Ideas,Concepts some Thoughts about my artwork. THE UNIVERSE IS THOUGHT.VIBRATION

martes, 10 de julio de 2012

CONCEPTS,NOTES AND THOUGHTS ABOUT MY ART

 Ideas,Concepts, and Thoughts about my artwork.                                         February- 2015

 A very common question I am asked  frequently ,How would you define your style or art?

The lengthy introduction above had a serious point. I wished to show that I question all aspects of art, and especially painting. I intentionally chose to paint, in the Western tradition, instead of working in the so-called New Media, creating installations, performance art, ready mades, etc. I think that there still is mileage in the Western tradition of painting.

I see my work as totally experimental and a kind of serious research. Not merely in a cerebral or rational manner, but first of all on a sub-conscious level, exploring how we think about Self, life,people, objects,places and more important to me : feelings & emotions and how we perceive them, and  use them subjective. All About Enery and Vibration has always interested me, Action Painting-Abstract Expressionism, automatic painting, what is Allowed to flow freely and  uninhibited from the subconscious... 

I work piecemeal, slow sometimes fast at others and  something like a philosopher, exploring every detail in the process of painting, bit by bit. Some of these bits are developed into different series of paintings.

I do not have one single style, I paint in small a series (of 2, 3, 4, 5, - 12 paintings). or as they Flow out. It appears as if I do not have one single style and that my work - the different series - are merely random, but this is not the case. The larger picture will reveal that all my work forms one unit, as I explore different ways of playing with diferent elements. in other words, In painting as in writing, One thing leads to another.... like threading different marks, lines,shapes  and colors etc.. The  elements of art offer infinite variations and like letters and numbers one can  expresses thru them our  deepest and most profound thoughts

 The Universe is Thought/Vibration.

Thought is instantaneous and  is very Powerful. 

Given all the above, I question most aspects of the discourse or socio-cultural-religious tradition of painting, the manner in which our minds (thinking, perception, etc), emotions and consciousness operates - programmed for , that leads to what I termed New Styles, a style beyond one and all styles. I combine styles like a chemist combines different elements to achive a result.

My work has a deeply spiritual side. Not in the narrow meaning of the word as forming part of a particular religion, but as tuning into the Ground or basis of existence of human beings, the earth and the entire Universe. Or rather the many universes or multiverse, as scientists are expressing it. My work originates on a pre-rational and pre-conceptual subconscious level. Colors ,shapes lines ,textures and as I mature, as a painter I aim for more refinement on certain aspects like the painterliness of a piece or like a musician mastering his instrument or compositions.

All this might appear to be very abstract, but painting and the process of painting is something totally concrete and real,as mediums and  different materials I use from papers for collaging by means of paint, brushes, etc I attempt to arrive more and more at the art of Creation, the underlying Ground or basis of all of Creation, of the building blocks of the Universe. This has many similarities to the research of scientists of phenomena that are not visible to the human eye, but that can only be thought in complex mathematical formulae. By means of painting I make Visible, that what is until that moment, Invisible to usual human thinking. Most people think in a dualistic manner (because they are socialized like that), but the non-dual way tells us that the subject who perceives, the object that is perceived and the process of perception is ONE whole (all religions, contemplatives and those who meditate attempt to arrive at this non-dual, direct way of perceiving,. or of being one/d with that what is perceived).I Meditate and Love Being in the gap.

I express the above like this in the context of looking at my work:

Now that you know this please do not treat these images as if they are just more objects or things you look AT, but experience and participate in them.

I always express what I think abstractly in this kind of very concrete manner. And, by this simple example the point of all my seemingly abstract talk suddenly comes together as something very concrete, and thereby shows that matter ( concrete painting and the stuff a painting is made of) and the spirit(ual) is one - merely two different ways of looking at the same thing. Two perspectives on the same thing, like the two sides of a coin, or looking at a house from the front, the back, the sides, above. All the different points of view contribute to one thing. In the tradition of Abstract painting, Braque, Picasso and others tried to express this unity of many perspectives in a certain manner. I explore and express or do it in a different way, its my interpretation of those ideas and concepts

What inspires your work?

I am first of all a painter for the sake of the Western tradition of painting. by this I mean, if it were not for certain painters who existed before me and explored and developed this tradition of painting, I would not have been able to think the way I do, and explore the process of painting in the manner I am doing. I form part of this tradition. To feel part of this tradition is what inspires me to paint - over and over again. As Richter said: one must be passionate about doing this stupid thing of being all alone most of the time, because if one were not passionate about it, then for adults to play around with paint, colors, etc would be nothing but mere idiocy.

I paint because I must, I cannot- Not do it - like some people need to eat, drink, use adrenalin, I must paint. The last part of why is because, I paint for the handful; of serious painters of every generation or century who also feel obliged to paint. Therefore, first of all I paint for a few other members of the discourse or the interpersonal (intersubjective) community of artists or painters. If I could add anything to the discourse of painting, explore, question, modify and develop a personal  idiom , like all serious artists, have a certain aesthetic ideal and vision, and that will be expressed as my work. That is the cherry on top of the sundae  of  being alone with my  doubts, questionings, searches, and so on in life.

