The Mysterion Dynasty

By Roger Wells

The human mind is deeply mysterious, and it is possible that no one has ever completely understood just how the mind actually works. The mind does not let you see inside of it, in fact always throwing you out into the sensory, everyday life around you. So how do we turn inward and lift the veil on the mind? How does the mind reveal itself to usif at all?

The Mysterion Dynasty uncovers a truth about the mind that has long been concealedthat the mind will tell you what it does if you ask it and then carefully listen when it finally tells you. A result of a thirty-eight year game to discover how our minds actually work, The Mysterion Dynasty chronicles one mans exploration of the many parts and mechanisms of our revealed minds. With continual hard work, author Roger Wells was uniquely enabled to not only discover how the mind worksbut also uncover its faults and how these faults lead to destruction and cruelty.

Looking inside the mind is only the first step to understanding how it works. Beginning with this understanding, The Mysterion Dynasty will show us how our conscious minds operate in the world and receive and transmit images and other sensory data. Yet even more, learning about the fault in the mind of humankind will offer us the greatest hope and a plan to bring our world into a much better place than it has ever been beforefor without knowledge of the fault, all is lost and hopeless.

• Language: English
• Publisher: iUniverse
• Release date: Mar 7, 2017
• ISBN: 9781532016721

Roger Wells

Roger Wells is an author and artist, and he was born in Cleveland, Ohio. After graduating from a large high school and attending several colleges, Roger worked designing and manufacturing medical products and automated machines. He has also participated in sports, coaching, and counseling to teenage boys, and today he lives in his hometown where he enjoys the company of many friends.

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Copyright © 2017 Roger Steck.

All rights reserved. No part of this book may be used or reproduced by any means, graphic, electronic, or mechanical, including photocopying, recording, taping or by any information storage retrieval system without the written permission of the author except in the case of brief quotations embodied in critical articles and reviews.

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ISBN: 978-1-5320-1671-4 (sc)

ISBN: 978-1-5320-1672-1 (e)

Library of Congress Control Number: 2017902917

iUniverse rev. date: 03/06/2017

Contents

Part I—The Mysterion

Chapter 1—Welcome to My Book

Chapter 2—Two Ways to See inside Our Minds

Chapter 3—Looking Inside

Chapter 4—One Visual System with Four Separate Parts

Chapter 5—Walking

Chapter 6—What the Mind Sees When We Hear Music

Chapter 7—How the Mind Sees the Visual World

Chapter 8—The Two Main Parts of the Mind

Chapter 9—Communication Diagram, Anger, and Distraction

Chapter 10—Story of the Doors

Chapter 11—Expanded Vision

Chapter 12—Presentation

Chapter 13—Possession

Chapter 14—Empathy Figures

Chapter 15—Memories That Travel with Us through Time

Chapter 16—How the Outer World Can Take Over Part B in Communication

Chapter 17—How We Enter into Conversation

Chapter 18—Icons or Signs

Chapter 19—Some People-Like Images Discussing Ethics

Chapter 20—Final Comments

Part II—The Ilogicon

Chapter 1—How the Mind Takes Us through Our Days

Chapter 2—Continuing with How the Mind Takes Us through Our Days

Chapter 3—The Mind Makes You Complete the Picture Monitors

Chapter 4—Completing the Picture Monitors is Life

Chapter 5—How the Picture Monitors Travel with Us through Time

Chapter 6—More about Icons and the Completion of Monitors

Chapter 7—Expectation, Happiness, and Disappointment

Chapter 8—Constructing Picture Monitors to Place in Memory

Chapter 9—The Monitor That Keeps Track of the Outside World

Chapter 10—Comments on the Monitors Making Us Complete Them

Part III—The Astrocon

Chapter 1—The Mind Sees Things as Lasting Forever

Chapter 2—The Distraction into the Outer World

Chapter 3—More about the Clown Monitor

Chapter 4—Creating New Knowledge, Dreams Are Pictures, and Seeing Everything as a One

Chapter 5—The World of Task

Chapter 6—A Comment about the Cause of War and What Exists

Chapter 7—The Mind Is Extremely Fast

Chapter 8—The Selection Process and Kindness

Chapter 9—Body, Conscious Mind, Mind, and Television

Chapter 10—A Review of Many Things Previously Described

Chapter 11—The End of Most of the Descriptions

Part IV—The Lafficon

Chapter 1—The Operation of the Mind as It Reflects on Religions

Chapter 2—The Operator of the Picture Monitors That Is in Charge of Everything Made and Created in the World of Man

