S. S. Thyer

Notes on Creation

What is creativity, what is it to be creative and to create? What is it to dream? These are the questions which modern society struggles so much to even engage with --trapped on our Epicurean paths, we have literally forgotten what it is to dream.

Firstly, to dream is to create, to create is a process inextricably tied to our internal soul and the external world, creativity is almost a bridge from the rationalistic, form-defined world, a world of both the immortal and mortal forms, of being and that which engenders being. It is certainly a transcendent act, much beyond anything reasonable; the act of creating is an act of manipulation, and necessarily so, because this world is already created, the forms have already been defined, the rules are set, to create something original is impossible because that would mean we would have to suddenly and drastically change the form of reality, we would have to redefine reality --not only does this make transcendent creativity impossible but so too does our location, that is, we exist within this reality and are constrained by it, our souls are being projected down from God into the reality of his mind and thus we are being choked and forced into this place. Our location in the cosmos ultimately defines our creative abilities --we are below the status of original form-making (forms being in reference to the Ancient Greek school of thought where forms are the metaphysical eternal concepts of things which express themselves in material reality, for instance, the form of a chair is solidified concepts in our minds attributed to all chairs), we cannot build out new forms so we are forced to work through them in our creative endeavours. Creativity then becomes something nebulous as the thing that we see as creativity is like the movement induced by a vortex, we see that water swirls around a point, but the point itself, the singularity, is untouchable --the creating principle is an expression beyond the manipulation and creation itself.

Every man has this creative potential within himself, he is able to manifest a world in his mind, but that world is never isolated, the world is defined by its borders, like the vortex is defined by the motions of the surrounding medium; the reality within reality which the creative man has made, is always linked to reality and this way it experiences interplay with reality which it exists. The creation is hidden in another dimension, its effects within reality are the bridge it has to us; the creation plays with us like the vortex pulling down the floating leaves, the creative essence as the singularity will pull on reality, it almost has a will of its own --practically, it does, a will which is an extension of the creator, a shedding vortex of the father creator.

In a paradoxical way, we are able to expand the singularity, to make an apparently dimensionless thing expand --but it actually isn't dimensionless, this is only the view from our reality, the singularity isn't a singularity, it is a creation we must remember, it is close to the heart of God and is undefinable within reality due to our position within it. To expand the singularity we mean that the creation has differed from the ultimate reality, but this is impossible because we cannot express that within reality, which is right, so we cannot see this, and in a schizophrenic state, we are able to peer into the creation of a new reality within the framework of the ultimate reality without trespassing on logic and thereby unravelling all of existence.

We now have to opportunity to almost see pure creativity as an isolated reality from our own, and this looking into the eye of the storm is the basis for the many worlds trope.

The many worlds, or far away lands, or distant stars, or parallel worlds is a creation of the mystic schools of the very ancient; it states that we live in a reality that is adjacent to other realities, that we exist together with all of our creative thoughts. It dilutes the mind of God and says that there is no God and we may as well be considered God. This state is not the true case, all of our creations are below God and therefore below the reality we inhabit; it is because this reality defines the rules for the other realities, this truth is therefore clearly evident in the fact that we have to --in a way-- lie in our fantasies, they are not true as an event in this reality is true to our conceivability of the truth; fantasies are true in the dimension of its whole, when we travel past the singularity of creativity, however, their intersection with the ultimate reality necessarily expresses untruths as still the essence of creation is apart from reality. The many worlds issue is that its existence is a failed image of unified creation, the many worlds is itself a creation that says we can lift our reality up to sit side by side with all other creations, but this cannot be the case as all world creations are dependant on the ultimate reality as an expression of a reality; the worlds of the many worlds are purely from human creativity as expressed through reality which have become reified, and therefore, their required lies have become truths but these truths cannot be because when in the framework of the ultimate reality they are impossible.

String theory: a theory that technically isn't a theory and is actually just a mathematical description, is considered by any rigorous scientist as false and a dream for pop-scientists, is the primary doctrine of tv-scientists --scientists who make common podcast appearances where they talk about the most outlandish, speculative magic which they pretend is science. As a result of TV scientists pushing joke theories and misinterpreting the double-slit experiment, the quantum eraser experiment, and the failure to understand the wave-function collapse, they are now forced to start on parallel universes, reverse time-travel, and magical Kundalini consciousness. More reifying of untruths that are blatantly and logically false; it's quite obvious why this is the case, they have exhausted the lengths of their logically cohesive research --if much could even be called that at this point-- and now they need to push for new horizons as the past ones leave them at dead ends where a logically possible worldview doesn't exist; but of course, their meandering through their infinite fantasies will leave them dry, there will always be those who cannot accept the tri-unitary philosophies of the true faith --it seems that the greater quantity of people in these empirical fields, which aren't even very empirical anymore, will never be able to find God, and even fewer of them will find the true church.

The point of these created worlds in their forms as stories is to be populated with truths of the eternal human condition and through Tolkein's arrested strangeness in his essay on fairy stories they are reassessed and can be analysed in reference to reality leading to apparent truths. Baba Yaga typically curses the boys but aids the girls --reflecting the truth of the material and spiritual dichotomy in men and women; many of these pagan fairy stories focus on these raw unbound conceptions of the world and its intersecting frames, after the crucifixion we see a slight shift in the stories temperance as the points of connection of the different worlds of reality are unified in the triune God; this shift is especially seen in the shifting of the druidic legends into the modern Christianised Arthurian legends today, especially in the trials of the quest for the grial where we see the different fractions of the soul are analysed and challenged.

