"Creating with Multi-Dimensional Technologies"
By MARILYN LA CROIX
CHAPTER 5: APPLYING OUR 4TH DENSITY SKILLS
"IQ is always relative to one's environment.... IQ tests today measure mathematical
ability, logic and reasoning, but still aren't able to measure creativity, compassion,
intuition or art ability."
Bill Bockus: "The Universe: Theoretical Physics for the Young Adult."
Polishing and Learning to Use Our 4th Density Skills is the fifth step towards creating with
Multi-Density Technologies. Curiously, the creative skills used by successful artists are similar
to the spiritual skills of an expanded consciousness, allowing us to use the new technologies eff-
* "How Our Universe Works."
Coping with an Un-easy Planet.
We Create Our Own Reality.
* "The Power of Focus"
Physical Creative Skills
Mental Creative Skills
Emotional Creative Skills
Sp[iritual Creative Skills
* " Brain Waves & Creativity."
Creativity in Sports.
* "Higher Senses."
Artworks Hold Creative Magic.
* Symbols as 4th Density Screens."
* "The Creative Force Field Responds."
* "The Creative Personality."
* "The Cultural Creatives."
The Guides: 2015:
"What each of us thinks and feels is now manifesting very quickly. We must convince ourselves
that we are fully competent to do the things we see fit for self, & for all life on Earth at this time.
There is a part of you__ as with all humans and with Earth__ that is dying. LET IT GO. See what
comes up in its place. You'll like it . You are nearing the final level of your Awakening Process.
When__ and if, you can control your mind, body and feelings in the manners previously outlined,
you will be living THE NEW REALITY every moment."
"Healing no longer works in the Lost River Valleys. The drying up Lost Rivers can no longer car-
ry the energy necessary for Healing & Manifesting & the valleys are dying. Also, the many Light-
workers holding that consciousness within themselves, have left for other areas. There is no long-
er a Group holding those spiritual Intentions for the area, & the town is economically distressed.
The Lost Rivers are dry. The valleys are dying. So negativity has been very strong there."
"In most parts of this world, humans are destroying the planet, as water, soil, and air are poisoned
with chemicals, nuclear radiation, mining, war and fracking for oil."
Gaia: "It is all in the Earth. The World Tree, holding the seed of humanity's origin, has always
been in the Earth & always will be. Should the trunk, the branches & leaves wither or be cut, or
the fruit be rotted or diseased__ will not the roots remain, ready to spring forth once more, to re-
generate again and again in response to the Sun and Cosmic nourishment?"
We Cosmic Starseeds, Lightbearers, Wayshowers, & Wanderers everywhere are receiv=
ing notice of Earth-Gaia's state of crisis__ and are being asked to ASSIST HER.
We will be working with the "FORCES OF NATURE", and "THE UNIVERSE" as we move through
the 4th Density Reality and learn to REGENERATE THE NEW EARTH.
Later we'll move into the 5th Density Reality along with Earth Herself:
(Part I: http://www.futurealities.info/Process.html).
We'll be learning How Our Universe Works and How to Heal & Manifest/
For in order to pass smoothly to an evolved consciousness & higher densities of existence, we can
__ together__ gradually Create the New Reality for the entire planet & All Life upon Her. We shall
develop the skills necessary for Co-Creating with a Unity Consciousness, learning to apply the
tskills by Connecting with our own Inner Spiritual Guidance, to raise our bodies' vibrational levels to
the higher frequencies enabling ascension to Earth's 5th Density.
Part III: Chapters 5 through 11, of "Creating From the Future" (http://www.futurerealities.info/PartIII.html),
reveals How to Ascend to The Next Higher Reality__The Fifth Density. If we are to cope with
the challenges of a Diseased Planet these days, we & our children must first evolve our body's en-
ergies beyond our present 3-D emphasis on hierarchical systems, separation, material greed, intol-
erance, competition, disrespect and the devastation of Earth.
As our world becomes crazier day by day, we look around to see who or what is causing these ho-
rrendous challenges, fears and miseries. We tend to blame others for our sufferings, but it is WE
who have created so pathetic an existence for ourselves__ We Create Our Own Realities.
The goals of Multi-Density Technologies are not about success, fame or fortune, but rather about
healing ourselves, inside and out, & manifesting our "needs"__ not necessarily our "wants"__ with
Intellect, Emotion&d Intention.