Chapter 3—The Conflict Caused by Some Religions in the Table Monitor

Chapter 4—More on the Monitors of Creativity and the Table Monitor

Part V—The Amazicon

Chapter 1—Some Review with Added Description

Chapter 2—Some More Description, Including Operator of the Monitors

Chapter 3—Some Boring Stuff about the Universe to Get Us to the Fault

Chapter 4—Some More about the Fault

Part VI—The Magicon

Chapter 1—The Mysterion Dynasty Has a Meaning

Chapter 2—The Path to Truth

Chapter 3—Comments on Government, Personal Items, and Religion

Chapter 4—The Operator of the Picture Monitors

Chapter 5—More about the Monitors

Chapter 6—Truth

Chapter 7—Communication between Governments

Chapter 8—Picture Monitors

Chapter 9—Ability

Chapter 10—Ethics

Chapter 11—The Clown Never Speaks

Part VII—The Cosmicon

Chapter 1—Memories

Chapter 2—More on Memories

Chapter 3—More Memories and Fewer Operators Than Expected

Chapter 4—Governments

Chapter 5—The Lord of the Universe

Discussion and Applications of The Mysterion Dynasty

Notes

Comments after Writing The Mysterion dynasty

Part I

THE MYSTERION

Chapter 1

Welcome to My Book

Welcome to these words that I call The Mysterion, the first part of this entire writing, which I call, of course, The Mysterion Dynasty. It is my intention to tell you what you are about to read and provide at least some kind of an idea of what is to come. Simply as possible, this is about the mind of man and about how our minds work.

The purpose of writing this is to share with you what I have discovered about how the mind works and to include observations about subjects or items that follow from knowing what is actually within the mind and how it performs and takes us through our days.

No one ever told me about what is in my writings, and my belief is that no one else has ever completely understood just how the mind actually works. Everything you will read here is from me alone and is totally original. In some ways, that is why I have to share this with you, because I became aware that no one else likely ever understood our minds, and if they did, they did not tell anyone.

As an author, I have no plan. This is not meant to be a technical book; it is a book of stories, observations, descriptions, and explanations. It will consist mainly of simple descriptions to enable you to understand what happens within the mind. And there is no organization, because it is more fun for me to just write as I think and end when I get tired of writing.

In effect, because I like to have fun, this is more like me just writing letters to you to share ideas, thus making me not exactly an author. Learning, discovering, and sharing should be fun, and it is my goal to make it a lot of fun. But there is something that you must be aware of and fight against happening to you.

The mind does not let you see inside it. It throws you out into the visual everyday life your eyes provide and distracts you from the inside to the outside. It maintains veils, keeping you from seeing inside, and does not let you discover the keys to the locks that keep you forever in the outside world. You need have no worry about this because I will lead you past all this easily, but you have to be aware it will fight you if you try by yourself, or it will fight you if someone tells you anything about the mind. The mind throws you out, and you don’t even realize it happens; it is just simply the way it works and the way it has to work. You will learn all about everything as we travel on our wonderful journey.

The mind also shuts off your thinking if anyone tells you about knowing anything about the mind; it distracts you in the outside world and shuts off the thinking. Perhaps that is why no one else ever really solved the puzzle. The mind is too fast, and it always wins by throwing you out and never letting you realize it did it.

Knowing the mind fights your entering into the inner mind behind your visual outside world, you can relax because I can easily overcome all that. The item you must fight is this pulling you away, and you will have to concentrate. By concentrating hard, you can overcome the mind throwing you out. It will definitely try to throw you out. Sometimes when you learn about the mind, you must concentrate harder than ever in order to accomplish what we will do here.

I am not worried, because I have done the work for you. Just be somewhat grateful you do not need to perform the work because of its extremely difficult nature. If you can just keep it in your thoughts that the mind will try to throw you out at any time, you will have the key to stay within and see and learn. The mechanism of throwing you out of the mind looks or feels like the thought simply ends. It shuts off and at the same time erases all memory of being inside the mind or of going toward the inside. The next thing you experience is that the mind directs all your attention to the pictures of the outside world which your eyes see and distracts you totally into what is happening in the outside world. You totally forget you began looking in and you totally forget what you saw. If you are aware the mind pushes you to the outside world then you can try to keep looking to the inside. Together we can overcome the strong push to the outside. We will have fun!

Another thing that will throw you out of the mind is when I take several pages to try to describe something. It may require you to work just a little harder than you want to, and when you get done, you may wonder why I did not just describe the item in two sentences. The reason is because I am trying very hard to enable you to see and understand what I have seen and how it all works. If you do not immediately understand something, just keep trying, and it will become clearer later. In fact, I have to establish the structure of the mind in the beginning in order to describe everything, and I will return to many of the descriptions later to make the functioning of the mind very clear to you.