I think something does happen in or through my work, because I have come across a number of people who react with: stunning, as it pulls them endlessly into it, and they must look at it over and over again. That, is what a good painting always did to me. I had to look at a Kline, a Rauschenberg, a de Kooning and dozens of others, over and over again, and again return to look at them and study them carefully.

It is as if one is hypnotized by them, one's mind is blown away, one experiences or 'sees', something that has captivated the senses, the mind, the imagination , the poetic , bottom line is, art speaks to all of us in different and very personal ways .
Everyday I learn more......

The dynamics and interactions between humans in everyday lfe's activities... fascinate me....I love watching and observing people ,specially here in Mexico where you can  almost stare at people without them getting all freaked out about it....

THOUGHTS AND THE LAW OF ATTRACTION...

"We live in an ocean of motion"

Our thoughts are on a certain vibrational frequency and hence is part of the vibrating universe. The Law of Attraction, which is based on The Law of Vibration, states that we attract what we are sending out. Hence positive energies attract positive energies and negative energies attract negative energies.

Our thoughts are cosmic waves of energy that penetrate all time and space. Thought is the most potent vibration - so this means you can attract to you what you want and wish for.

Learn about the Power of Thought and how they make ripples in the sea of energy we call the universe, consciousness, the formula for success, universal Laws and more by getting the Free Make A Ripple Make A Difference e-book

In 1910 Wallace D. Wattles wrote "The Science of Getting Rich".

He speaks of a thinking stuff from which all things are made:

"Everything you see on earth is made from one original substance, out of which all things proceed".

"There is a thinking stuff from which all things are made, and which, in its original state, permeates, penetrates, and fills the interspaces of the universe.
A thought, in this substance, produces the thing that is imaged by thought.
Man can form things in his thought, and, by impressing his thought upon formless substance, can cause the thing he thinks about to be created."

The Law of Attraction and the Law of Vibration go hand in hand

When you know that your thoughts and emotions are vibrating ( Law of Vibration) and you know that "like attracts like" (Law of Attraction) you will appreciate that you can now start to alter your life just by altering your thoughts and emotions.

Unfortunately many of us are "programmed" from childhood to have thoughts and emotions about worry, fear, scarcity and so on.

If you change these patters of thoughts and feelings you will be able to attract into your life what you truly want.

Mike Dooley is an author with the bestselling book The Art of Living Your Dream. He is also the founder of "Notes from the Universe" which are short emails with often humorous reminders of life's magic and your divinity. In one of his Notes he talks about how we should think of our dreams as they have already happened which of course is one of the key elements of the Law of Attraction in order to send out the right vibrations (The Law of Vibration).

Just once a day, imagine the life you dream of. Believe that it can be yours in this world of magic and miracles. Choose to live as if you know of its inevitable manifestation. Don't compromise. Don't worry. Don't look for results. And as surely as spirit crafts one moment after another, so too will it fuse together the life you now lead with the life of your dreams as if they were two pieces of a jigsaw puzzle, destined to become one.

So, why have many people failed at getting what they wish for? Why doesn't the Law of Attraction work?

It does work as long as you send out the right vibrations. The Law of Vibration never fails. Everything vibrates. Experts in the Law of Attraction. say that you must do more than just make a wish.

Your emotions and feelings must also be aligned with what you wish for. It is not enough to merely ask for it if you do not truly have emotions and feelings that are in harmony with that wish. You need to "fall in love" with what you want in order to be in the correct vibrational state.

If you ask for more money through prayer, meditation or just by wanting it - it will not help you if your emotions and feelings are programmed to think that money does not grow on trees, or that you do not deserve to be rich, or that you cannot handle being rich etc.

If you grew up in a family where your father or mother (or both) always said: "do you think I am made out of money - we can't afford that" - then most likely you are programmed to believe this to be true.

Your subconscious mind has a different belief system than what you are wishing for. Hence your inner feelings and emotions are not aligned with your wish. These beliefs are thousands of times stronger than desires and wishes. So if you desire something like a new house or getting a new job it will not happen if your beliefs are "I can't". The beliefs win every time.

We all have built a blueprint in our mind (subconscious) of what we regard as true and what we believe in. This blueprint has been sculpted for years through your childhood by your father and mother, by your brother and sisters, by your friends, by what you read in the newspapers, by what you see on TV, by what you learn in school and so on.

If suddenly new information is presented to this blueprint it will not automatically be added. You can ask for more money of financial wealth everyday for several years and nothing will ever manifest as the Law of Attraction preaches because your subconscious is not aligned with that desire. This is the reason why so many people who attempt to change their lives using the Law of Attraction fail.

In order to change your belief system you can start applying affirmations.

"Reprogram" your subconscious mind with a new belief system. Believe that anything is possible, believe that you are rich, that you deserve to be rich, that you are happy, that you are healthy and so on. Make a list of positive affirmations and read them to yourself every day. Say to yourself those things you want to be or believe in.

