“Kuan Yin is showing me something, a tube, I think. I don’t fully understand this diagram. It is as if one end is the past, the other the future. The middle of the tube, the present, is our way, our vehicle for changing reality…She’s going to take me on a journey. I am suddenly going into the universe. I’m trailing on her robes. However, they’re not really robes. There is something important about her clothing. She can use them to create as a canvas.”

“I knew Hope would understand that,” Kuan Yin exclaims. “The folds of the material can become any reality, for example, landscapes, other universes.”

 

As an artist, when immersed in a particular painting I will create various layers of paint or collage, numerous color screens and textured coatings before the image is complete. Indeed, a single alteration of color or texture can change the entire mood of a painting.

In photography, as well, one can choose from an amazing variety of differently calibrated films to increase or decrease specific effects. Similar to this photographic analogy, reality is an expression of self-authored electromagnetic blueprints: ones unique resonance holograms reflecting inner psychic intent and beliefs.

 

Further utilizing the photography analogy, the holographic resonant platforms represent the entire framed area that will be perceived by the viewer. Peripheral objects also captured by the camera lens within that specific framed area also contribute to the "event": the total experience of perceiving the photo. Imagine, for a moment, a photo of a smiling baby.

Here, however, we embark upon the more complex mechanisms underlying reality. While a baby’s emotions are quite transparent, the emotion captured by the camera was of a single moment only. Like some cartoon flipbook requiring pages of drawings to create one still frame, personal reality is formed from a gestalt of beliefs and emotions. Therefore it is important to examine and understand one’s entire holographic resonance platform repertoire.

Recently, I’ve been engaged in learning computer graphics. It is fascinating to compare the mechanics and techniques of a computer graphic program with Kuan Yin’s comments on creating reality.

For instance, whenever one clicks the computer mouse, that action is considered an "event". If one clicks the mouse on a certain task panel and creates, for example, a plain circle, the circle is considered an “object”. Whether one creates a very elaborate circle or completely deletes it, the circle has been forever recorded in the computer’s hard drive. Since humans have free will and karma, there will always exist a far more complicated gestalt than any mere computer interaction. Saying we are all part of God, "playing out adventures from our beliefs", Kuan Yin also speaks of existing “collective agreements” and “collective planetary intention”:

 

“There is no place to hide. All of those existing on the earth are in this together. People can immigrate to other places if they wish. However, it won’t release anyone from the collective planetary intention and personal responsibility to others.” Kuan Yin: The Living Word of Kuan Yin

 

Integral to collective planetary intention is developing ones ability to effectively direct ones innate creative force. Continuing with the former circle "object" example, one can command the computer to dim or highlight a percentage of that same circle object. To attain a certain visual effect, one might want to layer a square over or under the circle. One might also desire to "send back" a pattern deeper into the layers or "bring forward" up through the layers another pattern for a more gratifying or realistic effect. Over time and usage, objects in a design can eventually become distorted, mutating and becoming almost unrecognizable with each progression of clicks (events).

By now, you may be sensing where I'm going with my comparison. Expanding upon the computer-graphics program analogy, occasionally an unwanted portion of an "object" will peek through, spoiling the total effect of the design. To alleviate the undesirable elements, the artist must sift through myriad layers of the design, deleting other objects until reaching the necessary layer.

 

Similar to the embedded layers, we all have "karmic layers":

“Kuan Yin is showing me a woman who is crying. I see layers and layers of, not mist, but like different shades of thick and gooey gray lacquer. I see layers of murky stripes, smoky and jellylike. They have been clinging to this woman for hundreds of years. Underneath all of these layers is the woman’s pure soul essence: that part of her which knows the processes it will take for her to be released from her karma, that part of her which knows everything,”

 

Imagine for a moment each belief as a computer object. Thoughts form the palette from which we fashion our layered landscapes of consciousness. Like drawings on the above-mentioned animation flip book, these objects can be altered, interchanged or entirely erased. The possibility of discovering buried “objects”: unexpressed or out-dated beliefs longing to be reprogrammed and/or latent capabilities yet to be actualized dwelling in the holographic frameworks, renders our earth adventure "the most important step in our evolution". Even dreams can represent murky parallel realities: holographic platforms suddenly arising into consciousness. In such examples one might instantly recognize a certain room or landscape, possessing misplaced or altogether inappropriate “objects” scattered about. Such lucid dream opportunities allow us to rearrange or totally delete objects inhabiting one’s inner mindscapes. Similar to altering a segment of a painting or a computer object, any minute dream alteration will trigger corresponding shifts in the holographic layers. Similar to readjustments in the earth’s Teutonic plates, shifts in ones holographic layers transform specific physical and/or psychological events. A passage depicting Kuan Yin’s “rapid-fire” visuals seemed a metaphor for these mind shifts:

 

“Kuan Yin is showing me a slide show, very quick, successive pictures of Buddhist Monks. I don’t know if they are actual human beings or hypothetical...For some reason, I keep seeing many visuals: mostly flowers or plants…

“Thoughts can influence the way the world can go,” continues Kuan Yin.

“What a radical concept! Everyone having loving kindness! With practice, a reality is created somewhere having that very consciousness of loving kindness. Such practice also draws one to those loving kindness planes of consciousness.”

 

Making a distinction between waking reality and dreams: Kuan Yin speaks of “the dream” and the “world of dreams”: our waking and non-waking worlds of consciousness. While there exist differences, these worlds have one thing in common. Through an ever-evolving dynamic, the plasticity of consciousness allows for a constant restructuring. Similar to dreams, trance and other out of time consciousness wherein “bleed through” and “overlays” constantly occur, ego’s in-time consciousness also receives “bleed through” signals and impulses from all levels of consciousness. For instance, when the Aborigines tell of the “dreamtime”, they are referring to parallel universes: those simultaneous bleed through realities wherein the world originated.