None of this is difficult. Please just stay with it and remember that repetition is the mother of all skill. Sometimes we have to work harder and go over things several times until they are completely understood. And remember that all of this is extremely simple and will all fit together. Hopefully my descriptions will be adequate for you.

The only writings I have ever discovered that show even a partial understanding of the operation of the mind were those of Plato and Socrates, particularly Plato’s Republic. In Plato’s allegory of the cave, he discussed the shadows of objects being mistaken for the objects themselves. Since these fine men were philosophers and since I am kind of carrying on for them, perhaps you will believe that I may think I am also a philosopher—but just as I am not exactly an author, I am not exactly a philosopher either. I am just a worker in the world, no smarter and no less smart. We are all just people.

You might ask what gives me the ability to tell you about the mind. My answer is that I can see inside the mind. I can see inside. I can see everything inside the mind. And I know everything inside and how it works. Very soon I will tell you how to see for yourself. There is no need for me to keep secrets. I always try to share.

My goal is to keep this fairly short. If I tell you about the mind, why not just try to tell you directly? The only things that tend to make me want to make additions are my tendency to want to tell you about what I do in my life and tell you about my friends and fun. It is easy for me to add things that are not within the subject, but I will make a small effort to withhold these distractions. Not having a plan, my efforts will be to try to finish the book.

There is no intention on my part to write this book with any thought about money or fame because I am only trying to share this information with you. I feel it is a responsibility to tell you what is here, especially because this is new knowledge for the readers and my friends. I have known what is written here since 1989 when I was forty-seven, which is twenty-three years of knowing, because it is now the beginning of the year 2012, and I will be seventy in October.

Having been born in 1942, I have lived in a wonderful time in Cleveland, Ohio, in the United States. There were a thousand students in my high school graduating class in 1960, and all were outstanding people and very intelligent and capable. I am so lucky.

Chapter 2

Two Ways to See inside Our Minds

Discovering these two ways was brutally difficult yet pleasant. It is some of the most difficult work I have ever carried out. Because I did the work, you may easily learn the paths that take us into the mind. Please do not underestimate what I have done in order to give this to you. When you realize the difficulty of my tasks, it will enable you to see more clearly and deeper into what is written here and enable you to achieve a great and improved understanding. The work has been done—and now for some fun!

When the mind reveals itself to you, it does it in two ways.

The first way the mind reveals itself to you is while you are waking up—where it shows you what it does before you totally wake up. There is a brief period when things happen while the mind is waking up, before everything is turned on completely, while the various systems are turning themselves on. For example, the systems turn themselves on, one at a time, in an order of progression, one by one but quickly. During this time, you can see what the mind sees and does in pieces and parts of the entire end result. At other times, it allows you to see into various areas and to watch and discover what is happening, to see the structure and how it actually operates.

It is my belief that no one else has ever noticed what I will describe to you, and if anyone did, it never occurred to him or her to pursue it. In addition, no one would have done the work necessary to achieve the knowledge, because it is extremely difficult. It is just too much work!

In any event, under certain conditions, the mind will begin to reveal itself by showing many of the things it does and how it does them. While you watch this, you can begin to understand why and how we are exactly what we are.

Most of this awareness is evident during moments when you first wake up, but you will not see any of this if you merely wake up. It is all entirely invisible to you. It is too fast. You won’t know what the items are. You won’t see them. Your memory is not connected to them. It is only if you go to bed late and then set your alarm to wake up early and then set it again and again each hour so it wakes you up in one-hour intervals. This throws your waking systems off balance and enables the fragments of your mind at work to appear.

The only reason I noticed is that I spent twelve years trying to see into the mind and discover what it does. For a year, I went to bed at 5:00 a.m. and set my alarm for 8:00 a.m. and then set it again for every hour until 1:00 p.m., when I finally got up. This was very difficult, and you don’t need to do this. I already did it and have seen absolutely everything. Hopefully I can just tell you so that your imagination will easily show you what happens. Examples of waking will follow.

The second way your mind reveals itself is while you are wide awake during the day. You have to ask it to show you what it does, and it will start. You become an observer, just watching it and listening to it. It will tell you one thing at a time, but you won’t notice, so it will quit. If you know what is happening, it will start to tell you something when it wants to, and at this point, you have to concentrate and remember what it said and write it down as soon as you can; otherwise it will turn off. After you write it down, it will tell you something else, and you have to remember to write that down too, or it will shut off. During a single day, it will tell you or show you exactly what it does, maybe eight or twelve things per day, but once it starts, you have to concentrate and never miss a single occurrence of it telling you. Then it will continue and continue and continue, but as soon as you miss, it shuts off.

