"Creating with Multi-Dimensional Technologies"
                        By  MARILYN LA CROIX



                              "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 fine arts 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 then to use the new technologies eff-
                                             * "How Our Universe Works."
                                                      Coping with an Uneasy Planet.
                                                      We Create Our Own Reality.
* "The Power of Focus"
                                                      Creative Skills
                                                      Emotional Creative Skills
                                                      Spiritual 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, and 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 & feelings  in the manners previously outlined,  
you will be living THE NEW REALITY every moment."    

Healing had no longer worked in the Lost River Valleys.  he drying up Lost Rivers could no long-
er carry the energy necessary to Heal & Manifest, & the valleys were dying.  Also, the many Light-
workers  holding that consciousness in themselves,  had left for other areas.  There was no longer
a Group  holding those spiritual Intentions for the area,  and the town was economically distressed.  
The Lost Rivers were entirely dry. The valleys were dying.  Negativity has been very strong there.
However, over the past few years,  things have changed.  People seeking  spiritual enlightenment
have been moving into the Lost River Valleys again!  Many of these  new people are already able
to perform Alternative Healing and  Manifesting.  However, there is__ for now__ still no  organized
Spiritual or Metaphysical Group holding regular meetings there.

In most parts of this world, humans are still destroying the planet,  as water, soil and air  are po-
isoned with chemicals, nuclear radiation, mining, war and fracking for oil."
The Guides.

"It is all in the Earth.  The World Tree,  holding the  seed of humanity's origins,  has always
been in the Earth and always will be. Should  the trunk, the branches and leaves wither or be cut,
or the fruit be  rotted or diseased__ will not the roots remain,  ready to spring forth  once more, to
regenerate 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",  &  "THE UNIVERSE" as we move about in
4th Density Reality and learn to REGENERATE EARTH.

Later some will 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  and higher densities of existence, we
can__ together__ gradually Create the New Reality for the entire planet and All Life upon Her. We
shall develop the skills necessary for
 Co-Creating with a Unity Consciousness, learning to ap-
ply the skills  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/Twilight.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 suffering__  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 and 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 & Skills to contact our HIGHER SELVES__
SUPER-CONSCIOUSNESS. We are not attempting to tell you what you "should" do__ your Higher
Self can do that. We merely wish to inform you of options, and probabilities available to you.   

Using Focus
It's 3 AM,  1991. I'm in the  East 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 how I'm going to faint but my 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 co-
ntinues holding me up,  repeating how I must focus on that stupid tile. Finally realizing  this is gett-
ing me nowhere, besides prolonging the discomfort,  I do what she suggests__ and to  my amaze-
ment, 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 & 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
that assist us to Co-Create Earth's New Reality.

When attuning to the Creative Force within,  
First Enlightenment individuals Awaken their Creat-
ive Drive.  
In the  Inspirational Mode, our physical senses become keener__ and thereby 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 our present state, or transport us to Expanded Levels of
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
; whil e Abstractionists believe truth lies in the Underlying
Structures 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 goal 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 & beliefs about life.

However we chose to express ourselves,  certain Creative Skills need to be learned in preparation
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
activities__ 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
Movement,Time. We move forward one step at a time. The Creative Process wanders,  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
close attention to creative activities. For creative people,  it's the boring  everyday routine that's re-
ally the Altered state of today's world.  We may experiment with Time & 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 & meet deadlines,  requires tremendous discipline and commitment. The
professional can't wait for the right mood
; she has to produce in quality, in quantity__ and on time.

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
__nothing happens. Even if we visualized well, we can't produce unless we get up & move.  
It's hard to be another
Rembrandt if we can't avoid the computer, cellphone or TV screen.

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, i nvi-
ting viewers  to complete the work of art with their own minds. This required Attention, Attitude, Har-
mony, Independent Judgment, Risk-Taking, Organization and Intention.

