example tool and object.
The glow represents a formation of light which has a musical tone of linguistic pronounced sound and it is a method of defining the diverse lighting situations that can occur in reality and change the existing appearance of something.
This luminous change has an effect similar and unlike a chemical reaction like science yet is inverse, since it can create a property of expected reality. The visual does not actually exist and does no object effect beyond its own designed potentials separate from the object being modified.
For example light can create when correctly tuned, the appearance of a curved surface that is actually flat. This is among the reasons light is considered related to space as the world we navigate as a projection of reality.
Below these diverse features of the Mold format have been used with our sprays prior described to build a tool that uses parts of this moment of color and potentials. Intended to create a cast which uses parts of all these things together. After we will explore the deeper parts of the Probaqual behind this portion.
Wayward lines of orders, watched ahead in poems of Glown show.
These objects and their images form an angled observation which reveals a sight that the user watches before seeing, in the next observed image of the scene, its order of use represents the next thing seen as known before it.
It is seen ahead of time and the user reflects on the seen next found, as the poem of an afterglow, which is gained from the insights of forward preemptive light. These images are angles of a whole sight that contain the view in different orientations and reveal its next secret before it appears.
The object can be used to practice the same thing, within other situations of life and helps teach a preemptive knowing of what comes after the glanced direction when we know not what is there.
It's lessons are in the ways we understand the nature of this very act as trained and the result is better prediction from its shadows before we spot the result, this form of divination can extend or recede in its predicted insight that comes afterwards.
The glow that is learned as part of its practice is a shape of light as a useful gift to the self for lighting and colors in use within other invented artifacts.
Our next part, will focus on the possibilities and nature of things beyond the Mold formats and explore the abilities of time and space we control and how it eventually becomes a more potent ability, done when we focus on what we seek from the powers known and what is left to reach it.
So we begin by knowing a little more on the Probaqual then gain the insight into the uses future of these matters which are described and begin the meditation needed to attain it's greater use and power of a dreamt future. This dream can contain greater things then the ideas of simple experiment, for revealing potential uses that we may dream of to begin with.
The image below, depicts the two immediate opposite sides of our firstly shown mold format which reveals this energetic realities deeper functions beyond the hyperspace where all potential colors exist. It allows knowledge of its formation as part of the projected reality as a forwarded form and how it can be further controlled at a deeper depth of the luminosity cascaded into this moment.
The shown models used for designing and navigating colors and potentials. While the ideas seems initially quite uncanny because a pointed expansion and a branching divider sounds similar. They are different because one is a model of a colors expansion from its center as a shape of details and form, while the other is the branching division of moments between two moments that distinguish them and distinguish them respectfully.
The letters represent glows of possible use and sudden inspiration, they aren't required.
These drawn models of color as the basic forms of something seen in light represent how it extends itself in light and its details and is useful for initial or post depiction of these colors, colors are viewed in this subject as representing anything seen in light of vision and the senses that contains a coloration of distinct notes of tone.
The other about potentials of possible event as linked by less relevant described events between them needed to reach another, the model is useful for plotting directions of moments traveled based of the mapped points and what is represented between them. A moment is seen as the whole context of a vision of colors we experience and are changed by changing them somehow.
The immediate uses are for depicting things about the projection that are not visually seen and require models to further understand. All parts of the Probaqual reality discussed are seen as extensions of the nature of sound as source of vibrations which represent in distinct variation any form of energy that manifests as something which is not physical property.
For example, colors while caused by light interacting with objects in scientific view is explaining why they are seen to begin with, the actual nature of color itself has nothing to do with physical or perceptual reality. Since it isn't a property that does something at all physically and is not something mentally disconnected from actual reality for being part the details used to see the physical from the physical reality beyond our perception.
Meaning we see colors with qualia of mind and they come from physical natures that actually don't do anything else physically or mean anything more then the feature they highlight, beyond representing a perceived value of frequency, inside energy and the electromagnetic spectrum of science. Colors aren't a physical thing or a mental qualia, rather they are a displayed perception of an energy interacting with physical and perceptual reality.
Things are similar with potential events, which are simply events that occur and can occur again but are not the physical reality that allows these events to occur and instead the motions of those physical things in changes of possible event.
All parts of this subject, are linked to the idea of frequency as a pattern of energy vibrating as viewed in sciences observations of physical reality that is effected by energy, but energy itself is not frequency and causes vibrations of frequencies.
Science studied vibrations of frequency such as sound, heat and electricity as properties caused by energy that is only studied as its side-effect on the physical, yet vibrations themselves do not explain a motion as energy itself, which cannot be directly observed as an object and is entirely disconnected from physical study as a nature of existence.
Traditional magic is among the few topics to already exist that studies energy itself as a basic premise. Magic is surprisingly a study of this reality of energy while many seem to think it is false, since it manipulates the motion of this energy that causes events of change in physical objects, they are not the immediate physicality called matter but exist beyond it as something that is not the physical.
Meaning the question on truth, that an object does move, but what is making it move to begin with that cannot be seen beyond our perception of the object in motion, it is not known and should be explained.
Magic, time, color, potential, motion and frequency has only some wisdom understood in regards the reality studied of this world called Splim and is one example pursuit of possible ideas on it. These listed things seemingly unrelated are linked, as all representing aspects of energy as the source of changes in reality and are the basics known needed to understand something unseen but actually real.
Knowledge of any of them further inspires this link due to each harboring shared language on topics that repeat in a pattern still misunderstood, for example magic, color, frequency all refer to a nature of energetic polarity which is viewed as positive and negative, in a sense beyond ideas of morality and refer to charges of energetic displacement such as black and white.
Thus our second depth in left and right directions follows, referring to directions of this scale of size and is termed linear for being observed as going in these directions in its overall geometry of needed features forming a spatial scale distinct. Since it splits away from center as previous shown with the last depth explored. It's dual interplay of polarity expand as dual in inverting uncanny repetitions.
This idea of distinct scale directions is similar to physical scale dimension of shapes in scale geometry but are a scale itself beyond the physical scale of those 3 dimensions that itself features its own diversity of dimensions pointed a fully different way from initial observation.
The physical scale is vertical in nature as it rises from the inwards smaller particulates of atoms and pareidolia into the outwards above it as outerspace and larger objects. Further the still yet discussed third scale of perception also exists in another direction, it is horizontal and moves from within oneself thinking outwards into the seen as the horizon in front of you perceived and is also distinct.
All three have multiple geometric shapes of depth we compare to the likeness of the physical space but are seemingly arranged in direction of their increased distances in a whole other initial measured direction of state of reality and relevant nature of reality. Since Physicality, Perception and Probaqual reality are not about each other whatsoever. It is a strange phenomenon that seems to represent a reality of far more scales "subspatial" of extent then we immediately thought existed.
This scale geometry is a phenomenon noticed after I was asking in curiosity about the absurd question on whether the idea of another scale beyond the smaller and larger scale was possible and how it could exist.
Eventually and mostly by accident I managed to recognize another one that wasn't oriented the same direction and was perception as what I see as qualia compared to what it represents outside my mind.
I then assumed others existed, thus eventually added the Probaqual some time later because it made it 3 dimensional and happened to already know aspects about it as magic that had never been recognized as linked as wholly unlike physical until recently. While more may exist the sheer diversity these scale directions create to think about is immense and they all interest me currently.
Something else strange and partially connect, that I discovered does exist distinct from this concept of scale directions is called the Pheyscaptical, it will be discussed after all three scale directions that are the 3 worlds explored direction as realities of the Omniverse that reside in reality of one of these directions.
The nature of the described and evident uncanny connected topics as distinct differences that share immediate likeness to each other is a continued theme which began the multiverse exploration as each distinct grouping of these uncanny equally leveled words represent distinct branches of the nature of the whole Omniverse. They always represent similar likenesses of distinct opposed origin.