There are steps for watching your mind that I may have forgotten or will tell you later, because I have to tell you the structure of the mind first, but mostly it is just about asking it to show you and then being aware of what it is doing and knowing what to look for. But you need not do it, because I will tell you what it showed to me here in these pages. It isn’t very important, because you will never be able to do it anyway. At least that is my expectation. Not that you wouldn’t work hard enough at trying; it is just so difficult to figure out and learn. You don’t have time and do not want to work that hard. Besides, it will take you twenty years. This writing, here in these pages, is enough. But it is truly amazing that our minds have a mechanism to show us everything they hold and how the mind sees the world and how the mind operates.

When the mind reveals itself to you during the day when you are awake, it does it because you ask it to and keep it concentrated on doing the task. The process is a normal creative process that goes on every day and is a chain of thoughts being built every day. But normally the mind is just happy with all the new thoughts it creates every day with the system it is using. When you ask it to tell you what is happening inside, you keep it out of its normal everyday situation. That is why it is a bit difficult, because it wants to go back to the normal events. Somehow it has access to within, and you are concentrating so hard to keep it turned inward. This also interrupts its daily actions, so it makes it difficult in a different way, because the normal daily work is fun for the mind. Making it look inside is actually a great deal of work, but the work becomes enjoyable when it is fully formed and complete.

Chapter 3

Looking Inside

The two main ways to see inside the mind have been described. Now we will begin looking inside. Please note that you may accept some of the things here and not accept others and even think me to be quite silly, which I certainly am! Please note that it may just be your mind throwing you out of the inside, and it will! If you read all this in its entirety, it may even take a year or two for you to really think it all through. My advice is to read and consider and stay with it, because in my entire life, no one ever told me anything about what you will discover here. Good luck!

Our minds are vast. Everything in the world is within our minds. Everything we ever see or think is inside. Everything we ever do is recorded. And there are only wonderful things inside, nothing bad. There is an entire world in our heads, vast and wonderful. It is beyond our expectations.

The mind is mostly concerned with communication within and without and with pictures. It constantly monitors everything and seeks information. There are pictures on picture screens or on picture monitors inside that we constantly see, though it is not evident to our conscious minds. The pictures or moving pictures give us answers as we move and interact with people and the outside world. The mind works with pictures! All of this will be shown later.

The picture screens inside the mind are like televisions, but perhaps it would be more correct for me to call them picture monitors. As we continue, the way the picture monitors work will be described, and it will all become clear.

Since all my descriptions are just being pieced together, my subjects or items may seem as though they are being pulled up at random. Perhaps they are, but we have to start somewhere.

One of the picture monitors in the mind is kind of behind or in back of the other main monitors, and it appears as a table-like surface, as though it is a tabletop or a backyard or a chessboard raised slightly above the surface it rests on, with items placed upon it. On this flat area, which is seen as horizontal and not like the other picture monitors, which are all mostly vertical, is placed every person and object important to us in our lives, and if the image is altered, it brings happiness or distress. That table area must be complete as we wish, and if someone seen on that table area is sick or dies, it brings grief, and if someone on it experiences happiness, it brings happiness. If something is on that tabletop that the person does not want, the person, as though taking his or her arm, wipes that person or thing off the surface of the table so it does not exist in that area of the person’s mind, and thus not in the person’s life. Everything important to someone is on that table or surface, on that horizontal picture monitor. We can call it the table monitor.

Now we can go on to something else, one item after another.

Chapter 4

One Visual System with Four Separate Parts

Our minds are extremely fast, faster than you can imagine. Drop a ball from your hand, and before it hits the floor, the mind produces twenty moving picture sequences, or dreams, of what that ball will do and where it will go as it hits, all in the blink of an eye.

Why can’t you see inside your own mind? It is kind of simple. Your mind is just so extremely fast, and it goes through a mechanism to slow down to the normal human speed of the conscious mind, which is very slow compared to the speed of the mind. After the mind goes through the slowing process, it cannot see back into the main mind, which is always there. You actually can see into the mind, but there is absolutely no memory attached to the slowing-down process.

As a side note, you actually see the picture monitors within the mind all the time but do not know it. They are always there and always working, and you watch them continuously, but you don’t realize it, even though you watch them constantly as if they were on several television sets. They are there, but you see them and do not know you see them. That is just the way it is.

This is amazing. I am telling you about the most complex thing I could ever describe, and it is so easy to tell you and so easy to describe. So far, it is just a lot of fun, and I can tell you just as fast as I can type on this computer keyboard, which is very fast.

