filmstrip.png

frameworks

Introduction

Introduction

Preceding Awareness

ReDefining Emotions

ReDefining Emotions

Creativity

Creativity

 

Frameworks are millions of intricate single frames of perspective that build pathways becoming the

Imaginations Mirrors Of Perception, that capture & harness snapshots of awareness within experiences as stimuli the of contexts which build every frame for the storylines that manifest the by-products of our prosperities or limits.

 

Frameworks are interchangeable, integrating the details and aspects of awareness from one framework to the next, selecting and sharing sound, image, vibrations, colours, smells and any and every dynamic including elements that aren't consciously detected, that best illustrate the minds Desires & Objectives, its Perspective, and Self-awareness, all orchestrated and bound through creativity. 

The more data the more spherical the framework, like water droplets filled with 3-dimensional information, where venturing to specific realms of awareness multiple times archives enough memory into the frameworks, enabling creativity to conceive concise, alternate realities giving the mind viable choices as the pathways it can take.

If frameworks are unable to illustrate any context, even when shared from other frameworks or archived memories, means that the mind does not have the resources of awareness that build the right pathways towards the mind objectives where these frameworks only reflect pathways as far as the minds awareness can carry it.

This to uninitiated minds are presented as obstacles, hitting a brick wall but hidden within the theatrics of creativity manifesting limits from other contexts of other memories of what that mind perceived as obstacles, becoming the observers perspective, and as such creativity having found every instance within past experiences organise these frameworks as the storylines offering many alternate realities, which all amount to the same thing.

 

That the mind does not understand the objective, hence the repetitive obstacles, however, creativity never has or never will manifest objections as the many ways that mind is a failure, it actually shows the many pathways that do not lead to that objective, as if stuck in a maze, but unlike its dead ends, the mind can push beyond these boundaries.

What these alternate realities draw attention to is where more awareness is required, which is where these paths end with their conceivable obstacles that await, carrying an unsettling emotional resonance, marking the significance of the objections which also the marks where the minds liberations are beyond. Regardless of the perspectives, if the mind maintains engagement with that obstacle, the mind penetrates it and the context of its existence as new and progressive self-awareness archived as memories which creativity evolves its new frameworks from, where the obstacles become the storylines of the minds triumphs. 

The observer must be careful not to confuse supposition and mental awareness which are both visualisations that seem the same but are very distinctive. With suppositions other than the sense of the objective, be it negative or positive, there are no emotional associations that clarify any awareness of where one's mind is, in relation to its objective, and therefore those images are speculative. Whereas metal awareness is itself the sense relative to the minds aims, that creativity uses to postulate its frames of perspectives where the reality of an objective no matter how faint can be grasped.

The mind must learn to understand the difference between these types of visualisations moreover, doubts and fears are manifested from supposition where the sense of emotional voids feeds ignorance.