Our scientists are correct in supposing that the universe is composed of the same elements that can be found in our plane. However, the elements that they know are, of course, camouflage patterns, that may show themselves in a completely different form somewhere else.
The elements — those that we now know and those we will create — are camouflage of the basic stuff or vitality which we cannot discover with our outer senses. Our scientists will find that their tools are no longer adequate. Because man and woman have such a sense of curiosity, scientists will be forced finally to use the inner senses. Otherwise they will be dealing with camouflage only and find themselves in a blind alley — not because their eyes are closed, but because they are not using the right set of eyes.
The camouflage is necessary at this stage of development — intricate, complicated, various and beyond the understanding of the outer senses, which are the perceptors of the camouflage itself, peculiarly adapted to see that will give us any evidence at all of the basic nature of life.
Since very often the vitality or stuff of the universe seems as innocuous as air, then look for what we do not see. Explore places that seem empty, for they are full. Look between events. What we see clearly with the outer senses is camouflage. I am not suggesting that you take all this on faith. I am saying that what seems vacant lacks camouflage, and, therefore, if this is explored, it will yield evidence.
Effects would seem to be evidence. In correct terms, if a tree branch moves, then we take it for granted that something blows it. We know wind by its effects. No one has seen wind, but since its effects are so observable, it would be idiocy to say that it did not exist. Therefore, we will come up against the basic stuff of the universe and feel its effects, though our physical senses will not necessarily perceive it.
Granted, camouflage is, in itself, an effect. If we look at the observable world we can learn something about the inner one, but only if we take into consideration the existence of camouflage distortion. There is so much to be said here, and we have so much to learn, that sometimes I have to admit that I’m appalled.
Our own experience with creativity should help out here.
When we paint a picture, we are dealing with a transformation of energy and transformation of camouflage pattern. There is a brief but vital moment when we are dealing with the underlying vitality of which I have spoken.
We are forced to transform this energy into another camouflage pattern because of our earthly situation. There is nothing else we can do. But for this moment, we pluck this vitality from the inner senses. Then we transform it into a somewhat different, more evocative, new camouflage pattern that is, nevertheless, more fluent, more fluid than the usual pattern, and gives greater freedom and mobility to the vitality itself. We approach a transmigration of plane.
A certain distortion must be expected. The painting, however, achieves a certain freedom from camouflage, although it cannot escape it, and actually hovers between realities in a way that no thoroughly camouflaged object could do. Music and poetry also can achieve this state.
The more camouflage (physical dimensions) an art object has, the less its validity to the inner senses.
Our scientists can count their elements, and while they are on the wrong track, they will discover more and more elements until they are ready to go out of their minds. And while they create instruments to deal with smaller and smaller particles, they will see smaller and smaller particles, seemingly without end. As their instruments reach further into the physical universe, they will see further and further, but they will automatically and unconsciously transform what they apparently see into the camouflage patterns with which they are familiar. They will be, and are, prisoners of their tools.
More galaxies will seemingly be discovered, more mysterious radio stars perceived, until, the scientists realize that something is wrong. Instruments designed to measure the vibrations with which scientists are familiar will be designed and re-designed. All kinds of seemingly impossible phenomena will be discovered with these instruments.
The trouble is that the instruments will be designed to catch certain camouflages, and they will perform their function. They themselves transform data from terms we cannot understand into terms that we can understand. This involves a watering down of data, a simplification that distorts the original information out of shape. The original is hardly discernible when they are done. When we decipher one phenomena in terms of another, we always lose sight of whatever glimmer of understanding that may have reached us.
It is not a matter of inventing new instruments any longer, but of using the ‘invisible’ ones we have. These may be known and examined. This material itself is evidence. It is like the branch that moves, so that we know the wind by its effects; and a wind bag like me by the billowing gale of my mono-blogs.
Scientists realize that the atmosphere of the earth has a distorting effect upon their instruments. What they do not understand is that their instruments themselves are bound to be distortive. And, material instrument will have built-in distortive effects. The one instrument which is more important than any other is the mind (not the brain), the meeting place of the inner and outer senses.
The mind is distributed throughout the entire physical body, and builds up about it the physical camouflage necessary for existence on the physical level. The mind receives data from the inner senses and forms the necessary camouflage.
The brain deals exclusively with camouflage patterns, while the mind deals with basic principles inherent on all planes. The brain is, itself, part of the camouflage pattern and can be interpreted and probed by physical instruments. The mind cannot. The mind is the connective. It is here that the secrets of the universe will be discovered, and the mind itself is the tool of discovery.
We might say that the brain is the mind in camouflage. Imagination belongs to the mind, not the brain. Instruments may be used to force imagination to move along in terms of its owner’s personal memories, but it cannot be forced to move along the lines of conceptual thoughts because the imagination is a connective between the physical individual and the non-physical entity.
Mental enzymes, by the way, have a chemical effect or reaction on our plane, but the effect itself is, of course, distortion. On the other planes, the distortion effect may not be chemical at all.
As I have told in previous blogs, mental enzymes transform vitality into the particular camouflage patterns. A chemical imbalance in a physical body will also show itself as a corresponding distortion of sensual data. That is, when the chemical balance is disturbed, the physical world will appear to have changed. For the individual involved, the camouflage actually has changed.
The subconscious is a property of mind and is, to a large degree, independent of camouflage. While part of the subconscious must deal with camouflage, for example, the deeper portions are in direct contact with the basic vitality of the universe. When you wonder if this material comes from our subconscious, take it for granted that the subconscious is personal, dealing exclusively with matters of our past. We are sometimes willing to concede that perhaps some element of racial memory might enter in.
The subconscious, however, also contains the undistorted material of the mind, which is uncamouflaged and which operates between planes, knowing no boundaries.