Now back to the waking lesson. The waking lesson is about your sight mechanisms. The mind first sees the entire world in lines, like a three-dimensional blueprint where your house exists entirely in lines, as does your neighbor’s house and so forth. The mind sees the lines only, with nothing else, and these lines are exactly where they are in reality. We see the houses in our neighborhood like this for a certain distance, maybe including fifteen houses, and then it stops. It is as though we look out and see nothing but lines and can see between them as though nothing else were there.

Sight is four systems. First are the lines showing the position of everything in our world, which usually means the room we are in. I can turn the lights off in my house, close my eyes, walk down the basement stairs, go to something such as a light switch or a pencil on a table, all without looking, and move my finger forward a very small distance and touch exactly what I seek. The lines in our minds are exact. That is how we know where we are. It is why we do not run into walls, why we know where steps are, and why we know where everything is. The lines show us all.

Then solidness fills in the spaces between the lines, and we cannot see through everything, and so we know things are solid. Then texture occurs, and we recognize texture. Then color occurs, and we see the item as it is.

As I sit here writing this in my home, all these lines continually exist in my mind for all the homes in my neighborhood, and I exist knowing where I am. The rest of the mechanisms just fill in with sight when I view what is in front of me, the solidness, texture, and color. Yet the lines always exist separately in the mind, and the other three items of solidness, texture, and color fill in through the sight mechanisms. These are separate inputs although they appear together.

Notice that I did not mention anything about light and light waves that bring information from the outer world into the eye and consequently into the mind, just as memory brings the stored information to the mind’s picture monitors. This is all too complicated for my simple book.

The mind creates all the detailed pictures of everything and puts them inside of itself. I have seen the four main parts of vision, the four systems of the eyes, as the mind turns these systems on. It is logical if you think about it.

We will next go walking, then to the music, and then to the two main parts or operators in the mind and how they work. Later we will show how the mind sees our world.

Chapter 5

Walking

When we walk on a summer day, for example, one part of our mind monitors all the trees or houses or grass or roads and the spatial relationships that keep changing. When we walk, the mind is happier and more awake than it is when we sit somewhere and do not move. The other part of the mind thinks and functions fairly well and likely better when the walking and spatial relationships are changing. Just take a walk and see if you understand. This may be the simplest description or paragraph I write.

Sometime when we are in school, we are less awake mentally because the spatial relationships are not changing.

When we walk, we not only enjoy the three-dimensional aspects changing, which work the picture monitors in the mind, but we also breathe in air as we walk. A breath of air is the first pleasure… for example, when you are first born… and ever after, because every breath you take during life brings pleasure to you… even if you never thought about it before or focused on this aspect. So when we walk, we feel pleasure and are even more awake, because the mind is working, the three-dimensional picture monitors are working, and we are breathing. There is also pleasure in feeling our bodies move, but for some reason, the various activities that are going on bring happiness, so we are happy.

Our next item is what happens within the mind when we hear music.

Chapter 6

What the Mind Sees When We Hear Music

From the description of walking, which is the simplest observation, we next go to a complex system that may seem quite bizarre or absurd, but if you give it some time, it may seem quite logical. It is what happens in the mind when it hears music. It is what the mind sees when it hears music. It is what the mind does and all that happens when it hears music.

To describe what the mind sees when it hears music is the single most difficult description for me because this is the description Plato would warn me the reader will reject, and I will therefore feel the greatest pain, because it might seem so different from the reality understood by the reader. But it is the chance for a great step. This is a complex system, showing the main picture monitors in the mind, and it is part of other complex items within the mind, which will be described later.

This description is of tremendous and major significance in the operation of the mind. It goes far beyond what initially is stated here.

When we hear music, the mind sees things inside itself. The music alters what the mind sees on the picture monitors inside. It may alter it or distort it or create other things inside or send you to other picture monitors. None of this is of any consequence in your creation of ideas or logic, but it can be fun, remarkably fun, yet it can affect your mind and life, possibly because in excess, it delays thinking. It is entirely visual on the picture monitors inside your mind, and yet it affects greatly all your thinking while the music is heard. The description will be complete. It will be brief. And it has a name, a name quite the reverse of its significance and importance. All of this I call the clown screen, or perhaps better stated, the clown monitor, or eventually just the clown. It exists. It happens. For me, it is fascinating.

Music has an effect on what we see inside our minds, and there are three main visual picture monitors involved, although there are two or three more momentary picture monitors, so there are a total of five or six but only three main ones. All of these monitors exist in side-by-side fashion, right to left, and shift from one to the other. It is very simple and will become clear as we go on.

There are many kinds of music, but the picture monitors function more on quietness and loudness and the lack of a beating sound on up to the loudest beating sound, such as a drumbeat. The loudest drumbeat is the most disturbing and most interruptive noise and stops the realistic thinking process entirely.