We do so by first Evolving Our Consciousness. Which means we need to fully understand The
Creative Process & how to apply the Creative Modes&d Skills to contact our HIGHER SELVES__
SUPERCONSCIOUSNESS. We are not attempting to tell you what you should" do__ your Higher
Self can do that. We merely want to inform you of options, & probabilities available to you.
It's 3 AM. 1991. I'm in the Eastern Idaho, Regional Medical Center ER with a severe nosebleed. An
hour later, I'm ready to go home, but whenever I stand up I start to lose consciousness. Previously,
if I fainted, I 'd often enter an altered state of awareness & receive spiritual insights. Right now, I'd
rather pass out than suffer the nausea and vertigo of being only half-conscious. To avoid falling &
hurting myself, I reach towards the floor with one hand mumbling that I'm about to faint, but the nur-
se holds me up by the other arm and calls out for a wheelchair.
"You don't have to faint." she says firmly. "Just pick out a dot in one of those tiles and stare at it;
concentrate on it __ place all your mind's attention there."
She doesn't understand. I want to go to the "other side" & have my "peak experience". But she con-
tinues holding me up, repeating how I must focus on that stupid tile. Finally realizing this is getting
me nowhere, besides prolonging the discomfort, I do what she suggests__ and to my amazement,
the nausea and dizziness immediately vanish.
Using both Intuitive-Inspiration and Intellectual-Expressive Modes of the Creative Process, we de-
velop abilities vital to manifesting life's necessities on expanded levels, to draw upon and enhance
aspects of our entire organism__ physical, mental, emotional, energetic and spiritual__ to unlock
life purposes, refine our inner and outer lives and prepare us for Part IV: Advanced Multi--Density
Technologies that assist us to Co-Create Earth's New Reality.
When attuning to the Creative Force within, First Enlightenment individuals Awaken their
In the Inspirational Mode, our physical senses become keener & awaken Creativity Skills.
Can we, simply by shifting our Focus, change our Perceptions of Reality? Can something
as simple as Attention either keep us in a present state, or transport us to Expanded Lev-
els of Consciousness?
The nosebleed episode above says "Yes".
Painters express their personal views of the outside world. Realist painters see the outer surface
appearance__ the Objective side of things as their truth. Impressionists see truth in the Object-
tive, but also in the illusory play of light; while Abstractionists believe truth lies in the inner impre-
ssions or experiences of the subject__the Subjective side of Reality__believing that the more they
can simplify the subject matter, the more freedom of expression they enjoy.
Whether we Focus on an objective or subjective as creators, our task is to portray the
world either as we perceive it, intuit it, or as we desire it to be. We have succeeded when
we produce Expressions delivering our personal truths, feelings and beliefs about life.
However we chose to express ourselves, certain Creative Skills need to be learned in preparation
for Part IV: Advanced Mulit-Density Technologies, These skills can be acquired by anyone having
the passion or discipline for regular practice. Although they spring from engagement in creative a-
ctivities__ music, painting, theater, dance, writing, sports, prayer, scientific innovation, meditation,
teaching or healing__ when approached with an open mind, they reveal a broader depth to them.
4-D CREATIVE SKILLS
PHYSICAL CREATIVE SKILLS
Movement,Time. We move forward one step at a time. The Creative Process wanders; it stops to
explore, falls down & then gets up again. Physical movement, action & an appropriate use of Time
accelerate personal development. Our perception of Time changes when we lose ourselves in clo-
se attention to creative activities. For creative people, it's the boring everyday routine that's really
the altered state of today's world. We may experiment with Time and Focus, setting Time Limits on
creative exercises to boost our innovative juices.
Discipline. When we're painting or crafting just for fun, we can't wait to start. But the professional
artist can tell you how the words, "have to" cast a dark spell. Getting up every morning to execute
an acceptable work of art and meet a deadline, requires tremendous discipline and commitment.
The professional can't wait for the right mood; she has to produce in quality, in quantity__ and on
When first shifting from an ordinary day job to full-time professional painting, most artists take a
week or more setting the studio in order, clearing out cupboards and old art publications , search-
ing for inspiring music_ but accomplishing little or no actual painting. The next two or three weeks
__ with palette, brushes, notes, photos and sketches neatly laid out beside them__ they stare at a
blank sheet of paper or canvas, unable to bring themselves to place a single brush stroke on its
For others, transiting gradually from full to part-time jobs, slowly gaining more hours for painting
and marketing, a delayed effect may occur. When I first sold a painting for a thousand dollars, I al-
most chickened out when facing each dauntingly huge, blank sheet of paper, realizing I had to find
some way to transform it into a work of art worth that price or more.
