P B R . . . . . . . . . . . . Before you begin this exercise
Framework 1 & Framework 2
Stereoscopic vision
Low Loss Stereo
Aphantasia
VIDEO Aphantasia: The Blindness of the Mind's Eye
. . . the blindness of the mind's eye seems to have no observable consequences.
at 6:27 in video
Seth/Jane Roberts
The Individual and the Nature of Mass Events
Each of our books adds to the others. That includes of course books not yet written, in your terms, so that the future books also influence what you think of as the past ones. Again, while appearing in your time, the contents of the books come from outside of your time.
When you are writing a regular book you draw upon associations, memories, and events that are known to you and others, that perhaps you had forgotten but that suddenly spring to mind in answer to your intent and following your associations. When an artist is painting a landscape, he might unconsciously compare hundreds of landscapes viewed in the past in multitudinous, seemingly forgotten hues that splashed upon the grass or trees, or as he seeks for a new creative combination. Art is his focus so that he draws from Framework 2 all of those pertinent data that are necessary for his painting.
Framework 2 involves a far vaster creative activity, in which your life is the art involved. All of the ingredients for its success are available there. When you are creating a product or a work of art, the results will have much to do with your ideas of what the product is, or what the work of art is — so your ideas about your life, or life itself, will also have much to do with your experience of it as a living art.
If you believe in the laws of cause and effect, as accepted, or in the laws of polarity, as accepted, then you will be bound by those laws, for they will represent your artistic technique. You will believe that you must use them in order to, say, paint the living portrait of your life. You will therefore structure your experience, drawing to yourself from Framework 2 only that which fits.
You will not have the technique to attract other experience, and as long as you stick with one technique your life-pictures will more or less have a certain monotony. Again, the writer or the artist also brings more into his work than the simple ability to write or paint. In one way or another all of his experience is involved.
When you pay attention to Framework 1 primarily, it is as if you have learned to write simple sentences with one word neatly before the other. You have not really learned true expression. In your life you are writing sentences like "See Tommy run." Your mind is not really dealing with concepts but with the simple perception of objects, so that little imagination is involved. You can express the location of objects in space, and you can communicate to others in a similar fashion, confirming the physical, obvious properties that others also perceive.
In those terms, using our analogy, the recognition of Framework 2 would bring you from that point to the production of great art,
Now and then people have such moments, and yet each private reality has its existence in an eternal creativity from which, again, your world springs.
It is not as if that vaster reality were utterly closed to your perception, for it is not. To some extent it is everywhere apparent in each person's private experience, and it is obviously stated in the very existence of your world itself.
. . . Your world, then, is the result of a multidimensional creative venture, a work of art in terms almost impossible lor you to presently understand, in which each person and creature, and each particle, plays a living part.
Again, in Framework 2 each event is known, from the falling of a leaf to the falling of a star, from the smallest insect's experience on a summer day to the horrendous murder of an individual on a city street. Those events each have their meaning in a larger pattern of activity. That pattern is not divorced from your reality, not thrust upon you, not apart from your experience. It often only seems to be because you so compartmentalize your own experience that you automatically separate yourself from such knowledge.
Creativity does not deal with compartments. It throws aside barriers. Even most people who are involved in creative work often apply their additional insights and knowledge only to their art, however — not to their lives. Period.
They fall back to cause and effect. Your Framework 1 life is, again, based on the idea that you have only so much energy, that you will wear out, and that a certain expenditure of energy will produce a given amount of work — in other words, that applied effort of a certain kind will produce the best results.
In the same way, it is believed that the energy of the universe will die out. All of this presupposes the fact that no new energy is inserted into the world. The source of the world would therefore seem no longer to exist, having worn itself out in the effort to produce physical phenomena. In the light of such thinking, Framework 2 would be an impossibility.
Instead, the energy of life is inserted constantly into your world, in a way that has nothing to do with your so-called physical laws. I said (14 years ago) that the universe expands as an idea does, and that is exactly what I mean. The greater life of each creature exists in that framework that originally gave it birth, and in a greater manner of speaking each creature, regardless of its age, is indeed being constantly reborn.
I am couching all of this in terms of your world's known reality, which means that I am dealing with the local properties of Framework 2 as they have impact in your experience. (pp 92-94)