The main picture inside the mind is the largest picture monitor and is straight ahead or slightly to the right and circular. It is the reality screen, or we can refer to it as the reality monitor. The pictures on it are entirely real and similar to what your eyes would see. For the example, the pictures could be people engaged in real activities, and it is a logical screen. The pictures are moving pictures, similar to real outside life. It is seen in color. To the left is a medium-size picture monitor, perhaps about two-thirds in diameter compared to the first. On this monitor are cartoons of people in activities having fun, not real people but cartoons of people, and some can be recognized as people you know. This is the cartoon monitor. It also is in color. It is not as detailed as the reality monitor. Directly to the left is a monitor the same size as the cartoon monitor, called the clown monitor, and it is true white, with any shapes occurring as black lines, and with color appearing as it operates.

When all these monitors are operating, there are two smaller monitors that can appear. They appear during operation. One is the dance monitor, which is called the dance figure and will show only a cartoon figure dancing. The figure is not on a monitor but forms between the two monitors, first as a dot and then as its full size, showing only the figure and nothing else. It is in bold outline, with only the outside line designating the figure, and color is inside the lines of the figure, with the rest of the surrounding monitor being white. The outside line can be thick or thin, and the line is just the outline, with no details within its border. Color occurs inside this dance figure, and it can on occasion show patterns with the color but only one continuous pattern at a time. The other small picture monitor is not there either but only appears momentarily when the monitors are switching from the far left, which is the clown monitor, to the right, which is the reality monitor. It is a transitional picture monitor and is a blend between what is on the clown monitor and a human face from the reality monitor. It only blinks on so you see it and then it blinks off. There is no movement on this monitor, only a single image and a single picture that does not move. The face that occurs is similar to a circus clown in face paint but only the head. The color and paint design come from the clown monitor, and the main face comes from the reality monitor. The two images blend together while the monitors are changing. It comes on as we leave the clown monitor to go back into the reality monitor. As we are jumping from one monitor to the other, it turns on the transitional picture monitor for an on and then off sequence, just long enough for you to see it. It blinks on, and then it blinks off.

This is the only way I can describe it in pieces and parts until it builds enough information. The items described function in many, many ways. If these items are not described in this most basic form, none of us will be able to understand the mind. This is absolutely necessary and the basis of the mind functioning.

In the mind, the circus clown is actually created by this shifting of the picture monitors. This wonderful happening creates your ability to understand a circus clown or a child and experience how the happiness or sadness of the clown or of the child affects you… and how all the six-year-old children watch the clown and feel all the emotion of the wonder of the clown or of the carousel with all its horses and lights turning in the night. The children watch in wonder and feel the same emotion, the momentary happiness or sadness of the activity they see. And the fullest attention is given to the transitional figure that is the clown, who is now alive in the circus, and they watch in awe and wonder.

After I describe what all the monitors are and the way it all works, you will understand further. It will take several steps. My description is backward because it is easier to understand if we do it this way. Please be patient with me.

The background on all these monitors is white. The speed of the reality monitor is normal, but when we go to the left, the cartoon monitor is fast, while further to the left, the clown monitor is blinding fast and blinking, moving, changing, colorful, and pleasant.

You can see all these monitors at once but enter into only one at a time while you are in transition going back and forth. Mostly you go into the monitor and see it only, but you can also see areas around it as you go in or out or change your view to other monitors. You can actually see all the monitors at one time, but you kind of go into one and then back out and move sideways and go into the next, all the while watching and seeing the changes. The clown is the deepest you can go into the mind. It is the last and deepest place… and the most fascinating. Even though it occurs on the monitor on the far left, I will later describe how it takes over all the other monitors except the reality monitor on the far right and how it enables you to feel emotion.

It is time to describe what happens with music now. Assume it is quiet, so the mind has the main reality monitor filled with real pictures or almost real pictures, and all of it is going along in harmony. The pictures are moving pictures, such as a movie or a show on television. The mind is working well. No disturbances are occurring. No interruptions are taking place. No communication is being interfered with. All is good. Thoughts occur without the mind having to work while experiencing outside attacks on the ongoing structures or changing structures. But now the music or noise begins.

To begin with, let us listen, for example, to classical music, perhaps not really loud, just good classical music, maybe to an orchestra or a piano recording. At this point, inside the mind, everything remains the same. All goes on as normal, or it may go on more easily or evenly, but all is the same. The only picture monitor shown is the reality monitor. Classical music is complex, but the mind easily takes it in without any problem, because the mind sees complexity as information and processes it. The person experiences reality, and real thoughts continue. The mind can function with real life. Nothing is interrupting it.

