307. Either one is a causative creator with these entities or one is a slave to this universe.
308. One creates and controls with the entities or the entities create and control one.
309. To master art and life, one must master the entities.
Mastery is:
a. Understanding the entities.
b. Graphically mastering them.
c. Mastering them in life.
310. Being: A being is an entity with a viewpoint. It is something that exists and has life, such as a person. Not
all beings have bodies. A being is an existence or an assumption or initiation of a view. In some cases it is a
concept with a life all of its own. Artists create existences, viewpoints and deal in conceptions. These elements
are all life sources. One gives life through the existences one creates. One gives life as one has life and knows
life.
A being is a spirit, soul or entity with a life all of its own. It exists, loves, communicates and has a purpose. An
artist/creator of existences is a creator of universes. A creator gives life. This is a key concept for artists to
understand. The life that they create will either serve them or destroy them. The choice is the artist’s in the
purpose that is adhered to in the creations. We breathe our future with decisions.
A being can have as many points of view as it is endowed with. A created being can combine with other
entities for multiple purposes. An artist creates, administrates and orchestrates these life units. They can be
endowed with intelligence and a self-determined purpose. The choice is the creator’s. Knowing or not, an
artist does commerce in these realms.
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SPIRALS
311. All life, all form, all space, all energy, all time moves in spirals.
312. In short, the entire physical universe and its inhabitants move in spirals.
313. All life identified with the physical universe moves in spirals.
314. All energy spirals.
315. A spiral is a circular or semicircular withdrawing, fading or growing motion.
316. According to the laws of perspective, everything grows or moves away from the viewpoint in numerous
directions (potentially in an infinite number of directions).
317. All of the forms of life and the physical universe move to and away from the viewpoint in shrinking,
reducing, or expanding spirals.
318. These spirals tend to pull one’s attention toward the infinity points or stick attention on oneself.
319. The most attention gathering shape is the spiral; thus the attraction of life to the physical universe; thus
its use in hypnosis.
320. A spiral, because of its complexity and motion, attracts. It attracts attention and it takes attention.
321. This universe is a complex multiple system of spirals: micro, macro, and conceptual.
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322. This complex system is such that it consumes energy rather than generates energy. It takes thought,
perception, attention, energy, and time and it returns nothing; causing traps, sleep, unconsciousness, and
stupidity, etc.
323. A spiral in space has a vacuum effect, and thus, its attraction and entrapment.
324. All spirals are adjusted and oriented to infinity. Infinity in art is being the vanishing point/infinity point
with regard to the viewpoint.
325. All attraction in space has a spiraling effect. This universe and its life forms is a complex system of
spirals, quite orderly, yet appearing chaotic as a result of the complexity. The end result of this system is
death and unconsciousness. All spirals in space must be diagrammed, mapped out, and understood to break
their spell.
326. All will be vacuumed in, attracted, hypnotized, and controlled until one knows the nature and mechanics
of the space, which one “apparently” occupies. The nature of the illusion is such that it appears that one is in
it, whereas in actuality, one just appears to be in it because of trapped attention and consequent
consideration.
327. Vision is an illusion; (That which is the visual perception). Vision is not the full truth. There are many
ways to observe. Stopping, looking and listening help.
328. Vision is deceptive. Deceptive things are entrapping.
329. Drawing and art are traps.
330. Everything that exists is a trap, unless it specifically addresses the deceptive illusions and seeks to
unravel the truth. And even that can be entrapping.
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331. Of all occupations, art comes nearest this pursuit because it is oriented to creation and understanding
the nature of what is perceived and known.
332. Everything spirals in this universe. Life unconsciously associating and identifying with this universe and
its cycles also spirals and spins. This is evident from atoms to galaxies.
333. Apparently flat planes also spiral into space. This occurs through the interposition of time.
334. Considering the “frozen” stills that are called art on this planet, this is not visually apparent.
335. Life is motion.
336. Frozen stills reflect a minimal amount of motion yet encourage it in the viewer.
337. As aesthetically as frozen stills may be composed and created, their life can be evaluated by their motion.
338. Appearance = illusion = deception.
339. What is visually seen is a minor part of knowledge. What one knows is not always seen. What one sees
and hears is deceptive. But observe anyway. We have more eyes than two.
340. All spirals decay along with those that identify with them. Spirals are dream killers.
To the degree that the artist and the art follow the spirals, deception is perpetuated and decay is inevitable.
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341. An ideal purpose of the artist’s drawing is to define, describe, understand and communicate the truth.
This is actually a responsibility.
342. If one’s prime purpose is total spiritual freedom (ultimate freedom of thought and action), then art points
in that direction. Per evaluation of importance, an artist should orient and address spiritual progression first,
finding out who he really is and what his native inclinations actually are. At that point, drawing abilities would
begin to make sense in communication. This book is oriented to freeing the artist, increasing understanding
and appreciation of art and life through the vehicle of drawing.
343. Being an artist is a spiritual occupation. Its ideals mirror the ideals of a spiritual master. Optimally, an
artist’s perceptions, understandings and knowledge should parallel one who has spiritually mastered life: a
spiritual master. This would be a master of thought. Spirit is thought and thought is the spirit.
344. A basic nature of the cycling spiral is growing or pulling away. This manifests itself in a number of ways:
getting smaller, decaying, going away, being lost, dropping, disappearing, becoming devoured, overwhelmed,
etc.
345. The being, identifying or associating in some way with the spiral will find self dramatizing self as the
spiral and actually acting out, in hypnotic cycles, the basic nature of spirals.