At first it's hard, but after regularly applying ourselves to play piano, learn a new language, play
chess or spend time exercising, we soon reap the rewards and truly enjoy the discipline. But if we
invest all our leisure time in being couch potatoes, fantasizing about our "one man show" in Paris,
France__ nothing happens. Even if we visualized well, we can't produce unless we get up and
move. It's hard to be another Rembrandt if we can't give up the computer, cellphone or TV screen.
MENTAL CREATIVE SKILLS
As we engage in art, we first try to become skillful with tools and equipment . During this stage,
most artists "broke their necks" to make the artwork look "real". The invention of the camera, how-
ever, devastated painters' incomes at the end of the nineteenth century. Some began abstracting
subject matter from the very act of painting itself. No longer giving a damn about making their art
look "real", they stopped imitating nature__ although nature remained a primary source of Inspira-
tion. With impressionistic or abstract designs, the forms, colors or lines were only suggested, invi-
ting viewers to complete the work of art with their own minds. This required Attention, Attitude,
Harmony, Independent Judgment, Risk-Taking, Organization and Intention.
Attention: Energy__earthbound or cosmic__ will flow according to the path of least resist-
ance. If we only see the negative in every situation, then energy flows toward negative situations_
and our life seems devoid of positives.
Creative work demands a Focus on one specific aspect of the work, as well as attention to nature.
people, objects and events. Unless we Stay Present in each moment, centered on the Doing of a
tproject rather than on its Outcome, we lose the link to our inspirational source, making it almost i-
mpossible to break free of ordinary traits__to be true to our personal perspectives__ o be Original.
Attitude. Attention is always projected through Attitudes, and Our Attitude__ positive or negative
__determines the Quality of the reality We Experience.
Harmony is a science. Its generators are the true artists, for by imprinting their passionate, loving
feelings and inspirations into physical works, they engender resonance between Earth and Higher
realms, transmitting impressions from one density octave to another. Most of us have such short
attention spans, we seldom gain higher insights for more than a few moments. Sometimes, listen-
ng to inspirational music vibrates us in harmony with expanded levels.
Independent Judgment: One of our most valuable Creative Skills is our Freedom to Choose.
We may not realize that to abstain from choosing__ is itself__ a choice. Matured artists detach
themselves from formulas or standard techniques, and balance simplification and complexity, re-
cognizing what is__ or is not__ in the best interests of each project. They include enough comp-
lexity to keep things surprisingly dynamic, but simplify according to a wider perspective:__ dist-
inguishing what is or isn't necessary to express the message of the project. Rather than choosing to
do a thing "exactly like what they already 'know'", they choose to do it "from within a broader
range of possibilities". They accept mistakes gladly, learning to honor them as Signals of Super-
consciousness Egging Them On.
It's mostly our self-imposed, hard-nosed rigidity that limits our creativity because we are afraid to
Risk change, afraid to differ from our peers, or from those we have empowered as our experts or
authorities. This attitude stems from problems with sharing our creativity. When artists can obser-
ve from detached points of view, they can drop defensiveness about their work.
When first seeking to place art work in galleries, it felt as if exposing my work to critical strangers
was like walking into their offices naked. Even though I'd earlier sent slides, had a firm appoint-
ment and driven hundreds of miles to keep it, at the last hour, I'd become so nauseous I'd have
to cancel out. This continued until I learned to detach my personal identity from my art. Once the
works were framed and sent out into the world, they began their own lives. Guided into proper
channels, each determined its own destiny. Innovative individuals view scary obligations from a
detached point of view.
Organization: Through artistry, we develop a schedule, find similarities in the dissimilar, & create
order from disorder. Even organizing some household drawer, cupboard or closet shelf before beg-
inning a new painting can entrain the proper frame of mind for composing artwork.
