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Month: July 2022

Claim your useful looks, not necessarily youthful looks

I follow a magician who is around 50 and looks about same (and shaves her head, get the point). Recently someone asked her: “Why does your body age?”

The question suggests that her body DOES age when it probably doesn’t, we can’t tell for sure.

Now imagine the woman who is asking is 60. Then imagine than a magician looks like 20. The question would probably sound like “Who are you to teach me?”

Not everyone wants to look totally fresh and green, some may prefer to look experienced.

I wouldn’t fancy being approached by young people as their equal, and I don’t fancy being approached by outdated people either.

Just as I wrote in my previous article, what you get is the materialization of your attitude.

The adjectives “young” and “old” do not say anything anymore. Is the one who has reached 80, “old”, or does it depend on their energy, lifestyle, and sure, also looks?

The magician won’t look old when she reaches chronological age of 80, I can be quite sure of that, and she’ll decide just how experienced she wishes to look by that time.

Painting by Arthur Sarnoff

Forever young is the one who dies prematurely

Everyone who has passed the age of youth can be bothered by the idea of not being young anymore. The notion of youth is meanwhile very ambiguous. Normally “young” doesn’t mean lacking anything but means healthy, vital, and good-looking, unless it is accompanied by other adjectives.

If you, or anyone you know, would wish to be just a day (or many days) younger, it means that the value of those days is not appreciated.

The connection between time, age, functionality and looks is a thought based on the notion of entropy and deterioration. When you allow yourself to be an exception rather than the rule, a living being rather than statistics, you can discover some alternative pathways.

Much of our body’s and mind’s functionality depends on whether the two hemispheres of our brain work in sync. You can perform a simple test that you can find anywhere online, to discover how well the two of your hemispheres are coordinated. If they are poorly coordinated, you can be glad: there’s a room for improvement.

One of my favorite charlatans (people possessing the talent for chatting), Richard Bartlett, recommends connecting to other talented people’s morphic fields to obtain results similar to theirs. My experience in dance confirms it is possible. I once danced with a leader who had a very intricate rhythm which I couldn’t quite follow until I imagined I was his usual partner, whom I saw many times dancing with him. My rhythm automatically adjusted and we danced a very nice tanda very much in sync.

Richard Bartlett possesses many talents, but it is hardly advisable to copy his morphic field for a number of collateral reasons, and you probably won’t find a single ageless person to copy their agelessness for yourself.

In this case, let’s imagine you copy your own future morphic field (you can also use mine from the present), where you are knowledgeable, experienced, wise, and enjoy blooming health and gorgeous looks.

Experimentation is the key to getting the results 😁

The picture of the post author is taken on the spot after finishing the text

Поездом через время

Как создаются художественные тексты? Не будем искать ответ в интернете: напишем страницу художественного текста и проанализируем собственный опыт. Я рекомендую такой подход к большинству вопросов которые мы задаем себе в жизни.

Сначала появляется импульс. Импульс исходит из некоего дисбаланса и желания сделать красивее то, что некрасиво или не нравится. Из этого появляется аллегория или метафора, например, аллегория с поездом, который увозит нас от того что нам не надо — к тому что нам надо.

Чувства и действия персонажа списываются с прототипа. Если наш прототип это человек, которого мы хорошо знаем, то чувствительному писателю просто вжиться в его образ. Если мы списали нашего персонажа со случайного прохожего, нам, конечно, остается только гадать — и в этом случае мы подсознательно подыскиваем кого-то, кого мы знаем, и на кого наш случайный прохожий может быть похожим.

Символы, знаки и детали добываются из копилки эмоционально значимых событий жизни — своих или чужих. Все переплетается и складывается в новый узор, как в калейдоскопе.

Кроме исходного импульса есть движение по назначению. Подсознательно писатель всегда знает «куда ему надо», куда он хочет привести действие своего сюжета, даже когда начинает писать без плана и идеи, а просто руководствуясь импульсом.

Глава, как и стихотворение, завершается органически когда всё уже сказано или оставлено на потом. Ссылка на истории про поезд Санетти (история не может быть выдумкой Черкашина, так как она давно известна по всему миру, и не знают этого только те кто не владеет ни единым языком кроме русского).

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