The original were faith, wisdom, fear and madness but time future would lead to farther distinct variations that would expand the understanding of what a world could even be. The original are still used somewhat in the subjects they grew into that match those immediate distinctions of my original discovery and vision. They can be seen in the original blogs as a repeating pattern of topics.
We will discuss one additional depth outwards in a linear sense before focusing on the uses for these increased complexities of Probaqual. As other directions within the sprays central exist, that expand in other interactions with what we've discussed here continue the depth explored at some distance to know the something about this scale and specific world exploring timetravel and magic especially.
The world itself is one example of this multiverse direction, in the whole possible arrangements of this scales being and exact usage of what is an interest in it that may exist in the rearrangement of the ideas here, rediscovered later and discovered after.
I travel worlds for an adventure of wisdom which progresses through its rearrangements and collection of more advanced insights from its past, present and future being sources of those next worlds explored.
This makes the ideas repeated become more well understood and allow progression of wisdom, beyond singular worlds that would only reach the distance that was explored then ceased in relevance completely if done otherwise. It still allows distinct worlds that are parallel and feature new things and so are all unique yet advancing the interests I have and discover in time.
Thus we have a final feature of the natures metaphysical depth that is a modification of another linked world from my last project that referenced motion especially as its study. It has been adapted to working within this Probaqual world different. It also existed as a distinct world that didn't recognize the direction it had begun linking.
The images drawn seem similar and are designed to be as they are actually the same image as the idea that changes such as motion are an image that is cascading into the next place it will be after itself as exactly the same thing and is best shown by the idea that a ball when rolled will create wind which is rolling as its own roundness in a way that is fitting its shape as it forms.
Thus the idea is that anything that changes in time will repeat in its cascade of what was changed itself that returns in the places that are connected by those smaller changes it cascaded as yet more returns of itself the same image of the change which is it's exact appearance of colors it looks like.
The idea is that anything effected by something will always repeat its wake of effect that it resembles as itself no matter how large or small that change is and this is a useful idea for why magic works, as the effects of ritual are repeating the same intents into the manifested end that is the same.
Language itself is an end of effect for something of the light seen and thus words used describe exactly what effected us to create them and so no matter what those words are used for they return to what they always were.
This means that the motions one can create as some form of visualized movement viewed as a drawing in time can also be made into a still object of its likeness that shares the same motion and its interpreted effects when recognized.
Thus the first drawing above is a motion of something as it might look like if it painted this pattern as it passed and the object built as the second is a repetition of the cascades of the image of change but unmoved. It is as a still artifact that is unmoving but the same effect in its features repeated from a movement but made as a whole frame that doesn't move.
The motion which we imagine as though its extended image is created by viewing in mind something moving and orienting in its shape as it would to create the picture in time and would feature a property of things around it moving like stars apart in place between, an effect we can call constel which is centered by a flame like traverse.
This same constel of hovering parts apart and the flame like traverse extending, can be expressed in a still object of one moment as the constel as shelves apart and in height and vertical hovering on the object with a flame like traverse of shape.
In both cases objects are carried by the motion and still form and the pattern of its design is repeated simply for deeper linking that isn't necessary but still harbors the repetition of what is first inspired.
The idea of motion as an image that echoes in a cascade of recurrences later on as noted or forgotten and the capacity to make it still for a position where always found is a useful tool of magic and the world explored. The interpreted meaning of motions can be used as caused futures and the motions and stills used together to form actions and tools which cause the meanings in the moment.
It allows a unique method of creating a motion, object or interaction which can be used for the meaning one has interpreted of its whole inter-playing of inwards insight. This echoing cascade of the motion as its form recurring is different from the idea of pheams prior because pheams are repeated forms still encountered when observed and sought or noted.
While these are motions as they move onward in subtle energy of conduits continue to represent their frequency of song, this song is not spotted when sought but played and heard as a music, which can be used as such and causes an event to return again as it is sung and further outwardly encouraged, not sought in what already is as the corebit.
This is the final current depth of the energetic of time and space we will explore in this moment, however as prior an example will be shown that uses the understandings of what we have described up until this point and its various features that form the objects and working that is below:
The video of the created object which is another example object of the immediate first shown tools regarding the worlds shared, which up until this point only reflect things regarding especially basic ability and not a future of a larger purpose explored in greater extend as time progresses on this blog.
It uses light and a very similar object to the world of Folden and its pareidolia shapes for immediate form creation that is different for being made out of tin foil instead of paper.
This is its only difference and it is used with a light to create a projected lighting with a coloration and shape that is unlike the light we view naturally from the sun and even windows which is especially flat and constant within its immediate range.
Because its a reflective material and uses light some caution should be considered with the reflected beams as they can be bright.
The same idea of a reflective object with a limited opening, is the essential feature needed to make a laser as its exit of light is condensing the whole extent of light that should be round to a specific density and direction.
In our example the openings are too wide of an opening and the light isn't extensively powerful as a immediate beam however the light of those exits is naturally brighter and also rearranged in its scattering by the cellophane.
The reflection changes it possible exiting angle, so the light projected is more apparent even during the day by limit of where it can escape and dispersed in an exotic layering of points reorganized when and before being met with the wall.
My recommendation if used like I did is to wear sunglasses simply as a caution and consideration of lights real potential as a danger to the eye especially in normal light contexts.
When modified outside its usually encountered range which is done especially by smaller opening of reflective material containing a direct light of an certain strength, the exact brightness is made more isolated in the beam exact of that opening and lasers can blind you permanently.
As such it's recommend to avoid smaller beams and even avoid openings that beam towards you unlike the above video if you want to avoid the risk all together. The only resource I've been using with any immediately hazardous potential are the lights for being part of the electromagnetic spectrum that is its exact nature.
Light is electricity absorbed by an atom that can also be emitted as a result of the current of electricity running through the wire and has dangers of heat and ray, which is only reasonable in usual meeting of every day life, but tampered with may vary to degrees more dangerous or even beyond that, in less easily accessed lights used by scientists.
As science rarely allows anything outwardly harmful it understand being left around peoples immediate homes for reasonable and evident reasons of their risk when manipulated outside trained situations. Light is the only real thing that I can really recognize as meeting something between that situation where its reasonable for its very immediate reason of risk and necessity.
I am not a scientist and I don't know much more about most of sciences essentials I can't even access and find myself willing to use light in the way I show. Anything else like complex chemistry or electricity would have to begin in another context of safer environment then my bedroom in a house with brick walls, a curtain usually used and lights turned off when not in use.
Interestingly, the room I have is where I found the immediate effect that is the lighting's stranger geometric patterns of brightness.
As the window I have condenses with some water at times and interacts with the way the house and greater town is oriented, it allows daylight and even light from cars and their window reflections, to enter the room on either side of my curtain in changing ways throughout the day.
This projects patterns of light on parts of the room which at night include a street light showing the shadow of the window on the opposite wall that has the details of its dirt on the window making strange details due to the street lights distance, this shape changes by the night because I move the curtain and sometimes another light is on near the street light and results in a changing lighting.
On one occasion of suprisingly unexpected encounter the same area projected a distorted and large pattern of light that resembled a skeletal old dog on the wall because of the exact moment of a few minutes. At the time I saw it I had no explanation beyond lighting but discovered the effect never noticed I called shadelight as hues and brightness of light inter-playing to create shapes and depth.
It was a perfect moment of orientation for a plastic covered fly trap by the window to project a portion of the plastic wraps strange folds onto the wall and create the strange light pattern noted by instantaneous paraidolia.