The universe is often likened to a complex machine. We feel at home with things we can touch or
see, and the machine idea allows us to grok new concepts from a materialist viewpoint. An artist
or athlete, however, must harmoniously organize mind, body and emotions to juggle both insp-
irational insights and skillful performances. Mind and heart can be combined in that peculiar Un-
Unstable Equilibrium__ where the Harmony of Emotion and Intellect teeter__ and Chaos Births
Intention: We all have a deep sense of Purpose__ a Will to Birth, to Change, to Transform or to
Manifest something. Our Intentions open us to a more expanded or surprising viewpoint than we
might have held before the present situation arose. "As the spiritual energy artist creates, he can
consciously intend the vibrational impacts of the colors, shapes and techniques he has chosen to
radiate his inspirations. Intention fosters that sensation. Not only when we are creating images or
sounds ourselves, ut even when they__ negative or positive__ are being viewed or heard by oth-
ers, even years after its making. Intent whispers to everything; even the Intention in the mind of a
doctor, when he writes out a prescription can awaken the patient's healing process.
Perceptual Flexibility: t's not so much what we see, or what happens, as how we choose to vi-
ew it and feel it. Logical planning and skillful, decisive action may not be enough to bring forth our
masterpieces. We need to hold an appropriate attitude as we take action. Perceptual Flexibility & a
Willingness to observe how others operate, can replace mental rigidity and self-limitation.
EMOTIONAL CREATIVE SKILLS
Joy: Emotion electrifies our life force and brings hidden seed thoughts into being. As artist, teach-
er and dear friend, Lalene Cargill Meyer__ artist, mujsician and author__ remarked: "No Heart__
No Art." Focusing on the years of study & struggle necessary to be able to fully express our crea-
tive urges, and forgetting about the ecstasy inherent in the creative process, we can turn our tal-
ent into just another daily job. We can become robotic, & both our work & our life soon lacks spa-
rkle. Joy comes when we are so passionately intent on what we're doing, we forget everything else
__even ourselves. This happens when we have clear objectives from moment to moment, whether
playing golf, singing in the choir, crafting a new gunstock, coaching the baseball team, designing a
new website or forming a new lesson plan.
Willingness to Risk: Creative individuals love challenges__ riddles, puzzles, mysteries. They
immerse themselves in imaginative literature and open their minds to unique feelings, thoughts
or perspectives. They know that creativity sprouts from free-ranging, uncritical thinking and from
self-examination of the motives behind their worn-out ideas, beliefs and expectations.
Trust: Eventually we come to trust universal feedback, and then we can align more precisely with
more expanded aims. Loving the working process, accepting the challenges of the difficult, & brav-
ing new territories pushes us beyond the status quo. If a new idea doesn't work, we find out what
went wrong, then simply start a new project. Courageous creators don't give up, knowing that soo-
ner or later it will work__ or, at least they'll discover why it doesn't.
In youth I dreamed about "becoming" an artist. Dramatic changes occurred when I dared to declare,
"I am an artist." Creative activities flowed more smoothly. The more serious I became about my art
work, the more real it seemed__ the more real I seemed. The dark periods in life create wombs in-
to which new skills and awareness can birth. They can be uncomfortable, even horrendous while
they happen, but when all the fuss and sniveling die down, we find a disguised blessing. The Emo-
tional Skills used in Creative Work are Unconditional Love, Joy & a Willingness to Risk. ( Archives.)
We will be learning how to evoke Emotion at will.
SPIRITUAL CREATIVE SKILLS
Imagination: Every new project or idea begins with an inner vision__ we can create nothing with-
out first having a vision of it. Imagination breathes life into our creations & must be exercised to re-
smain vital. Whenever we Focus intently on a thought or image, we activate the energies necessa-
ry to manifest it into physical reality.
Universities experimented with students electronically connected to devices measuring body proc-
esses. While viewing various pictures, their physiological responses were recorded. They might
see a picture of a depressed person and their vitality level went way down. When a picture show-
ed a vibrant, healthy animal, their energy instantly shot up. It makes us think twice about filling our
minds with current TV, electronic games and film offerings.
Visualization opens our minds to new possibilities, whether through unusual information, people
and places or unexplainable events__ even traumatic incidents. In fact, the imaginative faculty of
human beings is so powerful, that totalitarian groups feared it. Hitler & Stalin rounded up all the
intelligentsia of Germany, Russia and the countries they invaded, imprisoning artists, politicians,
writers, musicians and inventors in concentration camps and gulags. Many were eventually exter-
Visualization engenders creativity and hope. It is of major concern that here in the US, many of our
schools have dropped art and music classes from their curriculum. The effect on the students is a
growing inability to recognize patterns, to visualize planned projects, & to find new ways to resolve
problems. We must ask ourselves__ "Who benefits from this situation?