Stories as creative imagination is the medium that carries the empirical history of civilisations, the folklore is woven into the fabric of a nation in a manner that makes the stories into fact, they are reified by the collective soul of the people; they place their creativity into the thrones of the archetypes of reality and in that way we have such positions as the immortal sun god, the king who sits high above in the sky: Dyaus Pita of the ancient Indo-Aryans, Anum of Sumer, Horus and Aten Ra of the Egpyt, The Greco-Roman Jupiter and Zeus and finally in the unifying incarnation of the christ, the incarnation of God in human nature --or, given that we call these other pagan religions nature religions, God as incarnate in nature.

When we dream we never realise we are in a dream; typically when we awake we will consider the dream as real and possibly even consider acting on the new information our dream has provided. A dream is like walking through a small garden that impossibly contains all the flowers and trees of the Earth, we see and smell the flowers; in the case of the dream, the flora is synonymous with the world of the forms, in dreams we walk through all of the things that could engender any possible outcome. We do not create art in a dream from ourselves but we instead wander into the garden whose flowers smell the best to us --this is inspiration, we are walking through the art gallery of our minds. Another notable thing about dreams is that we --at times-- struggle to discern them from reality; the form-scape of the dream stimulates our mind and brain, but to tell the dream from reality we require an anchor; when a man is constrained to solitary confinement for too long, he will --as we say-- lose his mind, he will lose grip with reality, he loses his anchor. In most cases, he can regain his anchor but there are others like schizophrenics whose minds and brains are fractured so that their imagination and fantasies are as real as reality, their dreams and reality merge, their dreams overcome them and they literally lose reality.

Originality is impossible; imagination is something wholly alien from this reality, and imagination at its core isn't influenceable --our incorporation of imagination into reality is complex and it takes many points of creative originality that are expressed through the framework of reality. Okay, then what does it mean to hallucinate something never seen, something that doesn't connect to an observed aspect of reality --what is it to believe in fairies? Well, there is a simple explanation, however hard to grasp: archetypal elements exist in the psyche, and there is a psychological element to reality separate from the world of the forms --much like material reality, it ebbs and flows, however, unbounded by material forces, a pressureless reality, a reality outside of space-time, a world of thought. elements existing in this world can be described as pre-instantiated, a sort of form from the forms but now with a soul --a conception. The world of the forms allows for the world of conceptions and the conceptions materialise as space-time in the world of the material. The conceptual world instantiates all reality, this is how our minds can dream of the future, and experience synchronicities and it also explains the existence of creatures beyond the material, demons angels and all those in between.

We need to think of reality as levels of planes, each level has a new plane and one that plane exists a counter-plane, thus creating contrast; contrast is a form of contradiction. Contradiction is inherent in every definition of every form of every element, we need contradiction to define space itself: space is defined by its antithesis with counter-space --that is, every aspect of space defines itself by emerging from its privation. A man standing in the sun is defined spacially by a disturbance in spacial uniformity, it is not his being there that defines his spacial orientation but rather the spacial context surrounding him. What defines space is the infinite contradictions leading to an impervious wall of infinitesimal bricks that are defined by the inherently contrasting mortar.

We live on a resolution of reality and our logic derives below the hyper-reality: therefore we can relate contrasting identities within a single higher logical system --logic being the truths of interrelational contrasting elements. We live in a fractal cosmos, spiralling in the same way as the golden ratio which is the single most important ratio from below hyper-reality. Much like in numerics, the golden ratio defines the spiralling relation between the increasing quantity of infinite contradictions in the psycho-spatial planes. Why do we see spirals in the vortexes of nature and in the growth of plants? Simple: they all follow the flow of logic in that they are all growing, they are all increasing in height across the logical plane and therefore, in their expression within a realm of bricks and mortar, they will begin to compound contradiction ad infinitum. In a way: the spiraling plant has created its own planes of reality and then related them to each other within an overarching reality --but in reality, it hasn't created but merely tapped into the stream of intersecting truth; think in terms of numbers which are all under the same plane but don't necessarily directly contradict one another, it can be thought that they exist on the same level but different branches --this is the golden ratio.

We exist in reality 1 where all this takes place and is considered true, but what about lies? Lies exist, but where? Lies are a part of the defining process, they branch off when one tells a truth because each truth implies a falsity; what defines a false as being false is the spirit, the spirit manifests on a certain plane but is also linked to the divine, so it passes down the chain of reality until it reaches a certain point in reality, the prime reality. Lies then become logically inferable from the position we stand as the intersecting points of the super-reality with the sub-reality allow for the transitive property of truth to permeate throughout all of reality-prime.

This explains time as synchronisation of the realities with the spirit, time is above us, stemming from the hyper-realities tri-unity; this also explains pre-cognition and other similar psychic phenomena like Jungian synchronicities; the mind is the link to the hyper and super realities and therefore time is non-existent within our reality from their purview, time to the being of the super-reality works like mathematics to us --all interactions sit in the super realities version of the platonic universal forms. Everything moves in an attempt to achieve equilibrium with its own contrasting elements but in order to do so, the thing must express changes through new chains of reality creation and reality manipulation; we then have this constant up and down, helical movement that it self-sustaining and will bounce around emphasis depending on the inhabiting spiritual creations within.