Although I am uncertain if this or other plastic around is responsible for the exact effect and I couldn't quite explain it then but the closest pattern was the sandwich wrap plastic being illuminated.
It happened due to simply some kind of distorted lighting being projected like the shown video in its appearance but in a complex shape that resembled something familiar. It was a happened upon with surprise and became a spiritual moment about the dogs that live in the time of angles instead of this one of curves and the I thought after about the gatekeepers of multiverses.
The dogs as both a multiverse and eldritch connected type of entity, that is also reference of an unread story I heard about and read a summary of on Wikipedia called the Hounds of Tindalos and is somehow connected to the Cthulu mythos and H.P Lovecraft.
This also links to my own past where I became another race of being called a Dog Deman as a race I discovered, until then a human. The idea of these dogs is that if someone time travels too often they appear as the person smells like he should come with the dogs and take him away.
It's cause the person is a Dog.
Originally while I explored the multiverse I also did time travel in especially the future direction that I imagined and tried to reach, my habits were a constant speed of progression and use that lead to an extent of shifting realities and constant jumping around time and space of worlds.
At points I didn't even know what I was looking for beyond knowing things I didn't know or exploring any sort of idea and never taking them farther. I didn't have any purpose for actions just desires that were met as I arbitrarily wanted them to happen. I didn't know what a point even was.
I also had no reason of why I even began the exploration and adventure at its origin beyond a dream of my curiosity of worlds and new knowledge, without any historical context of my own life before that meant a lack of origin to why I even was here in time at all.
The result was no past of immediate intent of future with an end directed. It resulted in me loosing any sense of my relevance to what I even knew as myself which represented solely the interest that had never knew a reason beyond finding one for why I was here. It created the distinction that my own enjoyment is outside the point inherent of what humans seek and meant I was something else.
Thus I became a different type of being that did something different then humans distinctly in their minds state of comfort and traits, I knew purpose and point in walks rather then point itself and I know no real reason to remain somewhere or continue what is inherently now disregarded. As the next thing I do is always my hobby so not like a person who does a topic or multiverse and myself who jumps around doing random things.
It mostly means I don't remain in a distinct point forever as most do and this loss of purpose and gain of purpose means that when I became a dog by being unlike in what is time for me. I did so accidentally and suddenly as I recognized it and would only later find the story of the Hounds of Tindalos. I had no idea about this fiction story until I accidentally progressed the narrative, but in reality I later found it only because Dog and if it was Eldritch.
It's fine, I was just dog and I thought I was human. You can see the exact moment it happened as the blog after the first two happened. Its the one where I was actively in the moment of that Dog discovery.
My rooms window also has beautiful bright glowing strips of orange that appear every morning at sunrise next to where the sun is blasting into my window behind the curtain if it wakes me up. The room is also strange for being strangely linked to my dreams where I sometimes want to go into a small room that I am trying to find, it always seemed necessary for something.
I realized in my room it is because rooms of can sometimes harbor strange situations that have a knack of revealing unknowns about the world, that only appeared recognized in an isolated context of the oddly conditional room.
My current house seems like a haunted house in size and shape, used to be a old folks home and now has a Dog living in it who travels the multiverse.
In it my possessions seem to always want arrange so it look like a connected serpentine dragon, His name is Drafly and I've had him for a while as a sometimes appearing Dragon that I hatched from a soccer ball that rolled up to me and had been so baddly inflated it looked like an egg. This happened in the days when I was in psychosis, went on the walk from the previous world and also discovered the initial ideas that lead here. Also their is some kind of continued attraction to things going under my bed. The room is rather small and the exact situation is unique in what it created as a general space for what I do that has lead to many really absurd events that all begin in this room.
Like a sticker on a wall that was here when I moved in that glows in a wispy ghostlike way and walls with patterns that inspires some peculiar imagery and who knows what else about this one room.
I have coined this "magical" room effect a Wall room, for being linked to the idea of unknowns and their appearance in a room that happens to possess a situation that creates them both in itself and an explorer of the unknown.
It's an idea that can actually occur but is a space which must be found with a specific hunch of its uncanny theme of strangeness. This strange knack for finding places that lead to new experiences began at the building I was at when I started exploring the multiverse.
This building in its most simplicity featured painted walls with lots of eyes on them, was half finished both in painting and other parts of the building and had strange doors with no obvious reason for existing.
It is mostly just a place I wanted to live because it looked like something weird would happen there, as it seemed strange with my own art at the time also featuring lots of eyes. This room I live in now, when I entered it did think about the idea of using the concepts I had to create a ghost like experience, but I forgot about it then went crazy and now things are more complex then ever before.
Anyways, the energy of the building before and the room I am in represents a space of an experiential color that leads to a series of experiences by its happened chances to things that further ones own understandings directly springing from the room.
The link to the lighting is its own origin as something naturally in the room and the use of this lighting effect in our magical spray practices is the capacity to create a followed exploration of the idea of spatial light curvature that is encountered on a walk. It means it's created light here as a form is returned in our acknowledgement afterwards with a sight outside of a space or light curvature distinct.
I pondered curvatures in mind all morning because I looked at it a few times, it works simply by inspired psychologically created connection being resurfaced later as partially planned and intended and I saw it again while position the video and I was then distracted by curvature of light and rooms of space.
This ramble on light and then dogs in rooms was not intended but sprung from the idea still in mind resurfacing by its connection real earlier that day and chance of being yet forgotten and rendering the lights power non-existent.
It works by the motion image of the given object and uses the model formats idea of strange orientations of view together with magics intended to be used repeatedly, in differing forms of manifestation guaranteed by our will spray of its formation rather then specification.
It thus creates encounters with curvature in thought and found sights.
This concludes the first portion of the part and we move on to discuss the alchemical metaphysics of Sprays within their transmutations of wisdom and colors brighter, as a specialized and self empowered descriptions of functions which are self created as prefered and occultic in how they connect to the sprays.
Meaning one makes a metaphysical explanation of sprays and their meanings wich doesn't study the spray itself and it's connection until after the interactions of the poetic imagery is created and then linked to the spray.
It reveals as a truth of somethings nature that regards the self and world, within our created force of its affection real that is only our affections within expressed on the outside with the power we formed within.
We self create the reality of the metaphysics of our powers, instead of study physics of its apparent portions and reveal our influence of self as our style that is an effect that can be formed of the sprays real from beyond the obvious as the reality of the deeper energy we manipulate.
If this is unclear it may be more apparent in that a physics is a physical model that observes a real feature within the object and creates its modification to do something, while the metaphysics we show below is self-created by the user and represents a nature of something manipulated from natures that are not the object, but have been effected in the object.
It's distinct in one being observed physically and the other being a force of human mind knowing a nature it imagined as the chosen spray and using it on reality. The spray is also personally described as a understood force one grows better at manipulating in their ways.
The nature I mean by alchemy will become apparent following the image of metaphysical example regarding the alchemical nature which I mean and have chosen as this worlds process of higher use.
A metaphysics can be shared with others and is alchemical and hides a meaning and connection in its art and its words of alchemical tongue and are linked to a spray of self in the image and words that are used as the functions greater beyond the spray itself and allow a manipulation as shown below:
The alchemical the wills balances of the order and chaos.
These matters of the balance weighed and sung, are as the sun of tunes orbit as shining in shadows stepped to places unseen, in vials of the expectation found not, where roses of the cautioned parting are in harmony of the moon and essence that is before the sky of caressed complexity. This over hills of onward shines and flowers repeating, to form the raining central passage to what is the sights and paths rounded of details which were only seen in nights vivid light. Our alchemy of what is the way to these things, is rhyming the song of those spirits whose wines were reaped from first tidings of the unseen.