POCHOIR-STENCIL- PLANTILLA

Introduction by Stephen H. Van Dyk and Carolyn Siegel

• Select Resources About Pochoir

The Cooper-Hewitt National Design Museum Library, Smithsonian Institution Libraries, has a rich collection of vibrantly colored illustrated books and periodicals that were created using the pochoir stenciling process. The pochoir process, characterized by its crisp lines and brilliant colors, produces images that have a freshly printed or wet appearance. This display provides a brief history and description of the pochoir process along with select examples of pochoir images from the library's collection that illustrate costume, interior, and pattern designs produced in France from 1900 through the 1930s. 

Pochoir plates were regularly used in French fashion journals, such as Le Jardin des Dames et des Modes and the Gazette du Bon Ton: arts, modes & frivolités, created by well-known artists such as George Barbier, to illustrate costume styles and set the tone for haute couture in the first half of the 20th century. Pochoir images are also contained in illustrated French industrial design, interiors, textile, and architecture folios produced primarily in the 1920's and 1930's that document and promote the Art Nouveau and Art Deco style. The work of major period furniture designers and architects, such as Eileen Gray, René Herbst, Robert Mallet-Stevens, and Charlotte Perriand are colorfully documented in these folios. Similarly, French pattern books of this period, consisting entirely of pochoir images of floral, insect-animal, and geometric forms, were created to inspire primarily fabric, interior and wallpaper designers. Featured in this display are the floral and geometric patterns of Edouard Benedictus'Relais , insect motifs in E. A. Seguy's Papillons and Insectes as well as abstract forms created by Sonia Delaunay in Compositions, Couleurs, Idées.

Pochoir is a refined stencil-based technique employed to create prints or to add color to pre-existing prints. It was most popular from the late 19th century through the 1930's with its center of activity in Paris. Pochoir was primarily used to create prints devoted to fashion, patterns, and architectural design and is most often associated with Art Nouveau and Art Deco. The use of stencils dates back to as early as 500 C.E. and was also used in Europe from the 1500's onward to decorate playing cards, postcards and to create simple prints. It was, however, the increase in popularity of Japanese prints in the middle of the 19th century that spurred the refinement of the use of stencils culminating in the development of pochoir. At the peak of its popularity in the early 20th century, there were as many as thirty graphic design studios in France, each employing up to 600 workers.

Pochoir begins with the analysis of the composition, including color tones and densities, of a color image. Numerous stencils were designed as a means of reproducing an image. A craftsman known as a découpeur would cut stencils with a straight-edged knife. The stencils were originally made of aluminum, copper, or zinc but eventually the material of choice was either celluloid or plastic. Along with this transition of stencil materials, there was a shift away from the use of watercolor towards the broad, soft, opaque layers of gouache. The technique was further refined in an effort to create the most vivid, accurately colored reproductions. Stencils created by the découpeur would be passed on to the coloristes. The coloristes applied the pigments using a variety of different brushes and methods of paint application to create the finished pochoir print. 

One of the most significant texts about pochoir is Jean Saudé's Traité d'enluminure d'art au pochoir(1925). Saudé offers an explanation of its technique and purpose. He included images that illustrate the process as well as examples of pochoir prints that demonstrate the most basic uses of pochoir to the most complex applications of the technique. Charles Rahn Fry in his "The Stencil Art of Pochoir" identifies trademarks of pochoir. He states that the thick paint medium, gouache, causes a build up against the stencil's edge resulting in a surface elevation that can be both seen and felt. The visible bristle traces result when a brush is moved straight across a stencil-a visual and tactile element resulting from the manual execution of the print. With varying pressure on the brush, a shading, or gradation, affects the printed results. Textural variety is achieved by varying the technique for applying the paint: daubing, spraying, spattering, or sponging are the most common choices. Transparent watercolor can be imposed on top of a thick opaque gouache to create a unique contrast. These elements typify the unique quality of each pochoir print.

The manual aspect of pochoir has been both one of its most valuable attributes and one of its greatest failures as a medium. Pochoir is both labor-and time-intensive, making it an expensive and slow process of printmaking. As a result, techniques such as lithography and serigraphy, mechanized in nature, have replaced pochoir as a method of reproduction. Pochoir has been used in conjunction with other medium such as engraving, lithography, or photography as a means of adding color to a print. Each print is unique because it is done by hand; each remains vivid in both a tactile and visual sense. 

This SIL On Display consists of more than 35 images of pochoir prints that capture the vibrant colors and lifestyle of the late 19th and early 20th century held at the Cooper-Hewitt National Design Museum Library. Included are designs for interiors and furniture, decorative book bindings, fashion plates, and an array of colorful patterns. 

The bibliography provides a select list of resources containing pochoir plates in the collection and also articles and books on pochoir history and technique. A good introduction to pochoir can be found in: Art Deco prints 1900-1925 (Princeton University Press, 2000); Pochoir by Elizabeth M. Harris (Smithsonian Institution Press, 1977); and Reba W. Williams' "Pochoir Printing" American Artist 53: (1989) pp.70-75.