Resonance: "Becoming As One" with the subject matter of a work in progress enhances creativ-
ity. As we vibrate in tune with trees, elk, rocks, clouds or a cowboy, we attract insights about the
subject that were formerly hidden from us. Patience & acceptance of periods of non-action allow
for deep probing of the inner self, bringing forth fresh perspectives on subject matter & technique.
Focusing Inward: is a psychological force. When turned toward inner realms, intuition can prop-
el us into unknown worlds. Continued focus on feelings activates our Inner Psychic Child__ our
sub-conscious, automatic self. It does not need the five physical senses. It exists in a state of aw-
areness apart from the physical, yet is acutely alert to the physical at all times because we've al-
ready developed a consciousness more inclusive than ordinary awareness. (Chapter 2: "Spirit With-
n") Both ancient seers and modern day psychologists have suggested that this extended state of
mind and feeling_ _a lost art__ is imperative for a positive existence during the 21st century.
Re-patterning: Both spirituality and art require a balancing of relationships. Both the spiritual stu-
dent's & the professional artists' or musicians' basic tasks are to find common patterns & similarit-
ies in relationships. For the artist or musician, it is between colors, shapes, lines, & textures__ or
tones, rhythms, emphasis and impressions__ and, perhaps, between everything contacted via our
physical and psychic senses. The Creative Engineer looks first at all possibilities, adjusting what
doesn't harmonize and choosing what creates the wholeness he seeks.
Law of Attraction: When we live from the heart, radiating joy in all we do, our feminine, holistic
nature activates an attracting force from deep within. The Intellectual-logical & Intuitive-emotional
drives of the subconscious are like automatic magnets__ attracting ideas, things, people & situat-
ions according to whatever we thoughtfully or emotionally focused on. We make decisions intuitiv-
tively. We sense pieces, patterns and resonances within in the whole, then choose from a wider
perspective. This divine electro-magnetism resonates with our personal missions.
Trust in Spirit: Conflicts between spirituality and science often left us trying to live either a "relig-
ious" life apart from what we perceived science to be telling us about Reality__ or a "scientific" li-
fe, often fearing we were denying our faith. Worse, many of us tried to live both. A price tag was
attached__ neither science nor organized religion fully satisfied our hunger for higher realms of
Creativity. Creative activities require both trust & Faith: Either we have faith__ or we don't have
faith. We can neither pretend we have it__ nor can we fool ourselves that we have it__ but with-
out Trust, Fear wreaks havoc on Faith.
Creative Skills of Intuition, Meditation, a sense of Oneness, Unconditional Love, Appecia-
tion and Gratitude with everything we see, plus the ability to enter various Brain Wave States at
will are vital to both artistic skills and to our consciousness evolution. They entrain both the masc-
uline left-brain and the feminine right-brain, help us mature sexually, and finally lift us beyond our
"adolescent" consciousness stage. We then automatically attract information on how to lift creati-
vity to even greater heights. Then we anchor it to Earth by offering it to the world. Additional Spir-
itual Skills necessary to both artwork and spiritual creativity are Resonant Vibrations, the Law of
Attraction and Trust.
Brain Waves & Creativity
The beta brain wave state relates to everyday waking awareness and our logical, reasoning mind.
Beta waves vibrate at levels of 14 cps (cycles per second ) or more. "All four major states of mind
__ alpha, beta, theta and delta__ are going on in us at all times. We can, however, focus at any
one of these levels and cause most of our brain waves to vibrate on that desired level.
Beta and alpha brain waves are both closely related to creative endeavors. Right-brain modes/Al-
pha states__ daydreams, intuitions, dreams, visions, prayers, holistic perceptions__ are frequently
labeled the "artistic brain state", in contrast to the logical, reasoning, more sequential left side of
the brain. Alpha can interpret & blend vast amounts of seemingly unrelated bits of information into
broader views in less than a second. Many New Children born into our world recently live primarily
in the alpha state.
An Indigo grandson participated in a university sponsored think-tank experiment at his high school.
A problem__ one over which a team of college teachers and students had labored for three weeks
__ was proposed. Grandson had the answer in ten minutes, stating the experiment indicated that
"The effect occurred before the cause". When asked how he was able to arrive at this conclus-
ion so quickly, he suggested his musical training allowed him to 'think in different ways".