The reason for the alchemy as a subject that I bring up in this topic is because its evidently ascribed to the ideas of the subject that begins with magic which is linked to this topic but the idea of alchemy has found its way into my thinking in passing moment of curiosity starting early in life and then linked to this whole thing hardly. As being read about in parts and then was the theme of appearance that was the first blog written and intended to eventually become parsemy.
The alchemy as something which refers usually as seen to its persuit of a stone turning lead into gold is what became science oneday and seems mostly ditached from the instant of its origin. In parsemy it was some seeming thought on what had been a disconnect of what I thought value and where it had once been not present at all which told a likeness in its writing and even sprung from the image that is named in Latin now and once before forgotten.
The name of the image is now the same as the first document of my ventures of curiousity as this stories origin and is the image shown previously below:
The Inopinatum Deliria
Meaning the unexpected madness and seemingly a title named for the project that is what all this began somewhere as, as its first appearance as a stored location and was mostly a reference to my seeming interest in madness as its positive nature of innovative artistic creativity and sanity of ones grown wisdom greater then wisdom as it appears in something of madness before its found sanity that had not even been found in the ignorance that was madness prior.
This art has the similar symbolic drawing of meanings that are only known to the creator and must be found in others but are rarely repeated as the image itself and these symbols and meanings above are the full of the philosophy of time travel that came the moment before the vision of infinity and the onwards to the multiverse.
It's likeness is linked to alchemy while not the same in artistic style as a source of inspiration and the image I call a panma which depicts the full knowledge of my moment of the time and its sight by myself then in all parts is what then lead to madness of what was not in the picture but left in its release as what I had known completely. The result is actually me destroying the printed image creatively after hanging it up simply in the intent of adding new above what had been printed, but was then thrown out.
It's just what happened and was only because I had the copy digital.
It lead to parsemy and the alchemical image above is its resurgence since one other art left hidden on the other blogs for now that is another important panma of what I did not then know with what was known after the first and what was remembered before it.
The connection is the drawing shown being a small use of panma's as inner representations of something which here began as the intent and the enjoyment of its form, then linked to a felt fitting truth of sprays as links of the balances.
The only other link to alchemy is recent and from my dreams describe as technos and alchemical leading to the style original resurging as my previous blog discontinued for myself being in a mental state of unhappy mood and disappointment that would be erased for what became a place of my room I loved instead of thought meant my death.
My dreams of technos are a new theme as a style of dream new and old seemingly forgotten between yet still there of a style more then what I could call perceptually expected of laws of normal expectation.
I mean my minds slumber seems constant as always in this specific world of time and spaces where things are seemingly advanced it isn't even its technology or something inherently object related at all that they use. Objects are almost absent but events that take place as an adventure is vastly unlike earth.
They use spaceships I drive by orienting in a tank filled with water that I wake up from to find the ships crew being attacked by one of them who in the time passing while I drove evolved into an entity, my calm hiding behind a machinery is then stopped and we have returned to class where she is being celebrated while red wax drips from my hair for no reason.
Even my own ability almost well informed on its wisdom of a reality unlike material world, is always then forgotten and encounters in ways are sometimes so far I dream of the psychedelia and seeming concepts I fully grasp there I can't even equate to here.
Of which my exact explanation of why are never explained. So I find it among my more recent questions with ways of knowing I have little idea how to answer. The absurdism of the given dreams narratives are always like the above described part of a dream I had of a common themed school of wisdom that I often attend there.
Its connected to delusions of things I never and won't mention about dreams and how the resurged after years of absence in the same morning at the hospital where I was reading about alchemy and became so common in event after the picture above was drawn, that is the inopinatum deliria.
Most of this strange experience, mostly taken as normal because it is now.
Thus we begin a deeper use of the themes represented in real validity of use and connection to our magics by using the alchemy first drawn with an idea thought and made in more careful and less random selection of its contents to create a magic of its usual likeness to the alchemical and technos like vibe of the magistrate still ill defined at all.
My usual habit of next words as always and going with my intent, wisdom recognized and desire as unplanned and planned future ahead of whatever I think as the next fascination found in passing thoughts after now.
The ideas repeating in passing waxes and wanes of current mood that these days link in awareness and random tosses of darts. This strange and certainly understandable set of coincidences almost expected to be taken as an idea I find to be just exactly what is said.
It's not more then that as words for you and as an experience is known somehow by myself. It even scares me sometimes from confusion at the meanderings of events I encounter.
We look at a swift usage of the spray as grown from a deeper symbolism of inner links beyond my deeper mind and use its wandered reflections arising, to gain something of value in my more recent desires.
Only now after 4 months to be less random in inventions I select as options of mostly random words picked freely of goals greater. A habit grown from laziness of initial object inventions as not sure what I could do with matter.
Things I choose as my own current work and writing always represents what I have yet come to know which the next words the reader reads after were what I discovered in my own thinking then.
The Elixer of Everclearer on the staircase of the Hyper exterior.
This object and its tools are used for a spell of chaos that uses the order of its steps and the balance of its whole natures within a context that results in a device of simplistic intents created and expanded that are then revealings of the followed links irrelevant of the becomes that came of its end as another part of the working.
It casts a spell and also reveals the object of the spell as both an insight of value and an object immediate as its symbol and substance that is the bottle. The rest of what is shown above is a deeper detail of the whole parts which mean only the intent as the paper in the bottle and how it colors the water, the cards meaningless are then interpreted as meaning from the paper and colors in the bottle.
All other that is seen in the image is an additional detail of chose simplicity that has features of relateable connections which can have influence on the spells formed symbolic bottle and end.
It features a series of hyperspace that builds into the effect by the appearance itself unknown in meaning effecting in silence the result of our awareness and its selection of meaning.
Only because the connection of what it serves is unknown and has an influence by its immediate selection as a natural self insight sourced in what is not given a form of value that we keep as a used effect.
Now we have not explored the nature of the other alchemy parts called the elements and their forms of higher metaphysics so the next image is that immediate thing, It is followed by the idea of objects of a new kind, then the obvious comfort and entertainment. Then after we learn the travels of the latter time and space as final parts of the explored of this world.
These are then bound for a final part left secret in its final interplay of the world as it is grown.
Waxing before mounts and astrals, between the two ends of form and wake.
The egg which drips the wax from under it to the pillar of the intricate places itself between, as the owner of the powders in three places, that tell the apart of form and wake, whose moon like thunder is of the pattern in no repetition and the ascent of the plants pottery is surrounded in stars.
We view these matters as written from over the mount and astrals that scribe the clouds of stars and stones amist, admist and amidst of the in's of poem as the same planets in rotation. From our workings of the flatness is found an unlinked article of the written, that is displayed as the pages themselves.
We look and find what is there, where it wasn't, but is what it would be as that which referred to in the thing linked in times of the unpreciseness. Who told in pages that where are the story that is forgotten.
The writing of the questions they returned in my writing, as they found themselves exact of as it had been really, in the after way of what was written past the door of its first timing. I fell into the writing from the story that was arriving. The truth of the days first morning, it matches the day today in what it is as really, but not fantasy.
So the orbit is what we see, in the place above that is not what I found, but seemingly what's not with.
We build the object that we see after we define the object of a new type beyond those of lamps and screens which let us see comfortably and play adventures of what we prefer as on screen.
These objects of another sense, they are an object of philosophy rather then of the immediate or the experience and represent a depth and transformation of ones own use that translates differently to the relevance of others.
They are objects of the words taken to outside that sense of being which mean the arrival after what wasn't there, but always was and had been. The essence must be entered by the truth that begins it and the effect of philosophy is in essence that hairsplitting are only ones own curiosity.
The bottle shown prior as our first object of alchemy represents an finer use of this goal from what varied in before with no goal in place of its direction. Still this writing intends a more concise definition of those ways of this essence, that have names of type kept here to Beyond, Yonder and Transience as not the unknown of something outside, but as the words themselves alone.