CUBISM IN A BOX....PICASSO.....

Autumn 1906: Picasso announces that he has discovered photography ... "When Picasso declared that he had discovered photography, he was revealing the most profound nature of his eye. For when Picasso drew or painted, he already saw what he was still in the process of drawing or painting, on paper or on canvas; his eye projected the image because it was already prefigured in its own pupil. Very frequently, all he did was to trace out the lines of what he already saw. His discovery of photography changed everything." – Fernande Olivier    photo by Gino Severini "In 1906 the only contents of Picasso’s studio were a day-bed, a long, rickety table, a tub and a small, rusty iron stove which was supposed to serve for cooking and heating. A dim light from a single window fell on festoons of cobwebs hanging from the ceiling. The furniture was completed by two dilapidated chairs.  On top the table rested a worn box camera with a cracked lens, and nearby a glass prism."      --Antonina Vallentin CUBISM IN A BOX   The box camera’s cracked lens caused the facial plane in Picasso’s photo-portraits to be broken themselves, and raised slightly on one side. Attributes he would soon utilize and transpose to his early sketches and preparatory drawings for the seminal LES DEMOISELLES D’AVIGNON. Sleuthing through archives and old letters has found that the camera initially belonged to Italian futurist Gino Severini who moved to Paris in 1905. Dropped too often, the brutish Severini viewed the now-broken camera’s consequent distorted photographs as “slight, humorous and mere divertissements.”  He easily gave up the camera to Picasso who viewed the “fractured” photographs and “broken” camera as “intriguing with possibilities.” Once in his hands, as evidenced by the developed roll of film, Picasso augmented the distortion of planes with a simple prism held over the cracked lens. The artist would sometimes further play and manipulate the negatives, adapting a century-old print-making process called cliché verre whereby he drew and scratched designs into the emulsion and then used the resulting negative to print the photograph. PHOTOGRAPHIC ORIGINS DISCOVERED USING X-RAYS ON LES DEMOISELLES D'AVIGNON          X-ray evidence that the painting was re-worked many times over,  and that the seated figure to the far right was most likely a man, perhaps even the young ladies' pimp. The obvious source for the pimp in the original version of Les Demoiselles d'Avinyo (sic) is thought to be this 1905 photograph of the artist's friend Carlos Vallentin taken with Severini's broken camera.    RECONSTRUCTING PICASSO In order to re-create Picasso’s original photographs, a research team headed by Dr Åke Neilsen had to teach the computer how to pick out the elements of an image that, until now, only artists have been able to recognize as important. By giving the computer this ‘aesthetic sense’, Dr Neilsen from the Department of Art Sciences, was able to create a series of automated artworks with Picasso’s signature effects, such as making a cubist-style picture from the seemingly ordinary found negatives. According to Dr Neilsen the key to the new software is helping the computer recognize the important aspects of the photograph being used: "When artists draw or paint they distill all the vast detail a camera sees into a few lines or daubs of paint. We plugged digital cameras and scanners into our battery of computers and wrote software that 'looks' for the same kind of important things as Picasso did." "Art is a lie that makes us see the truth"  Picasso’s Guernica Hidden from View So as Not to Offend, 2003 NYC - When Secretary of State Colin Powell appeared at the United Nations Wednesday, February 5, to argue that Iraq had not complied with UN demands to disarm and poses an imminent threat, UN officials closed the curtain –- literally – on Pablo Picasso’s GUERNICA (1937), the most widely known artistic interpretation of war. The tapestry reproduction, which hangs outside the entrance to the UN Security Council, was initially covered on Jan. 27. Press accounts indicate that some UN diplomats believe the United States exerted pressure on the UN to hide the tapestry while Powell and others made the case for war on Iraq. The cover-up was a solemn reminder of the intensity of Picasso's images, and the power of art to give voice to war's horrors. Though the artwork may have been unsettling for those urging military action, the public response proved that war's brutal reality could never be concealed, especially as war is being heralded as a necessity. "Mr. Powell can't very well seduce the world into bombing Iraq surrounded on camera by shrieking and mutilated women, men, and children," wrote the ever-candid Maureen Dowd, adding, "The UN began covering the tapestry last week after getting nervous that Hans Blix's head would end up on TV next to a screaming horse head." Guernica was the cultural capital of the Basque people, seat of their centuries-old independence and democratic ideals. It had no strategic value as a military target. Yet some time later, a secret report to Berlin was uncovered in which Von Richthofen stated, "...the concentrated attack on Guernica was the greatest success," making the dubious intent of the mission clear: the all-out air attack had been ordered on [General] Franco's behalf to break the spirited Basque resistance. Guernica had served as the testing ground for a new Nazi military tactic -– blanket-bombing a civilian population to demoralize the enemy. It was a wanton, man-made holocaust. Which is not unlike the intense bombing planned for Iraq: the “Shock and Awe” strategy calls for dropping up to 800 cruise missiles within two days.