Serious creative work can raise us into Higher Brain Wave States that more closely merge us with
our work, and feelings of timelessness, mindfulness, difficulty in speaking words or understanding
spoken words, a sense of greater confidence, a lack of anxiety, and a relationship to shapes, lines,
textures and colors that are un-name-able.
Oddly, alpha state__ the subconscious Inner Psychic Child__ is even more alert than the waking
beta mind. Our memories reside n subconscious alpha, as well as the beliefs programming our vi-
ews of who we think we are and the reality we currently believe we're experiencing. They form our
personalities and is close our inner truths.
The right brain hemisphere holds what many call the "sixth sense". Many artists manifest spontane-
ous, powerful artworks by relying on their Inner Psychic Child__their subconscious__which can br-
ing awareness of the power within and encourages trust in ourselves. We come to not only believe,
but also to know from first-hand experience, that all life is connected. In the Piscean Age, we oper-
ated with a strong sense of faith; but now in the Aquarian Age, we operate from a Knowingness a-
rising from direct experience with the Creative Force.
Creativity in Sports
Creativity is alive in sports through unity of body, mind, emotion & spirit. We can perceive appreci-
ate this when we see the amazing moves of great basketball players, the unexpected responses of
famous boxers, the unbelievable gyrations and leaps of passionate dancers and gymnasts. In ord-
er to untangle the mysteries of our unexplored abilities & genius, we too, must become passionate
to experience adventure, strange territory and incomprehensible predicaments.
Athletes often describe this expanded state of awareness as being "In the Zone". Tai Chi was tak-
en up by Robert, "The Chief", Parish of the Charlotte Hornets to increase his basketball proficie-
ncy. Kareem Abdul Jabbar studied yoga. Michael Jordan of the Chicago Bulls spoke about be-
ing in "The Zone" after a game against the Portland Trailblazers__ game one of the NBA Finals,
when he scored thirty-nine points, including six three pointers. "Whenever this feeling comes", said
Jordan, "you just cherish it. When I got in that rhythm, it was like: A Force." (Phil Jackson: "Sacred
And, it was indeed "A Force"__ it was their connection with The Creative Force Field that enabled
them to perform far beyond their usual expertise. Creative individuals do so, creating great music, -
tworks or dance movements, etc.. This is the State of Mind we need to be able to enter at will__ in
order to be ready for Ascension__ and later, for living in 5th density Earth.
Many artistic responders were already spiritually aware. They confided that in their greatest works
they radically transcended everyday reality, connected with something far greater than the self, &
invited higher powers into their work. The Mongolian professional artist who channeled much of her
work, confided, "Sometimes I painted as if the artworks were already completed on higher energ-
etic levels, and my physical body and mind were only instruments bringing it into solid form."
"When I could perceive nothing more to be done for the work, I would stop. It seemed as if only ten
or fifteen minutes had passed, but the clock would show it closer to two or three hours. I'd look at
what lay on the watercolor paper before me. My eyes would fill with tears, my heart swell joyfully,
overflowing with gratitude for the privilege of delivering that elegance into physical reality__ and
for the sheer ecstasy of being alive in this moment in this place."
Modern art and music look ugly when they portray things no one likes to see or hear; but Great Art
expands the heart & can be experienced on many levels, no matter how little art appreciation a vie-
wer has absorbed. Establishing creative outlets & sharing techniques with others brings feedback
from the environment and evokes trust in both self and universe.
Originality births out of unrestrained explorations of concepts, emotions & techniques. To be truly
original, we express strictly according to the most personal and unfamiliar parts of our inner being-
ness. And if we don't find joy in our work, we will seldom go beyond what others in our field have a-
lready produced__ neither will we have the incentive to hang tough and keep trying when the muck
deepens in those unexplored territories. And those who no longer__ or never did__absolutely love
what they do, will stop creating & evolving once they reach__ or give up on reaching__ peconciev-
ed ideas of how much money or recognition they desired to achieve.
Artworks Hold Creative Magic
Watercolor is my painting medium the summer of 1987 when I enroll in crystal healing classes at
Grand Institute, Grand Teton National Park, Wyoming. Our instructor, Dr. Marcel Vogel, contin-
ually stressed the phrase: "Water links life to Earth." He taught us to vitalize things around us with
our essence. Any of us can Focus on a spot on the land and imprint it with our mind or a crystal,
much as animals do with body fluids, or as a painter does with her medium on canvas or paper.