As such a thing that is not tangible to what we have encountered yet, but in distinction to object instead of what is explicitly minds own wanders of depth that is only an expression as forwarded.
Instantly after I thought of what the nature of an object that would be called of the essences of forms. I realized more insight on what made the technos as the named object distinct from the things we find as normal senses of objects for comfort, entertainment and ceremonial.
The technos objects used a word as the essence of their roles, which built itself from a pondering on the things like the beyond, yonder and transience as it was, so were not a word of thing itself but of adjective to a nature. This role of an object of adjectives, formed them into reflections meditated as a thing that it became.
As a result we ask what is beyond, yonder or transience in likeness and see a nature of mind that is then drifted into something of reality that becomes seemingly a curiosity of use.
The thing discovered becomes linked to insight as it forms and is made in a meditation on what it does, so as it becomes such in its answers that is sculpted, serves a working of a subject that is striking in the technos of its nature. It can be used as a type of object for aspects of a world whose natures are used in more then the immediate living, adventure or symbolism.
It forms a gnosis of the philosophical, as its depths of questions can be inferred for many hairsplitting of a material object that behaves in a unique depth of quality.
In the same first consideration of what technos was an object I built as an example, for the beyond. The word technos, I coined for a style of seemingly deep and insightful dreams encountered, became the same type of object, as what was the striking essence of the experience.
It's experience of building led to encounters with planned design, problems that were revealing unexpected features of what seemed typical in arts patterns, yet that repeated in the same area of a single side and then further remembered. It matched what was a chance of the same effect the object served when finished but were known before.
Those dreams and technos likely sprung from the often wanderings of depths of thinking about the roles of those words with subtlety. Those thoughts I do in the regards of life often but more freed in nights of slumber without the apparent of a simple tools distracting a free visual.
The objects made with the same word create a visual that reflects an essence of that thinking which shares some freedom in likeness to the dream. The result is one example thing, which is a first example of objects themselves beyond the nature of norms we meet.
The norm of theme, from early uses of matter guided especially to our initial survival, which is in current days left only to its improvements in details of even farther improved and discovered upgrades to what is a freedom. Those improvements but an added luxury of time met in apparent survivals absence of conflict, from the immediate daily life.
The object I built shown below and connected in places to the alchemy above and more below:
The Viewstand of the unnoticed, for the pondering of the seen unexpected and the unprecedented that happened in the moment of time of its essence that was a change in the alchemy of time.
This object is as it is named and is a device of the observed actions, which are the motion of its landing by the legs that can be changed and lead into its current standing, which in the subtle of its motion as placed and lifted by it's weight forms an intricate of the way it is.
This same moment of its natures as we gaze and after, with what is heard and found there and elsewhere we gain the notice of something in the changes of the expectation and noted that isn't often noted which refers to the insight of mind that we take to be a source of a forward venture in time.
It's shape of the square is made of depths illusioned to the flatness of the walls it has within nonidentical yet repeating the shapes of the sand, snow and cinder which hold the essence of things greater and describe in its wake of a distinct different parts.
Its way we see it in times drifting in the outwards wisdom and the wisdom after springs of those images as inspired hyperspace. It allows the beginnings of the travels of time and potential, then what we do with the curvatures of space and light, who lead to the meeting grounds of the wake of both.
So the role of this object is what is said of the time in some of its basic methods of travel that we actually find in this object to be of all three basic important natures of my current recognition.
These methods of travel form the whole of this worlds traverses at their beginning and are in basic terms the moment matchings, the moments clock and the moments shiftings. They are each a relevant information of time that we can use in the work of its traverse and change at least in these basic features, which are described below then added to the detail of the description of a time's theme.
The first is the obvious of the moment of time which is now and exact to how we have seen it to be, which in changing the exact nature of our moment mind or matter defines the extent of what is reached to be the reached in the full of time, so the belief that time is tomorrow becomes the tomorrow.
We do this even when this is today but is called tomorrow and it's features of definition we described as that other time, then find in meeting in the now of a new definition. This allows us to find the time of future in its state today and meet its end now so its presence is entered by the now of yourself.
So it's most basic, is saying one is at a different time in temporary statement and leading a moment of something that is reached in its equality to then as we had said it was, thus we entered the future or past in the moment whose description was matched in our extent.
This is further ventured by the forms of sights which are in the eye, when given a vision of the imagined of mind where it is not found that meets the future or past of a detail farther then the now but there in the time that is fizzed out. We use hypnagogic hallucinations of times other as here now.
The second is the moments clock of passing time of continued record of its measurements, which in the changing of the measured extent in its cycle of when, has a distinct effect on what is counted as the moment.
It leads to a time that is unexpected or met in the clock of oneself's invention. In changing hours which it refers to, we end up in another then, that is distinguished in the time as identical to now but counted as then.
The clock is a measurement of our awareness which is viewed as a cycle of its changes repeating and when we put it out of order as a distinct clock the result is another order that is the effect it becomes. So the time of 2 in the night is turned to 4 in the day and we are now in day as night to our knowledge. Alas the value of a number is an example, the reality is as the clock of a river, which was dried up.
So the clock of then when changed is made to resemble the thing after and its full causes that followed in the extent of all that we saw and felt that became and the unknown that was not seen. The time we return is the returns of what did return and the form is uncertain in what will be as will be, the prediction is what did as expected.
Thus the effect, which is most useful to the wizard or witch who studies the travels of time is the spell that changes the event of time that leads to a conflict of the moment that never occurred. So lead to another that was met in the time of the matched moment expected and all other unexpected, we then found what would be any change of the world, but what is only looked as relevant.
So the shifting of time, is the final idea of these travels which form the time which is ventured not as we change it or as it is changed but as it is in what was never seen or suddenly noticed.
It is shorter in words and was a moment where something was seen or vanished while passing and meant something, it leads to the time of another then and the result of the time that was then. The location of the times causation allows its repetition in expectations.
Thus these simple portions of the basis we can begin with are described as the image of them for a sense of clarity that reflects the ways of this world between Aerth and Thios and which allows the farther exploration that begins in the written of what time could be and never what it was or will be.
These basic plotted methods of the time as it is, was and did allow in their intrinsic manipulation the meeting with moments of probability that exist in another hyperspace.
Our next addition is the consideration of the immediate other of the things in hyperspace and for this description we refer back to the idea of light and spatial curvatures to reflect the capacity of time and magic, being effected by these matters which are bound to the geometry of fluidity that allows a moment and our affection of it.
This concept begins with the idea of the light projection we saw which changes the lighting space of the immediate beams and the idea that space itself is composed of the colors inside it which curve the navigation that allows something into presence and ones own presence.
It functions from the capacity to effect what is not anything to shape it to allow something in the wake of its passage into that space, but also the immediate events of its force of gathering and navigation rests.
It refers to the idea that space is composed of the intersection of where we stopped in motion, where we found more of something and what occurred when we allowed something into somewhere else. These connect to light by the underlying same concept of what is the intrinsic nature between the space and light that projects its nature and is all of origin from the projector, as source of the whole.
It is shown in spatialight nature below and is the current only key of what is both the forms we see that are not the colors and the colors which represent the seen between the space. Forming the nature of our navigated points of motion images.
The distinct parts of this image represent the capacity of the immediate noted parts of space as seen in the forms of the colorless light, the colors that form the things seen, the space itself of dust and points exceeding to the crystalline distortion of its extension and the grid reflection that is a subtlety of the less often seen. These things are what form a space of things that are on the extent of something.