GABRIEL, 

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Comentarios de Contactos en Linkedin

Yudinela Ortega Hernández

13 de febrero de 2015 11:38

Hola Gabriel:
Un gusto conectar con usted. Siempre es un placer encontrar personas que quieran expandir y trabajar el arte más allá de todo espacio físico. Me encantaría de ser posible colaborar con usted en algún proyecto. Yo soy Lic.en Historia del Arte. Vivo en La Habana. Me acabo de graduar, hace dos años y desde entonces trabajo como especialista en la galería de arte contemporáneo Factoría Habana, que pertenece a la Oficina del Historiador de la Ciudad, además colaboro con medios de prensa especializados y escribo para la web de Art On Cuba, reciente publicación que pertenece a la plataforma de On Cuba. Además trabajo con jóvenes artistas egresados del Instituto Superior de Arte y formo parte de un proyecto que intenta rescatar al grabado como manifestación de corte gremail, el trabajo en talleres y el concepto múltiple. Pierda cuidado que revisaré detalladamente toda la información que me ha enviado, y ojalá podamos establecer alianzas de trabajo. 

Un saludo para usted, Yudinela. 

Francisco J. Báez

10 de febrero de 2015 13:43

Has respondido a este mensaje:

Maestro Gabriel
Me da gusto saludarle...

Le felicito por su trabajo y logros... Y por supuesto, Gracias por su tiempo!
Uso inglés por aquello de la Globalización y las oportunidades que ello representa.

Soy consultor en Arte, Diseño & Marketing y vivo desde hace mas de 5 años en San Miguel. Me he especializado en la comercialización de productos de Alta especialidad para el sector del Arte (Materiales de Conservación), y mi trabajo se centra en la Museografía, Movimiento de Obra y Montaje. Ojala podamos reunirnos en fechas próximas para compartir puntos de vista y formas en las que ademas de colaborar, podamos hacer sinergia.

Ojala me pueda dar sus números de contacto para que podamos coordinar la reunión. Hasta entonces.. Quedo a sus órdenes, esperando sinceramente poder apoyarle en sus actuales y futuros proyectos.

Mi celular es (415) 111-7193
Mi tel. de oficina (415) 1200-607

Le mando cordiales saludos!

Paula Calvo

6 de febrero de 2015 21:02

Hola Gabriel

Gracias por el contacto.

En este momento me encuentro en el Instituto de Arte de Chicago (SAIC) completando un Master en historial del arte, teoría y critica. Me interesaría mucho colaborar contigo.

En Mayo voy a viajar a México DF para ver el trabajo de algunos artistas.
Si tienes tiempo y disponibilidad, me encantaría que charlemos. Mi foco es la fotografía contemporánea en Latinoamérica, por lo cual creo que podríamos colaborar y aportar distintos contenidos.

Podrías contarme un poco mas a cerca de tu proyecto? Si se trata de exhibiciones o de una publicación? O si se trata tal vez de una nueva institución?

Una de los temas que me gustaría abordar en el futuro, luego de terminar el master, seria la infraestructura que existe en Latinoamérica en cuanto a la educación para las carreras en arte. Si bien existen institutos y universidades para el arte, la mayoría carecen de talentos en cuanto a profesores y mentores, y padecen la inestabilidad económica de sus países.

Puedes escribirme directamente a mi email mcalvo@saic.edu

Atentamente,



Paula Calvo

We must learn to forgive as we would like to be forgiven.  

To forgive doesn’t mean simply being indifferent to those who injure us; to forgive is to give for¾to give some actual, definite good in return for the distress incurred. 

 Many think “I’ve got no one to forgive!” Yet if we consider all the people we feel negatively toward, or that we think “served them right,” then we find we have much to forgive.

  Any pain that you suffer, any failure of some expected good, may be the result of a spirit of unforgiveness you’re holding¾towards someone in particular or the world in general.

To err is human, to forgive is divine.

Schemes suggested for getting RICH quick........

Various schemes have been suggested for getting RICH quick.

Most of them Fail because they are based on ''getting'' -- not ''giving.'' They have No SPIRITUAL basis.

The reason many people fail to receive their good in life is because they do not practice giving or returning impersonally to the Universe on a systematic basis a portion of all that the Universe shares with them.
When any person withholds that which belongs to the Universe, his life is thrown out of balance, and he experiences Lack in some form.
 It may be lack of supply, lack of health, lack of love, lack of spiritual understanding, or lack of direction in his life.

It is only as we let go of our littleness that we can expand into the larger life.

Shifting Your Vibration to Manifest Your Desires

Shifting Your Vibration to Manifest Your Desires by Steve Pavlina

You are not a physical being in a physical universe. You are an energetic/vibrational being in an energetic/vibrational universe. You are both a transmitter and a receiver of energy.
One of your greatest challenges as a human being is learning how to live as a vibrational being in a vibrational universe.