346. All beings intuitively and basically resist this action whether they realize it or not. They attempt to stop
that basic motion/basic nature of the spiral. This is manifested by fixed view-points, attempted fixed location,
fixed ideas, being stuck in time, stuck in incidents in the past, etc. This in turn is manifested by inability to
change, trying to stop others, becoming suppressive to creativeness or anything new, taking occupations that
attempt to stop and control.
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347. The effect on art is that frozen stills are created; heavy emphasis is placed on permanency, flatness of
plane, no space, preserving art, holding onto art, collections of art and, of course, art criticism.
348. Time pulls everything away into shrinking, decaying spirals. Time is the basic source of all spirals.
Beyond time there is no dizzying spiraling effect. All spirals are within the creator and the creation is the
spirals; hence, choice.
TIME
349. Time can slow down and speed up as one expands out into infinity. This stretches from no time to all
time.
350. All universes have time as a primary internal component.
351. More space = more time and time tolerance.
352. Time stands still for the ever-aware entity. To the dreamer this is a daily occurrence. When in the creative
processes the artist enters a timeless-trance state. One has all of the time, space and objects in the universe
with nowhere to be except creating right here, right now.
353. Attention freed from time = subjective timelessness.
354. Time alone causes persistence.
355. Source of time = source of persistence’s.
356. Disagreements with time cause loss of solidities and persistence.
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357. Actually, through time, nothing exists as the truth of illusion is viewed.
358. Time is as time does. Time is change.
359. There are multiple and various present times.
A present time is a rolling wave.
They could be called doors.
They do have simple access.
360. A universe is known by its speed, i.e., rate of persistence and change ratio.
361. By creating the best time for another/others we create the best time for ourselves.
362. One changes time and form considerations to switch universes. Everyone does it.
363. Time in universes is always very slow in comparison to the lack of time factors in the universe of thought.
364. One’s considerations and decisions are dependent on spiraling changes for their existence.
365. The actual edge of this universe, for you, is that point where you are no longer connected to it. This
could be the edge of your daydreams, twilight awareness’s between worlds; that point where your imagination
takes over: the entrance into the major reality from the minor. It is that point of inspiration or imagination
where you aren’t here anymore and you know that for certain. That, in essence, is the door out. It is where we
slip out.
366. The construction of this door and its use are under the creator’s control. It is the entrance and the exit.
One’s dreams and inspirations in one’s own separate universe are always greater than reality (agreements).
The most disagreeable usually have the most pronounced personal realities.
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367. The average artist spends from forty to sixty percent of daily thought, in direct mental contact with the
people, objects and times being thought about. This means that the artist actually visits these times, spaces
and people in various present times. We exist beyond time and space as immortals so bodies and walls are
transparent to us. Time and space have no barriers. We spend considerable time daily in mental contact with
others. This is often misunderstood, but when we think of others we actually contact them. When they think of
us they access and visit us instantly. We need not astral project because we bring the location or time to us,
and our body simply disappears. Are these unusual telepathic and psychic abilities? No, because this is the
way we all think and operate, knowingly or unknowingly, above or below. We actually connect with what we
have our attention on. A quiet focused mind notices these things.
POWER
368. True wisdom is true power. It is when you have good will toward all mankind that your power will return.
Your joy will return when you choose to give it to others.
369. Powers are simply viewpoints, thus states of mind, thus physical occurrences.
370. To power, thou and I are the same. Power thinks us not I. We are big. I am tiny.
371. Full power is complete mental and physical freedom of thought and motion and the ability to bring it out
in others. It has understanding instead of hatred. It has knowledge instead of fear and superstition. You will
not let your true power return until your condemnation and meanness to others leaves.
372. If no power can be given, or no power has been given then true power may not exist yet.
373. Power is in owning all yet sharing ownership of it without interference.
374. Power is getting just what you need at the right time. It is in understanding how synchronicity cycles.
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375. Control is procurement and use of only what is necessary. It is an exercised ability of handling.
376. Control must have excesses and abundances to draw upon.
377. Stability generates power and instability destroys it.
378. Is it better to be?
Strong than weak?
Expanding than contracting?
Good than bad?
Fast than slow?
Communicative than silent?
Rich than poor?
Invisible than visible?
Or is the opposite often the case?
379. Invisible, unapparent concepts of power: restraint, economy, never telling all, never using all, never using
full power, subdued, tempered, reserved, knowing where the barriers are, setting one’s own barriers, no
extremes, middle of the road, quietness, subtleness, humility, conservation: all within.
380. Misleading concepts of power: extremes, extravagances, excesses, loudness, and exaggerations: all
without.
381. Loud sounds hide quiet sounds. Bright colors hide subtle colors. A loud environment hides quiet
sensitivities.
382. The only way out is out the top: with full transference and delegation of the power. (The Goal and
purpose).
383. Lack of self-respect and self-esteem destroys power. Sense of self worth defines how far the art will go.
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384. An element or aspect is known by its contrast or comparison.
385. Its value is per its contrast.
386. Energy is created by contrasting elements in a work.
387. Comparisons of differences and similarities in a work show intelligence.
Corollary: The harmonious relationship of various entities in a work is proportional to its success.
388. Orderliness and lack of clutter show control.
389. Disorder and chaos show death and insanity.
390. Organization = sanity.
391. Production, order and organization deal with ability. Disorder, disorganization and no production deal
with stupidity and degradation.
392. Statistics reflect production, accomplishment and power in time but they kill creativity.
393. Disorder breeds inefficiency. Organization and elimination restore life. Speed and efficiency are vital to
survival and freedom.
394. Power and poverty are primarily frames of reference on a scale of one’s responsibility for others.
Immaturity cannot care for others. Low self-respect = no responsibility = no control = poverty.
395. Value, quantity, quality, and immediacy seem to be power’s attributes.
396. Power is responsibility on all lines but not always acted.
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