In the interplay of these things best described here as what is actually in the forward view as seen, beyond the object that represents the space between the object and itself, this space as another type of space that is of a distinct contents of energy pool forms the curvatures of itself that become the navigation of the exact place. The whole nature is left to the forward of this post however as its whole nature is complex.
But in simple it allows a space to be distorted in the same sense as glass and what is behind it but in ways that exist as the space in a curvature distinct by the immediate lighting and greater interplay of its features providing a state of the apparent of itself. For it is in this view that is not the physical as the extension of another nature, that we find an experience of the things as revealed distinct.
The shown image that is followed is the object of two things shown in meeting as two sides of an idea still explored, as the curvatures of the light and greater displays to form a distinction of its usually observed quality in a case of the moment it is in. This specific purpose of the object, is told afterwards in what it was then, but not always what it was.
This was the usage of the light curvature projection and the viewstand of the unnoticed which in coexistence as an object single use links the immediate capacity of the viewstands state of closely occurring events in time to the projections curvatures linked in space.
Thus its nature as an object that distinguished the space and time manifestation of our position in probability allows a temporal curvature of light to occur and reveals an experience of light apparent in the shifting of time and events of affection linked in the moment.
So after it was observed as above, I checked the immediate example of light curvature as seen when it is night to know the difference of brightness. This revealed the image below as an example of a lighting space more apparent in its effects.
It shows that a space of lighting in a unique formation even within this larger expanse from a small source allows a shift of the walls around it in its apparent form and in observation of the lighting as a depth of curved space is interesting. Meaning viewing light as if it were the perspective instead of the walls flatness, reveals a curve of appearance distinct.
It's future of use is less explained initially but means the space we create can have distinct scaliens of perspective that distinguish an experience as something that is not this world as experienced. Instead is another linked in the wormhole of time or space of a changed situation.
The idea begins the next discussion as the final part of this post, on firstly more of times nature and the mold format that is used for the exploration of time and its magics within this world. It will be among the whole uses of light, space, time and probability to explore ranges of magical experience and ability within a temporal history of now and the time we explore forward, backwards or other.
However it is distinct from the exploration of worlds as the other post, for being about one worlds time and an example of the process of time travel and the worlds nature in its immediate subject but not distinctions beyond the immediate of what has not been defined in initial ideas here.
Meaning only further recessions and regressions of the timeline of this probability initial are explored and distinct from springing out of the immediate learned ideas in time, it doesn't explore a world of another kind beyond itself. Even though it seeks a smaller course of traverse in a direction, that direction is just as vast in a specific worlds possible history of time.
Part 3
The immediate first thing for this final part to be shown is the initial moldformat I create for a probability of time which represents a direction of change.
With this we can then view an influence of the timeline created in small detail and direction for exploration using the three forms of travel we described.
The projected light and the viewstand of time allow the source we will take inspiration from to show the times visited. The object of the world explore will use features of the overall subject up until now, for its practice of magic and the sprays I selected.
While after the immediate description of the mold and line, we will show our base object for the traverse in a scenery, that will be short but also show the temporal state of that magic in historical geometry of the line and changes forward and backwards with what changed.
Thus we begin with the mold format that reveals shifts of temporal theme and the geometry of the time explored, but not the nature of the timespace's knowledge after it. Which distinguishes the progressions of the magic which follows this drawing.
The Moldformat of the time observations that follows, on the greater experience of these times.
The connections between these parts of the moldformat link our timespace's map of the explored progression which begins in the central portion and links in distinct ways of each part to other points of time present as the rest.
The times explore are not linear in possibility and go in different potential directions. The two lower represent the past and the upper portion represents two futures and a warp between these two that exists as a third.
The next image shows the represented map of time that describes in some details of symbol and word the thematic difference of each time arranged to match the moldformat.
These time subject progressions were firstly from the image above in context, then the viewed links of the viewstand hyperspace and interpreted space curves as curvatures of form connected.
Those of the past and present were done with the objects mentioned as photographed prior, the latter were formed from the reuse of the objects in new state of their possibility of setting.
It builds a list of futures and pasts where the recession of the object and its regression show a change of progress directed to the nature of each time, forming distinct information.
The moldformat hyperspace has been given the purpose of the moment and is the idea of vehicle as a focused variance. Thus the object is about a method of traverse for greater distances of outerspaces of this world and an example concept for others as a tool of travel.
It shall be explained as the completed linked reality of time explored.
The next portion reveals the object of travel for our subject as what it begins as in the centrally connected present that will be linked to two pasts where sub connections of origin of this object will be selected and advanced in the past then meet the future of their connection to the present.
As a result the first image will represent a initial view of the time of present then connect a past from before it that reveals a present more complex from the immediate temporal base as a time period paradoxed into another change of nature we discover.
The object sits in a space designed to be a hyperspace of repeating details in disarray. Its use however is the most important detail as an addition of the Viewstand which creates an internal contents of geometric shapes built, from folded angles which reflect the present of a given moment defined as the shapes themselves.
The idea is that we make a geometry of shapes out of paper that fit inside and are colored, then refer to the appearance within our own surroundings and relevance to the now. We then understand the present in a symbolic stored reflection of what is seen, as the shape created in the box. This allows a recorded time for first navigation setup and is the basic requirement we have for this idea.
The rest reflect how it is changed as a shape set whose cloud of probability reflects the immediate moment in the symbols formed first in outlined folds and resulting shapes made randomly by design. The reason is the echo of motion images of the moment repeating inside it.
This is then considered in two time pasts that refer to parts in its nature of before this form was apparent and which we will reconsider in the end of this final part as the whole time reached of this navigation for time.
The specific nature of the folds of angles in the past as they were before the use as connected to the viewstand in its usage of the moments in observation is distinct. It was simply the use of the folded paper and drawn angled folds as a hyperspace of color curvature, as itself which reflected a specific spatial direction of theme.
The above represents an immediate anything that could be focused inside its appearance and purpose that results in a distinct usage of the interfaced magical form it is in the connected arrangement. The link of the moldformat is that it represents a bubble of spatial arrangement as the disarray of complex detail and refers to something found in it and extended in the instant function it serves.
It allows the magician of time to reach the moment in the same space of what is found there, but not yet until future of present in what is matched outside the room of the viewstand. It allows a curvature of space for the manifestations of a magic that can be viewed to form inside it as ingredients of parts, or likeness to needs sudden.
This is the first past of the bubble space of a geometry of hyperspace referring to a distinct moment.
The hyperspace surrounding the viewstand as its exterior of contents of the cube is the space exterior to the moment and the events of the current space which reflect the option of relevance which is seen as the purpose of it then. It allows the viewstand to reflect something in reality of occurrence following the pursuits initial local awareness formed from the hyperspace.
It can do a diversity of temporal magic related exterior effects to the situation and allows a immediate location of view as the spaces exterior. One can then use it with diverse navigation and moment occurrences to understand additional information regarding time, light and sprays of ones work.
It is however a complex field of matter that can be used in diverse ways and purpose as outside view.
Our next portions are constructions of the future added to the temporal lists and actions we already have as part of the current built vehicle of time. It allows the observations of the temporal absolute.
It represents the outertime of the world of Splim, for exploration of the many aeons of magic.
The image depicts only the symbol of the idea that in flicking the pipecleaners on the Viewstand we activate a motion of the internal and external hyperspaces that have been given their contexts which magically produce the manifestation of the information we observed within our reality.
It works by the shared motion image of both the object and the future we created in the link of our intents.
The pipecleaners on the viewstand are of two colors in a pattern where both of the same color are near each other and this produces a direction of manifestation that is either recessing to future or regressing to past, so directs its effects own effect on what is its experience more in depth.
The whole object forms as a tool of the time which in current is only a present that is given both location, use and exterior relevance as a moment, then modified by a shared purpose in the viewed inner hyperspace which produces a similar change in reality around you.