Attention: Energy__ earthbound or cosmic__ will flow according to the path of least resist-
. If we only see the negative in every situation, the energy flows toward negative outcomes__
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
impossible to break free of ordinary traits__ to be true to our personal perspectives__or 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 a-
ttention spans,  we seldom gain higher insights for more than a few moments. Sometimes, listening
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 in itself__ a choice.  Matured artists detach them-
selves from formulas or standard techniques,  & balance simplification and complexity,  recognizing
ing what is__  or is not__  in the best interests  of each project.  They include enough complexity to
keep things  surprisingly dynamic__ but simplify  according to  a wider perspective__ distinguishing
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
". They accept mistakes gladly , learning to honor them as Signals of Super-conscious-
ness 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 appointment
and driven hundreds of miles to keep it__ at the last hour,  I'd become so nauseous I'd have to can-
cel 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 pt.
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 be-
ginning 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 & emotions to juggle both inspirational
insights and skillful performances. Mind and heart can be combined in that peculiar  
Unstable Equil-
__ where the Harmony of Emotion and Intellect teeter__ and Chaos Births Unique Inspiration.

Intention:  We all have a deep sense of  Purpose__ a Will to Birth,  to Change,  to Transform or to
Manifest something.  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 consc-
ously intend the vibrational impacts of the  colors, shapes & techniques  he has chosen to radiate
his inspirations. Intention fosters that sensation
."  The Guides

Not only when we are creating images or sounds ourselves, but even when they__ negative or po-
sitive__are being viewed or heard by others, even years after its making.  Intent whispers to every-
thing__  even  the Intention  in the mind of  a doctor, when he writes out a prescription can awaken
the patient's healing process.

Perceptual Flexibility:  It's not so much  what we  see,  or  what happens,  as  how  we choose to
view 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.


                          EMOTION IS THE DRIVING FORCE IN 4TH DENSITY.
Joy:  Emotion electrifies our life force  and brings hidden seed thoughts into being.  As artist, mus-
ician, teacher, author and  dear friend,  
Lalene Cargill Meyer__ remarked:  "No Heart__  No Art."  
Focusing on the years of study & struggle necessary to be able to fully express our creative urges,  
and forgetting about the ecstasy inherent  in the creative process,  we can turn our talent  into just
another daily job.  We can become robotic,  and both our work and our life soon lack sparkle.  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  basketball team, designing a new
website or forming a new lesson plan.

Willingness to Risk: Creative individuals love challenges__ riddles, puzzles, mysteries. They im-
merse themselves in  imaginative literature  and open their minds  to unique feelings,  thoughts or
perspectives. They know that creativity sprouts from  free-ranging,  uncritical thinking &  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, & bra-
ving 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 so-
oner or later it will work__ or, at least they'll discover why it doesn't.

In youth I dreamed of  "
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 rea
l 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 Em-
otional Skills used in Creative Work are Unconditional Love, Joy & Willingness to Risk. (
We will be learning how to evoke Emotion at will.

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 exposing
our minds to the 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
U,S., 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 Within")
Both ancient seers  & 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 and the professional artists' or musicians' basic tasks are to find common patterns & similar-
ities 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/she 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 the whole,  then choose from a wider per-
spective. 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 need for Higher Creative Rea-
lms.  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 without Tru-
st, Fear wreaks havoc on

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 Spiri-
tual Skills necessary to both artwork & spiritual creativity are
Resonant Vibrations:  the Law of At-
and Trust.

Brain Waves & Creativity
The Beta Brain Wave State  relates to everyday waking awareness & 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-nameable.

Oddly,  alpha state__ the subconscious Inner Psychic Child__  is even  more alert than the waking
beta mind. Our memories reside in 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 spontan-
eous, powerful artworks by relying on their  Inner Psychic Child__ their subconscious__ which can
bring awareness of the power within, encouraging trust in ourselves. We come to not only
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  appreciate 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 order to un-
tangle the mysteries of our unexplored abilities and genius, we too, must become passionate to ex-
perience 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 profici-
 Kareem Abdul Jabbar studied yoga.  Michael Jordan of the  Chicago Bulls  spoke about
being 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 Hoops")

And, it was indeed "A Force"__ it was their connection with The Creative Force Field that enabl-
ed them to perform far beyond their usual expertise. It's what Creative individuals do__create great
music, artworks 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.