Sensitive persons can sit on, lie on or touch that spot or that work of art__ or reach out towards it
__ and feel the artist's essence.
Both quartz crystals and human bodies are vessels that attract and store Energies. "Records are
written in stone", announces Dr. Vogel. Ancient artists of Egypt, India, Sumeria, the Yucatan or the
Andes lay hands on their stone artworks and pulsed instructive messages into them. Thousands of
years later anyone touching those artworks can still intuit their messages. With appropriate training
we too, can receive, cohere, intensify and project energies into our artworks or any matter. (These
methods are explained later.)
As he demonstrates transpositions of the human body's subtle energies to me, Marcel predicts__
"You will be teaching this through your artwork". Later, he tells me how to structure and program
the water for my paintings. Structured water can be charged with messages that are later transfer-
red to paper, pigments and viewers__ or to human bodies for healing. (Chapter 12: "Energetic inten-
Home again, I create Mandalas__ paintings in a circular form__ based on a client's astrological na-
al chart. Sacred Geometry shapes included in these works enhance contemplation or meditation.
Mandalas aid the viewer to connect with higher powers, integrating physical, mental and emotional
parts of self into a more coherent personality. Mandalas are pictured as headings for the Five Parts
of this text.
Symbols as 4th Density Screens.
Symbols are 4th-density screens through which we view the mystical nature of our being. Our per-
sonal essence forms a brilliant pattern of energies pictured in auras (Aura.html)__ astrology charts
& mandalas. Ancient, powerful effects lie hidden in sacred mandala symbols. The circular chart or
art reacts profoundly upon both its maker and its viewer, confirming that humans are basically ene-
It gradually became obvious that some works of art can, within themselves, begin to hold a strange
and ancient sacred beauty, and can project & imprint that spiritual quality beyond themselves; ind-
icating or suggesting the presence of its' creator's own spiritual, mental & emotional energies. As
any system comes into harmony within itself and becomes "cohered"__ vibrationaly unified__ what
quantum science now calls "entrainment" starts to manifest, developing an ability to "entrain", or to
"pull to itself", another system hich previously was out of balance__ or out of synchronization.
After studying the inherent energies of natural materials, I used them to paint the mandalas. Natur-
al ox-hair or sable brushes with wooden handles, and pristine spring water from Idaho's Craters of
the Moon entrained the artworks with pure energies. Paint pigments__ ground up minerals__ rece-
ive and ground the water's messages, bonding with the pure cotton-rag paper.
A study of The Kaballa as taught by the "Brotherhood of Light" correlated astrological symbols and
geographical locations with colors, plant materials, minerals or gemstones, using sound and signif-
icant imprinting principles. These were programmed into the paintings with crystal techniques.
I wanted to use the Four Elements__ Earth, represented by the pigments & paper; Air, which dries
the watercolor medium; Water, holding the intended emotions, and Fire, representing the painter's
inspired thoughtforms. A fifth element, Ether__ the energetic fabric of space__ The Creative For-
ce Field__ carried out the potential for physical manifestation.
I also wished to include The Four Kingdoms of Nature: mineral, vegetable, animal & human. The
first three were easy: I already knew the zodiac sign correspondences to the paint pigments, to the
plant forms&d to the viewer whose birth chart was being intuited. But nowhere could I find informa-
tion as to the animals relating to all twelve zodiac signs.
The Creative Force Field Responds
7-1987: At the Grand Institute crystal healing classes, I exchange tales about metaphysical & spirit-
ual experiences with Lori, a Utah shamaness. Months later, at the Los Angeles Crystal Convention,
she is drawn to the booth of Sun Bear, a well-know Native American.
He smiles, and says, "I have something for your friend", handing her a copy of his book, "The
Medicine Wheel: arth Astrology". He tells her to give it to the friend who's looking for this informa-
tion, insisting it be free of charge.
Lori knows I'm an astrologer and interested in Native American Lore, so she accepts. After mailing it
to me, I find it reveals the totem animals relating to all twelve zodiac signs.
Yes! Inner Psychic Child/-Subconscious can attract the highest and best to us. There is far more
to this First Enlightenment business than just sensing The Creative Force at work in the world. By
invoking both Intellect & I ntuition while painting__ or NOT while painting__ just letting materials or
tough situations follow their own way to be__ a whole new situation can come into being.