Next we need to change the music. Since there are different kinds of music, we will make a kind of chart or continuum of music, with classical music on the one side, going through all types of music until on the other side is only a loud, overpowering drumbeat. Along the way, we place in position all of the various kinds of music in less complex categories and at the same time increasing loudness and drumbeat. In order to keep it simple, we can just take three pieces of music. We have the classical, and in the middle we have music with a medium drumbeat, and last the loud drumbeat. So we don’t have to know how to grade the music, we end up with just three different sounds for this example.

We change from classical to the medium-beat music, and as we increase the noise or beat, we disturb the reality system, and the mind cannot maintain the reality monitor, which now is distorting or fragmenting but trying to hold on, almost leaving to the left but coming back. The music is too loud or there is too much of a beat, so the mind leaves it and goes to the left to the cartoon monitor.

The cartoon monitor uses figures and images that are not as complex as what we see in reality, likely because the disturbance has diminished the amount of information that can be used. The mind simplifies anything it wants to in order to process information efficiently, and it does not have enough capacity to operate the reality monitor due to the distraction of the louder music.

Now rapid visions of play and almost real activities occur on this slightly smaller middle monitor. Two children could have sleds in the snow and be racing down a hill laughing on their bellies or sitting up alternately but changing, changing, changing. One could hit a tree and split in half, changing into a water puddle, then the puddle disappearing, and the figure or person forming again and laughing and continuing in rapid activity in twenty different play scenes of absurdity. It is very fast.

But now let us beat the drum louder and drive further left to the clown monitor. We enter where we all go but where no one has ever seen. The noise destroys the mind’s ability to maintain the other monitors. We enter into the completely pure white monitor on the left. We see only white. Before us is the incredible clown. If the middle monitor was pleasant and fun, this is the most captivating of all the monitors, of all the concepts or creations in the mind. The clown is before us, and we are watching, entering only because nothing can pull us back, except when the beat diminishes or subsides and releases us. It takes us in completely. All we see is white.

The noise has taken us to the far left monitor because it cannot maintain a moving image or real picture or anything like that on any of the other monitors. Figures do not occur on the far left. It is the most basic of the monitors.

The clown is fabulous and fascinating. It is simple, but what it does is miraculous. There before us is a pure white area that is a monitor, and that is all we are seeing… only pure white. Next, on this totally white surface forms a perfect circle, just a thin black line for a circle, a perfect circle. This is the clown. You are looking directly at the clown. Your face or that structure your mind puts up as your face is looking directly at him, or her, or it. The circle is before you, the white circle with the black line around it on a white background. This is the structure, the beginning structure of the great clown. It will be powerful. And it starts. It is rapid, but we will go slowly so you can see.

First the dots appear… two for the eyes, one for the nose… and a line, a little straight line, for the mouth. Next the ears are created with a little curved line on each side of the circle where ears would be.

So the clown has a face, the simplest line drawing to represent a face. Next, lines form to make a little area above each ear, designating a little hair on each side of a bald head, much like a circus clown would have. Next, a little hat forms, small and on top, again like that of a circus clown. Next, we see forming a wavy collar, like on the Dutch paintings but simpler and with only several convolutions or folds, and the collar is under the circle that is the head. And finally at the bottom of the screen, away from the head and in the corners, two hands form, as in outline, with a thumb and only three fingers, one hand to the right and one to the left, in the two bottom corners. The hands are not connected to the head and are there in the corners by themselves, just floating and moving there. We are complete. This is the clown. It is only the line face with the colors… and the speed of changing.

But now it moves. It moves and blinks and changes, as though one picture after another was placed on top of the last, and all are different, but everything is in the same place. The eyes and nose become circles. The mouth becomes a drawing of two curved lines tilted up or down. The eyes acquire color, and the nose and mouth the same. The hat and hair and ears follow. Then the hands have colors. The clown is created.

But the clown is not still. This is the place in the mind where we see colors, and the colors dance by changing in every blink of action as the eyes, nose, and mouth change from circles to squares to triangles to circles to a letter x shape and back again and keep blinking and changing. The hands are moving, faces are being made, the collar changes, and the ears and hat change. There is so much activity and changing, and it is marvelous to watch. We are captivated and feel happy with the wonder of what we see. This is the clown in all its glory. We cannot leave it; it commands us to watch, and we see the wonder of the blinding fast changes in the images and colors. It takes all our attention, and we are happy seeing its amazing wonder. We have seen the clown, the supreme line figure, the simplest, most complex item formed entirely by the mind. The clown exists, and we have seen it.