Attracting Compatible Patterns

You don’t attract into your life what you want. You don’t attract what you think about. You don’t attract what you feel. Desires, thoughts, and feelings are all important, but these are more effects than causes.
You attract what you’re signaling.
Think of yourself as a vibrational transmitter. You’re constantly sending out signals that tell the universe who you are in this moment. Those signals will either attract or repel other vibrational beings, events, and experiences.
You naturally attract that which is in harmony with your state of being, and you’ll repel that which is out of sync with your state.
If your energetic self radiates wealth and abundance, your physical reality will reflect wealth and abundance for your physical being.
If your energetic self radiates anger and frustration, your physical reality will reflect that as well.
Since the signals you’re sending out at any given moment tend to be fairly complex, your experience of physical reality will be equally complex.
Once you can accept that your vibrational self attracts compatible patterns, it becomes clear that if you want to experience something different in your life, you must somehow change the signals you’re putting out.

Your Vibrational Hum

Listen to the vibrational hum of your being. Quiet your mind, tune in to your inner being, and listen to the ever-broadcasting radio station that is you. What types of signals are you broadcasting in this moment?
When I tune in for a moment, I can sense some of the signals that are emanating from me. I can feel that I’m radiating happiness and joy. I can sense that I’m sending out signals to attract positive, loving new relationships into my life. I can sense that I’m radiating financial abundance and increase. I can sense that my energy is very mental at the moment because I’m writing this article.
These are all thoughts, however. The true signal I’m emitting isn’t a thought. It’s a frequency. I might describe this frequency in words, but I can never get the words quite right because human language is inadequate to the task. If I try to describe my current signal anyway, I might use the following adjectives: flowing, smiling, happy, peaceful, soaring, white, soft, strong, expanding, warm, mindful, smooth, and energized.
I can also tune into signals from my environment. I can sense that my belly is broadcasting satiety since I just had lunch (a mixed green salad and some olives). I can observe that it’s 49 degrees F outside. I can hear soft music coming from my computer speakers (sound is yet another vibration). I can subtly perceive Erin’s signal transmitting from the next room. I can feel the combined energy of the people reading my articles around the world.
Overall, I can sense that the signals I’m sending out and the signals coming from my environment are in sync. I feel happy, peaceful, and abundant, and my environment reflects that. This is a stable state, one I experience often.
Your energy signature is the summation of all the signals you’re sending out. Your thoughts and feelings aren’t the cause of these signals though; your thoughts and feelings are actually effects of the signals. If you change the signal you’re emitting, your thoughts and feelings will shift as well.

Vibrational Equilibrium

Your vibrational being and your environment will tend to move toward equilibrium over time. If your current life situation appears fairly stable, it’s safe to say that you’re maintaining equilibrium.
For example, if you’re financially broke, and if this is a stable situation that has persisted for some time, then it’s likely that most of the energetic signals you’re exposing yourself to are also vibrating at a similar frequency of broke-ness. This includes the place you live, the people you interact with, your work environment, the events on your calendar, your furniture, and so on. Your being is immersed in a field of these signals, and this encourages you to vibrate at the same level.
If you continue to surround yourself with signals that reinforce your current state, then that state will persist indefinitely. You may be able to get away from it for a while, but you’ll keep coming back to it if that’s your equilibrium.

Shifting Your Vibration

Creating a temporary shift in your vibration is easy. You can create such a change in seconds. Jump around and move your body. Sing your favorite song. Smile for a minute. Hold a yoga pose. Take a cold shower. All of these will change your state. However, this won’t create any sort of lasting change if you return to your old vibration afterwards. If your dominant signal remains unchanged, your equilibrium won’t shift.
In order to shift your equilibrium, you need to break the old equilibrium. This means you must create a lasting disconnect between your current vibration and the environmental vibrations that are compatible with it.
There are basically two ways to do this.
First, you can shift your own vibration long enough to create a lasting disconnect with your current environment. If you start transmitting a new signal, you’ll soon repel whatever in your environment is incompatible with your new signal. You’ll also begin attracting other people, events, and experiences that are compatible with your new signal. Hold the new vibration long enough, and you’ll see your whole physical reality change all around you.
You can apply this approach by visualizing your goals very vividly for at least 20 minutes per day. Visualize in such a way that you can feel strong emotions. An emotional shift indicates that you’re broadcasting a new signal. The longer you can hold this new vibration, the faster your reality will shift.
The second method is to intentionally replace many of your environmental signals with new ones. Then you must hold yourself in that new environment. This will feel uncomfortable at first because you won’t initially be compatible with those new signals. You must allow them to recalibrate your own vibration until you become compatible with them.
You can apply this approach by changing your environmental landscape — physically, socially, and otherwise. For example, stop spending time with your lazy friends, give away your TV, and hang out every day with the most productive people you know. This will feel uncomfortable at first, but eventually you’ll start to integrate those new signals, and your own vibrational pattern will soon shift to come into resonance with these new people.
So to sum up, you can either change the signal you’re emitting, or you can change the signal soup you’re immersed in. Either way can be very effective at creating a lasting change in your vibrational pattern.