The Creative Personality
The myth of the artist being selfish, arrogant or aloof comes from his appearance & behavior when
in The Zone __ the right brained, alpha, intuitive state. His close focus on the work & temporary in-
ability to converse or to understand what's said to him at that time, makes him seem aloof and dis-
connected from ordinary life situations. He is. He seems detached_- but if his work uplifts or benef-
its other humans, society or even the environment, it's hardly selfish.
The artists interviewed for this book generally led full lives, shared themselves with others, found
nourishment in family, friends, the workplace & community, and valued their connection to human-
kind. They were responsible people, who used their innovatiing gifts in many areas of life. Most ar-
tists set time aside to be InTthe Zone regularly, because they understood the importance of that in-
ner connection. They often expressed gratitude for the privilege of creating & for living on Earth in
these currently "interesting" times.
An overwhelming 90% of those interviewed applied the principles of what they discovered through
artwork to other areas of their lives. About 70% were happiest while creating, feeling alive & enjo-
ying life more fully. Others used art to relax, to find peace by being at one with Spirit, Earth or tje
Creative Force. Still others used art to develop & keep their individuality... "Producing what Iiked
rather than what someone else said I should ." said a professional painter. "You really don't need
to wait for the right mood__ with practice, you can learn to turn on the creative juices at any time."
In (Chapter 2: "Connecting With Spirit Within") we discussed how to do this. (See Archives for more)
12-30-88: Lori called this morning. Her cancer has returned. We talked for 2 hours. The doctors.
have given up on her__ gave her a carte blanche prescription for any & all drugs she might want.
She chided them for their attitudes. She wants a crystal healing from me. She told me of seeing
"Arms of Light" reaching out from the mandala painting I sent her, "massaging" her temples & her
crown chakra__ "soothing and healing", she said.
She also described how a few weeks earlier, when all of us Vogel Class friends came together on
Inner Planes for her Crystal Healing Circle, her home "rang" with the sound of a bell. Her parents
also heard it upstairs, & for several days they continued to search the house for the "bell that kept
ringing". It must have been the intense vibrations from all those minds and hearts focused as One.
If this is so, then Many, Many MInds & Hearts, focused on Inner Planes, could heal Humanity and
Earth; intensifying the vibrations to the frequency of "LIGHT"__ even real light! I wept.
The Cultural Creatives.
Each of us is an incredible reservoir of creative energy. Everything impacts our senses, and we
can choose what effect that impact will have on us. We can plod through life lost in fogs of numb-
ing daily routines and difficulties, or we can be awake to our local environment & use that aware-
ness to nurture a new reality from within.
Any spiritual or artistic discipline stimulates the brain to disclose the truth about oneself. But that's
not enough, either__ one must live that truth, as well. Dr Paul Ray's company: "American Lives",
does market research on opinion poling. He sees the American population divided into three sub-
cultures: 1.) the traditional or "religious right"; 2.) the "moderns" who focus their tunnel vision on
acquiring and spending more money; and 3.) the "Cultural Creatives" a growing group whose
interests include altruism, environmentalism, global consciousness, women's issues, spirituality &
These are not "New Agers'. They are optimistic & have a strong social conscience. They are care-
ful consumers. They live a different sort of life, choose authenticity over fakes or media hypes, pay
less attention to TV or advertising, read books and attend cultural events and workshops. Many al-
so produce or engage in arts or crafts. Cultural Creatives prefer real experiences over second or
third-hand information and collecting material goods.
When a "First Enlightenment Stage" individual attunes to his Inner Psychic Child-Subconscious,
he begins to sense that he is leading a double life__ the everyday outer life, and a mysterious, en-
ticing inner life. His mind, body & feelings seem to re-order themselves into new forms of energy &
harmony__ as if they, too__ are artistic mediums.
When a truly committed individual opens to the Creative Force Field that inspires, transforms and
makes everything new, she one day realizes__ without a doubt__ how Creative Skills lift her far be-
yond materialism__ and absolutely impel her to apply Inspirations & Expression to fashion a more
creative lifestyle, as well.
Creative people are far more than just generators of aesthetic handiwork & fantastic actions. We
may never win recognition or receive a dime for our work. That's not imperative in the larger sche-
me of things__ for on higher levels, it's the striving, the learning. not the result__ that counts. Ne-
vertheless, the Creative Skills we develop can carry us through a lifetime of beauty, richness and
fulfillment as we radiate energetic nourishment to all who thirst for it.
NEXT: "TIMING OUR CREATING SKILLS."