Higher Senses.
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 en-
ergetic 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 lo-
ok 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 realit-
y__ 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 vi-
ewer has absorbed.  Establishing creative outlets  and sharing techniques with others brings feed-
back 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
already produced__ neither will we have the incentive to hang tough & 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, conti-
nually 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 & imprint it using our mind or a cryst-
al, much as animals do with body fluids__ or as a painter does with her medium on canvas or pap-
er. Sensitive persons can sit on, lie on, or touch that spot or that work of art__ or reach out towar-
ds 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 &
Andes,  lay hands on their stone artworks  and pulsed instructive messages into them. Thous-
ands of years later,  anyone touching those artworks  can still intuit their messages.  With appropri-
ate training we too, can receive, cohere, intensify & project energies into our artworks or any matt-
er. (
These methods are more fully 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 & program the
water for my paintings.  Structured water can be charged with  messages that are later transferred
to paper, pigments & viewers, or to human bodies for healing.
(Ch. 12: "Energetic Intentional Healing.").

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 & emotional
parts of self into a more coherent personality.
Mandalas are pictured as headings for the Five Par-
of this text.

Symbols as 4th Density Screens.
Symbols are 4-D screens through which we view the mystical nature of our being. Our personal e-
ssence forms a brilliant pattern of energies pictured in auras (
Aura.html)__ astrology charts & man-
dalas. Ancient, powerful effects lie hidden in sacred mandala symbols. The circular chart or art re-
acts profoundly upon both the maker & viewer, confirming humans are basically Energy Beings.

It gradually became obvious  how some works of art can,  within themselves,  begin to hold a stra-
nge and ancient sacred beauty, and can project & imprint that spiritual quality beyond themselves
indicating 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 "
pull to itself", another system which 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, & pristine spring water from
Idaho's  Craters of
the Moon  
entrained the artworks with pure energies. Paint pigments__ ground up minerals__ rec-
eive 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 &
geographical locations with colors, plant materials, minerals or gemstones, using Sound & signific-
ant imprinting principles. These were programmed into the paintings with
crystal techniques.  See:

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  zodiac sign  correspondences to  the paint pigments,  to the
plant forms & 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 Grand Institute crystal healing classes, I exchange tales about metaphysical & spiritual
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-known Native American.

He smiles,  and says,  "
I have something  for your friend",  handing her  a copy of  his  book, "The
Medicine Wheel
: Earth Astrology". He tells her to give it to the friend who's looking for this inform-
ation, insisting it be free of charge.  Lori knows I'm an astrologer and interested in Native American
Lore, so she accepts. After she mails it to me , I find it reveals the totem animals relating to all twe-
lve zodiac signs.

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 & Intuition 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
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 bene-
fits 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 innovating gifts in many areas of life.  Most ar-
tists set time aside to be In The 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 & eno-
ying life more fully.  Others used art to relax,  to find peace by being at one with Spirit, Earth or the
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.
(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 and all drugs she might wa-
nt. She chided them for their attitudes. She wants a crystal healing from me. She told of seeing
rms of Light
"  reaching out from the mandala painting I sent her,  "massaging" her temples and her
crown chakra__ "
soothing and healing", she said.

A few weeks later, when all we Vogel Class friends came together on Inner Planes for her Crystal-
Healing Circle, she also described how 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 ring-
It must have been  the intense vibrations  from all those minds and hearts  focused as One. If
this is so, then Many, Many MInds and Hearts, focused on Inner Planes, could heal  Humanity and
; 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 and 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-
: 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 int-
erests 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, s he one day realizes__ without a doubt__ how  Creative Skills  lift her  far
beyond materialism__  and absolutely  impel her  to apply  
Inspirations  & Expressions 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 &
fulfillment as we radiate energetic nourishment to all who thirst for it.


                          NEXT: "TIMING OUR CREATING SKILLS."