Creating What You Desire

To create what you want in your life, you must shift your vibrational pattern such that you’re emitting a signal that’s vibrationally compatible with your goals and desires.
You can identify that new vibration by vividly visualizing your goals until you feel different emotions, and those emotions stabilize at a certain point. Notice how your vibrational inner being feels, not just emotionally but energetically. Then return to your old state, and notice the vibrational difference between the two states. Compare and contrast the old vibration with the new one.
For example, here’s how I’d describe the vibration of being broke and deep in debt, a frequency I emitted for many years: tight, knotted, twisted, chaotic, rough, blurry, red, dark, fast, changing, pressed, and squeezed.
Here’s how I’d describe the vibration of financial abundance: open, free, clear, bluish-white, flowing, smooth, bright, focused, and intense.
Each vibration has a different energy signature. If I temporarily shift my default vibration to a state of feeling broke (just by imagining it as real), I can feel my vibrational self shifting its frequency too. If I held that vibration long enough, I’d soon find that my physical reality followed suit.
Hopefully it’s obvious by now that if you want to shift your vibration, it’s a bad idea to consistently expose yourself to incompatible signals. Watch the TV news about the ongoing financial meltdown and the recession/depression, and notice what happens to your vibration. Then notice what happens to your finances in the long run. If you want to experience financial abundance, this is a very bad time to watch or read mainstream news. This is the perfect time to read high-quality books or articles instead.
Learning to sense and control the vibrational frequencies you’re emitting is powerful stuff. Once you really get this, you can intentionally shift your frequency at will to experience what you desire.
If you want to experience wealth, you can create that. If you want to experience a new relationship, you can create that too. If you want high energy and good health, you can create that as well.
This isn’t to say that it will be easy for you to accomplish all of these things. It takes practice to adjust your vibrational frequency correctly, so be patient with yourself. Rome wasn’t manifested in a day. 

Read related articles:

• Why Some People Are Better Manifesters Than Others
• Physical vs. Non-Physical Reality
• Stay the Course
• James Ray Interview
• How to Raise Your Financial Vibration
• Ask Steve – Astral Projection
• Why Some Goals Make You Run in Circles

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10 SCIENCE QUESTIONS FOR THE 21 CENTURY......

The last few centuries have been pretty good for science. In the 17th century, Isaac Newton solved the ancient controversy over the nature of forces and motion with his three laws. In the 18th, Ben Franklin figured out a lot about electricity. In the 19th, Darwin explained the diversity of species, Maxwell revealed the physics of light, Mendeleyev defined the families of chemical elements. In the 20th we had Einstein, who figured out all sorts of stuff, including gravity. No to mention Watson and Crick, who deciphered the molecular foundation for genetics and life. What more do you want?

Well, there are still lots of mysteries left for the 21st century to solve, and it has only 86 years left in which to solve them. So it’s a good idea to put them in a list, just to avoid any danger that everybody will forget to work on them.

Actually there are many more than 10, so this list will have to be restricted to my favorites. To select from all the many possibilities, let’s make a game of it.

10. How did life originate?

It doesn’t seem like this one should be so hard, but it continues to defy solution. There’s plenty of speculation, often related to RNA’s ability to act both as catalyst and bio–hard drive to store information. And new findings turn up all the time about how life’s basic building blocks could have been generated in primordial conditions or delivered to Earth from space. I think this question will end up having something to do with game theory, as biomolecules interact in competitive ways that could be described as strategies, and the math for calculating optimal strategies is what game theory is all about.

9. What is the identity of the dark matter?

It has been eight decades or so since astronomers began to notice that there is more gravity pulling stuff around out in space than there is visible matter able to produce such effects. Attempts to detect the supposedly exotic (as in, unknown) species of subatomic particle responsible for the extra gravity have been frustrating. Hints seen in some experiments have been ruled out by other experiments. I think there’s a missing piece to this puzzle, but it probably has nothing to do with game theory.

8. What is the nature of the dark energy that drives cosmic acceleration?

If you think dark matter is frustrating, try explaining dark energy. Something is driving space to expand at an ever increasing rate. Physicists think that they know what it is — the never-changing density of energy residing throughout all of space, referred to by Einstein as the “cosmical term” and now called the cosmological constant. But when you calculate how strong the cosmological constant should be, the answer is too big by dozens of orders of magnitude — much more than the difference between the size of the entire universe compared with a proton. So dark energy’s identity remains a mystery; if it is the cosmological constant, something else is seriously wrong with what physicists think they know. And so far game theory has been absolutely no help.

7. How to measure evidence

This one is so mysterious that many scientists don’t even know there’s a mystery. But if they paused to think, they’d realize that the standard way of inferring conclusions from experimental data — calculating “statistical significance” — makes about as much sense as punting on fourth and seven when you’re down by 15 with eight minutes to go. One small example: if you do an experiment and get a statistically significant result, and then repeat it and get a statistically significant result again, you’d think you have better evidence than doing the experiment only once. But if the significance level was a little less the second time, the combined “P value” would be less impressive after the second experiment, even though the evidence ought to be regarded as stronger. It’s a mess. Game theory would surely be able to help somehow, possibly by virtue of its relationship tothermodynamics.