This objects advancement allows the production of time exterior effects as sourced in the result expected and received in time as an observed chain of events which can be used within other models as relevant modifiers of nature.
Our next future shows the following addition of more depth.
The shown image depicts the idea of light from the spatial curve object symbolically, it is used with the viewstand to influence the appearing haze holo, which means a distorted light curve on the hyperspace creating an appeared thing. This appeared addition is influencing the represented present moment and directing its relevance to a future or a past of ones directed choice of mind.
The light is the main source of travel for our tool, which allows the projected time that has been placed inside within a distinction of the type of hyperspace placed in it by the user. It is the source of the energy for navigating outer time and exploring contexts of time that have not been explored or in positions of the time that are other.
It serves as the most important part of the objects travels, while the previous provides a way for a manifestation through chaos and will as followed from it.
The final future between these two things is its last part and is followed by the finished object shown in a photograph, then a drawing of a time period that one could use for further Moldformat venture or increased temporal manifestation and other things of times nature.
The above image represents the rotation of the time as it represents what is yet occurred and what is outside the whole probabilities of possibility which render as the recognized of time. It is distinct in this use of rotation and represents an extent of mind outside the times of recognition.
It is ventured in the recognition of the thing not found in ones place and what it becomes in defining what it is that is yet found in ones mind and awareness towards the external space. One must think of the path of the unthought that reaches the time that is not here.
It is used in the next images result as a second image drawn from the use of our Vehicle of time navigation, which refers to the time that springs from its features on an angle and represent what is either regress or recess of left or right nature regarding temporal magics.
It means we pursue the innovation that springs from the lacking of some other and view its nature found in what is found after. The use here is a distinct branch of time whose plotted line is unique from the known on the kinds we have encountered of time.
To know what is not yet happened in time and has not occurred in what you know, perhaps for the link between today and tomorrow, one must pursue the thing that you have not done or thought, which refers to the subject of relevance if one exists and figure out that undone thing from what you have done, to then become aware of an out-time thing that links your present to a future one is trying to reach.
As it is the case, that certain people human or dog deman, await a futures own manifestation by continuing the possible of what they know or have and do nothing more. They only reach advancement of skill and goal of their dream ahead, by the accident of their own progress forming in the present they intended. So they either get stuck in perfect repetition of today, or accidentally improve the life they had to what they wanted.
In my opinion, this is inefficient to progress in the range of ones life as aging and stuck before their dream, so while one is always justified to take a time break on how far into their life they go today, seeking what is yet tried, to reach the better progression of the future one intended begins in the thing one has yet done, not what has been done.
My own work, is done in what I have yet done that may need what is done before, so what I wrote here and before is my own future as it came about in the moment of each sentence, rather then a simple repetition of my days before.
So unless I feel the blog or subject lacks the information known for the reader, the new information is what I did in continued progress from past to my future in every moment of innovation. This does however mean that my future imagined no longer exists in the present as a dream, my own dream meets the present in the moment of reach most in reach in the instant moment of its dream progressed to what was after.
Most of the past of what was once a dream is met, so today I seek a new future I can't reach, while in the future I once lived in a only a daydream. Thus my present was the ending of my original hope of my life.
However, my life's age is 23 and is complete in its dream achieved, so I must now pursue a new goal from the future that I honestly believed would take more then one life to reach. Had I not done what I had yet tried to do, it would have meant no progress to the future, in waiting for it to happen without doing the work.
It was so successful I can't find a future in the knowledge of the world outside me as others work, because what I dreamt of within those options of another's wisdom, is reached in my own direction of what they taught me. I must now find a forward in the directions of the future that begins after my life, but in all details of possibility that do not ever meet the things others might want themselves to achieve.
They can only help the one who happened to need the insight, or the words for the doorway of their life. The exactitude of ones own dreams pursued, begins always in the person themselves and what they can do among others who always have a different direction for their own life.
My state of mind today, is having some difficulty find reasons for what to farther in having found the things he wanted but not what he wanted to do with them after. Which is poetry, of a story whose ending moves on to days that followed it. My innovations of yesterday allowed my today, which will now need to innovate on my tomorrow that is not even a dream yet, for it not being in what has happened at all.
Thus we show the next image, which refers to this whole set of uses for travel and further we build our angles of time for within the viewstand, using lines connected by the symbols of alchemy shown before as a symbol of what comes after. In the completion following, it is shown below:
The created time machine is not what most would presume one looks like from an imagined futuristic possibility of time travel, as this immediate vehicle only reveals a time that is found within it and is navigated as previously explained.
So the central hyperspace reveals the moment of distinction by light from my present, which was before its illumination and in the above case was not observed and so the linked future is not related to any time of the present and represents a distinct future of the unknown divided in reference.
This means it had as a photo nothing connected to the present that I was thinking about or doing and instead is regarding the nature of hourglass-chain warps and refers to a timewarp cardinal that is uniquely more complex, in being distinct from simply the past of time and future of time unified as one object made from distinct objects past and future, in a time space that is not linear history.
An example of a primitive modern timewarp, is a rock cellphone, which is a cellphone that is also a rock in every needed definition and is an object that is not supposed to exist in time as a linear progression and thus exists outer time in what was not an event expected or even possible without timewarps.
Dog Demans travel the world of time warps because they like the absurdity with interests also in linear time, humans tend to prefer something more progressive historical advancement and not objects between past and future as these objects don't matter to their purpose progressing.
Timewarps are distinct from even the present and so Extralinear timespace of one kind not ascribed. Our hourglass-chain warp is a future example of an outer-time object of unexpected timewarp, which we will explore later but depict symbolically below.
As to use them we need to advance the timemachines projector and angles of inner hyperspace, which were random in present referential and time projected in this case and could be modeled in future outside this post. Which will mean a mathematical model of what the process of construction for both center paper and light projection is before use in the timemachine.
As such we conclude this post, with a symbolic drawing in alchemical relevance, to the future of timewarps. As a tool forward, of timetravel and of the larger magical spray study of Splim in use alone or the greater reality.
The idea is that we make a geometry of shapes out of paper that fit inside and are colored, then refer to the appearance within our own surroundings and relevance to the now. We then understand the present in a symbolic stored reflection of what is seen, as the shape created in the box. This allows a recorded time for first navigation setup and is the basic requirement we have for this idea.
The rest reflect how it is changed as a shape set whose cloud of probability reflects the immediate moment in the symbols formed first in outlined folds and resulting shapes made randomly by design. The reason is the echo of motion images of the moment repeating inside it.
This is then considered in two time pasts that refer to parts in its nature of before this form was apparent and which we will reconsider in the end of this final part as the whole time reached of this navigation for time.
The specific nature of the folds of angles in the past as they were before the use as connected to the viewstand in its usage of the moments in observation is distinct. It was simply the use of the folded paper and drawn angled folds as a hyperspace of color curvature, as itself which reflected a specific spatial direction of theme.
The above represents an immediate anything that could be focused inside its appearance and purpose that results in a distinct usage of the interfaced magical form it is in the connected arrangement. The link of the moldformat is that it represents a bubble of spatial arrangement as the disarray of complex detail and refers to something found in it and extended in the instant function it serves.
It allows the magician of time to reach the moment in the same space of what is found there, but not yet until future of present in what is matched outside the room of the viewstand. It allows a curvature of space for the manifestations of a magic that can be viewed to form inside it as ingredients of parts, or likeness to needs sudden.
This is the first past of the bubble space of a geometry of hyperspace referring to a distinct moment.
The hyperspace surrounding the viewstand as its exterior of contents of the cube is the space exterior to the moment and the events of the current space which reflect the option of relevance which is seen as the purpose of it then. It allows the viewstand to reflect something in reality of occurrence following the pursuits initial local awareness formed from the hyperspace.