6. Genes, cancer and luck

You might have read recently that most cancer is caused by bad luck, as a study published in Science supposedly concluded. (Actually, the study concluded that the disparity in prevalence of cancer of various types was largely due to luck.) A firestormof protest followed, essentially based on the belief that such a study must be wrong because it would “send the wrong message” to the public. Proving the illogic of that syllogism should be left as an exercise for the reader. Other responses revealed that experts do not agree on how random mutations (bad luck) compare with heredity (parent’s fault) plus lifestyle (your fault) and environmental exposure to bad things (somebody else’s fault) in causing cancer. Sorting all that out, and in the process solving cancer’s other mysteries, should be a high-priority exercise for 21st century science. And yes, there is a considerable amount of research relating game theory to cancer.

5. Are there extra dimensions of space?

I don’t know why people keep thinking this is a mystery, as I have on several occasions pointed out that there are no extra dimensions. However many there are, they are all absolutely necessary. Posed properly, this question should be how many dimensions of space are there? (For that matter, you could also ask about how many time dimensions there are, but that might overlap with No. 4.) Many physicists believe more dimensions than the ordinary three will be needed for physics to make sense of the universe. (Don’t even ask if they’re talking about bosonic or fermionic dimensions.) A key to understanding this issue is the mathematics of Calabi-Yau manifolds, which can curl up in gazillions of different ways to prevent easy detection of the additional dimensions’ existence. And that makes it really hard to figure out which of the gazillion possibilities would correspond to the universe we inhabit (unless there is some sort of fixed point theorem that would choose one, like a Nash equilibrium in game theory). In any event, anyone attempting to solve this riddle should first read Edwin Abbott’s Flatland, in which the protagonist character, A. Square, demonstrates the existence of an extra dimension and is promptly thrown in jail.

4. The nature of time

So many mysteries, so little time in which to solve them, unless solving this one would reveal some clever tricks to play with time. Many submysteries underlie this one, corresponding to almost all of the 44 definitions of time in the dictionary (and that’s just as a noun). What’s the nature of duration and the flow of time — is it illusory or “real” in some elusive way? What about the direction of time — does it always go forward? Why? Is time travel possible, or can messages at least be sent backward in time? (Forward in time is easy — just print this blog post out and read it a year from now.) Perhaps the biggest mystery is whether all these issues about time are related or are completely separate questions. Of course, it would all be simpler if somehow time could be connected to game theory, which it might be, because game theory can be related tocellular automata, which in turn can be related to time.

3. Quantum gravity

Quantum physics and general relativity (aka Einstein’s theory of gravity) both seem to describe the universe and its components with compelling accuracy, yet they seem wholly incompatible with one another. Attempts to combine them into a coherent unified theory have been as successful as brokering compromise in the U.S. Congress. Yet there are clues. In 1930, Einstein tried to refute quantum mechanics (specifically, the Heisenberg uncertainty principle) by suggesting a clock attached to a box hanging on a scale could measure both the mass of a photon and the precise time that it escaped from the box. (Heisenberg said you couldn’t measure both at the same time). But Niels Bohr pointed out that the time on the clock would be uncertain, because as the box moved upward in the gravitational field, Einstein’s relativity required a change in time that would introduce just the amount of uncertainty in the timing that Heisenberg required. So how, you might ask, did the uncertainty principle know about this effect of general relativity? Maybe if the experts posed the question that way they would be able to figure out the quantum gravity mystery. The next best bet would be to undertake the study of quantum game theory, which hasn’t been adequately exploited yet in this regard.   

2. Does intelligent life exist elsewhere?

It’s tempting to delete the “elsewhere,” but given what passes for intelligence on Earth, it makes sense to wonder if anything like it could be blundering about on some distant world. It seems likely, given how many other worlds there are out there. But finding out for sure will probably require receiving an actual message. Projects like SETI have been listening for some such message, so far unsuccessfully. There are two (at least) possible explanations: One, there have been no messages (perhaps the aliens are experts at game theory and calculated that contacting humans would be a bad strategy). Two, the messages are there, but nobody knows how to detect or recognize them. Perhaps enhanced scrutiny is in order on Twitter, where numerous tweets every day seem most plausibly to be the work of aliens. 

1. The meaning of quantum entanglement

All sorts of quantum mysteries remain unsatisfactorily resolved, but maybe the rest would succumb if entanglement does. Entanglement occurs in systems with widely separated parts that share a common history; a measurement of one of the parts reveals what you will find out when you measure its distant relative. Entanglement is a fact of nature, well-established by experiment. It suggests that time and space do not constrain quantum phenomena the way they do ordinary human activity. Among the latest intriguing aspects of entanglement to be studied involves black holes. It seems that black holes can be entangled, which apparently is equivalent to their being connected by a wormhole. Related work suggests that space, time and gravity are all part of a vast quantum entanglement network. Since both the evolution of networks and quantum entanglement fit nicely into game theory, solving all sorts of mysteries might boil down to viewing the world from a game-theoretical perspective. But maybe that will still be too hard for human brains — it might take advanced artificial intelligence, which, as this paper suggests, might be created with the help of some version of quantum game theory.