It can do a diversity of temporal magic related exterior effects to the situation and allows a immediate location of view as the spaces exterior. One can then use it with diverse navigation and moment occurrences to understand additional information regarding time, light and sprays of ones work.
It is however a complex field of matter that can be used in diverse ways and purpose as outside view.
Our next portions are constructions of the future added to the temporal lists and actions we already have as part of the current built vehicle of time. It allows the observations of the temporal absolute.
It represents the outertime of the world of Splim, for exploration of the many aeons of magic.
The image depicts only the symbol of the idea that in flicking the pipecleaners on the Viewstand we activate a motion of the internal and external hyperspaces that have been given their contexts which magically produce the manifestation of the information we observed within our reality.
It works by the shared motion image of both the object and the future we created in the link of our intents.
The pipecleaners on the viewstand are of two colors in a pattern where both of the same color are near each other and this produces a direction of manifestation that is either recessing to future or regressing to past, so directs its effects own effect on what is its experience more in depth.
The whole object forms as a tool of the time which in current is only a present that is given both location, use and exterior relevance as a moment, then modified by a shared purpose in the viewed inner hyperspace which produces a similar change in reality around you.
This objects advancement allows the production of time exterior effects as sourced in the result expected and received in time as an observed chain of events which can be used within other models as relevant modifiers of nature.
Our next future shows the following addition of more depth.
The shown image depicts the idea of light from the spatial curve object symbolically, it is used with the viewstand to influence the appearing haze holo, which means a distorted light curve on the hyperspace creating an appeared thing. This appeared addition is influencing the represented present moment and directing its relevance to a future or a past of ones directed choice of mind.
The light is the main source of travel for our tool, which allows the projected time that has been placed inside within a distinction of the type of hyperspace placed in it by the user. It is the source of the energy for navigating outer time and exploring contexts of time that have not been explored or in positions of the time that are other.
It serves as the most important part of the objects travels, while the previous provides a way for a manifestation through chaos and will as followed from it.
The final future between these two things is its last part and is followed by the finished object shown in a photograph, then a drawing of a time period that one could use for further Moldformat venture or increased temporal manifestation and other things of times nature.
The above image represents the rotation of the time as it represents what is yet occurred and what is outside the whole probabilities of possibility which render as the recognized of time. It is distinct in this use of rotation and represents an extent of mind outside the times of recognition.
It is ventured in the recognition of the thing not found in ones place and what it becomes in defining what it is that is yet found in ones mind and awareness towards the external space. One must think of the path of the unthought that reaches the time that is not here.
It is used in the next images result as a second image drawn from the use of our Vehicle of time navigation, which refers to the time that springs from its features on an angle and represent what is either regress or recess of left or right nature regarding temporal magics.
It means we pursue the innovation that springs from the lacking of some other and view its nature found in what is found after. The use here is a distinct branch of time whose plotted line is unique from the known on the kinds we have encountered of time.
To know what is not yet happened in time and has not occurred in what you know, perhaps for the link between today and tomorrow, one must pursue the thing that you have not done or thought, which refers to the subject of relevance if one exists and figure out that undone thing from what you have done, to then become aware of an out-time thing that links your present to a future one is trying to reach.
As it is the case, that certain people human or dog deman, await a futures own manifestation by continuing the possible of what they know or have and do nothing more. They only reach advancement of skill and goal of their dream ahead, by the accident of their own progress forming in the present they intended. So they either get stuck in perfect repetition of today, or accidentally improve the life they had to what they wanted.
In my opinion, this is inefficient to progress in the range of ones life as aging and stuck before their dream, so while one is always justified to take a time break on how far into their life they go today, seeking what is yet tried, to reach the better progression of the future one intended begins in the thing one has yet done, not what has been done.
My own work, is done in what I have yet done that may need what is done before, so what I wrote here and before is my own future as it came about in the moment of each sentence, rather then a simple repetition of my days before.
So unless I feel the blog or subject lacks the information known for the reader, the new information is what I did in continued progress from past to my future in every moment of innovation. This does however mean that my future imagined no longer exists in the present as a dream, my own dream meets the present in the moment of reach most in reach in the instant moment of its dream progressed to what was after.
Most of the past of what was once a dream is met, so today I seek a new future I can't reach, while in the future I once lived in a only a daydream. Thus my present was the ending of my original hope of my life.
However, my life's age is 23 and is complete in its dream achieved, so I must now pursue a new goal from the future that I honestly believed would take more then one life to reach. Had I not done what I had yet tried to do, it would have meant no progress to the future, in waiting for it to happen without doing the work.
It was so successful I can't find a future in the knowledge of the world outside me as others work, because what I dreamt of within those options of another's wisdom, is reached in my own direction of what they taught me. I must now find a forward in the directions of the future that begins after my life, but in all details of possibility that do not ever meet the things others might want themselves to achieve.
They can only help the one who happened to need the insight, or the words for the doorway of their life. The exactitude of ones own dreams pursued, begins always in the person themselves and what they can do among others who always have a different direction for their own life.
My state of mind today, is having some difficulty find reasons for what to farther in having found the things he wanted but not what he wanted to do with them after. Which is poetry, of a story whose ending moves on to days that followed it. My innovations of yesterday allowed my today, which will now need to innovate on my tomorrow that is not even a dream yet, for it not being in what has happened at all.
Thus we show the next image, which refers to this whole set of uses for travel and further we build our angles of time for within the viewstand, using lines connected by the symbols of alchemy shown before as a symbol of what comes after. In the completion following, it is shown below:
The created time machine is not what most would presume one looks like from an imagined futuristic possibility of time travel, as this immediate vehicle only reveals a time that is found within it and is navigated as previously explained.
So the central hyperspace reveals the moment of distinction by light from my present, which was before its illumination and in the above case was not observed and so the linked future is not related to any time of the present and represents a distinct future of the unknown divided in reference.
This means it had as a photo nothing connected to the present that I was thinking about or doing and instead is regarding the nature of hourglass-chain warps and refers to a timewarp cardinal that is uniquely more complex, in being distinct from simply the past of time and future of time unified as one object made from distinct objects past and future, in a time space that is not linear history.
An example of a primitive modern timewarp, is a rock cellphone, which is a cellphone that is also a rock in every needed definition and is an object that is not supposed to exist in time as a linear progression and thus exists outer time in what was not an event expected or even possible without timewarps.
Dog Demans travel the world of time warps because they like the absurdity with interests also in linear time, humans tend to prefer something more progressive historical advancement and not objects between past and future as these objects don't matter to their purpose progressing.
Timewarps are distinct from even the present and so Extralinear timespace of one kind not ascribed. Our hourglass-chain warp is a future example of an outer-time object of unexpected timewarp, which we will explore later but depict symbolically below.
As to use them we need to advance the timemachines projector and angles of inner hyperspace, which were random in present referential and time projected in this case and could be modeled in future outside this post. Which will mean a mathematical model of what the process of construction for both center paper and light projection is before use in the timemachine.
As such we conclude this post, with a symbolic drawing in alchemical relevance, to the future of timewarps. As a tool forward, of timetravel and of the larger magical spray study of Splim in use alone or the greater reality.
Timewarps of the Hourglass Chainlink, to the branches on the other path.
So, this post is complete and we have learned the ways first written of time and magic in the links together of one world called Splim and what of it I had gained then, we begin then the next place of this current walk across the places I have yet been.
Where I may return in completion or learn afar greater truths of the worlds and their common and uncommon direction to my pursuit of the unknowns.
A question such as, what is the nature of a timewarp beyond the branches of time? Yet ask as linked to being an out of time situate, within the nature of the justifications of anything at all.
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