Then the beat weakens, and we are released, perhaps seeing the transitional clown that is on the smallest monitor and takes the big, colored bulb-like eyes of the main clown monitor and places them on the real face of a person, and likewise the bulb of a nose and a mouth, collar, hat, hair, gloves, all with color. The transitional monitor kind of blends the effects of the two monitors with part of their operation to form a single picture. And for a precious fleeting moment, we see a circus clown… only the face. The mind has combined the information of the two monitors while forming this transitional picture and trying to jump back to the real images on the far-right reality monitor.

Or else the beat weakens and takes us to the dance monitor where we see the outline of a full line figure colored in with one color and dancing happily. If we are dancing, this figure shows. Or if the music makes this figure appear, we want to dance. The figure can become as large as the two other monitors while it is performing. It can change in size. It is not a monitor but only the figure on the white background between the monitors.

It may now also be understood that the monitor area in the middle may be one total monitor, and the mind merely places several other monitors on it and manages them as it needs to and as brilliantly as only the mind can do. The reality monitor on the right is separate and fixed, and likewise the clown monitor on the left, but all of this is connected closely.

The beat weakens, and we are back in the cartoon monitor for a moment. It weakens further, and we are back in the reality monitor. The wonderful trip is complete.

With changes in the noise and music, we can continue to be transferred back and forth from monitor to monitor, and all the while, the mind is trying to get back to the reality monitor, but it cannot with the noise and beat, so reality thinking stops. The mind cannot work when it is out of its reality monitor and is disturbed, but the other monitors can hold, and the main clown monitor can hold strongly until the sound is gone.

My explanation is that these other monitors use less memory or capacity to operate than the reality monitor, so the diminished quantity scales itself back yet creates something quite magnificent, in spite of diminished inputs.

If I wanted to confuse you, I would tell you the mind translates the sound inputs and makes the particular monitor use that energy to propel the images on whatever monitor it is currently viewing. Too much energy translates and breaks up the image, causing the mind to switch to the left where each subsequent monitor can handle slightly more external energy, until of course we enter the clown monitor that can handle any input of energy.

When people hear classical music, they can think. But as the beat increases, thinking stops. It is interrupted and stays interrupted. The louder the beat, the less thinking goes on until all thinking stops. So the loud music stops thoughts. But the pleasantness of the two other monitors occurs, and the person feels happy, because all outside thought is totally stopped, and the person is within one of the two monitors to the left, away from reality.

Believe and understand what you will. As the noise increases in the beginning, the reality of the reality monitor becomes simpler to more cartoonlike because the capacity feeding it is being attacked and diminished, until the monitor is attacked too strongly, causing it to jump to the cartoon monitor. It does not stay in the reality monitor; it jumps to the left.

When I wrote of the children and adults watching a circus clown performing, and all saying the same sound together when the clown appears to be sad or to hurt himself, or they all smile when good things happen to the clown, it is because they know the clown because it is inside their minds. There is a lot more to tell you about the clown figure, but the motions of the clown happen to children and adults within their minds, and they understand feeling this way. It is not the entire way they understand feeling, but it is one of the ways. After we describe the rest of this, you can watch the wonder of children, and you may grow to understand my words.

As a side note, if you hear loud drumbeats and yell at someone to lower the noise because it is giving you a headache, what is happening is that the reality monitor in your mind is distorting and fragmenting, and you are struggling to keep it intact and operating. The monitor begins fragmenting, and you get a headache. First it weakens and then wavers and struggles to maintain its functioning, and when it begins to fragment, it fights to regain control, but losing out, it fragments and jumps to the left in a blink. The distortion gives you a headache. The mind does not mind moving from monitor to monitor because that is what it does, but it does not enjoy being blasted back and forth and not being allowed to form the images on the monitors. You get a headache.

Another aspect of the headache is that when a monitor tears itself off the monitor area or shuts itself down when it does not want to or in a way it does not want to, it feels negative feelings, such as sorrow, sadness, or pain. We will discuss this later.

The clown changes, not smoothly but as though each change is a picture being placed on top of the previous picture, all blinding fast, making it appear almost as though it is smooth. With the movement and color, it is one of the places we see color and understand it. The clown monitor is major, and because the mind switches and uses monitors for different things, we will later show that while the clown monitor is magnificent, it also exists on the middle monitor in a slightly different form and becomes a second item that functions along with the main monitors of your thinking. I have taken you into the mind to its furthest depth.

The dance monitor is not visible except when it is switched on, and then it forms as a dot about halfway up between the clown monitor and the cartoon monitor. The dot grows and performs between the two monitors, perhaps not immediately forming its own monitor. This is one way the mind calls up images and monitors, from a single dot that forms and then grows quickly.

This chapter has enabled you to enter into the mind. You are inside. The veils did not keep you out. There is much wonder to come.

You are inside the mind. You are seeing inside the mind.

If you do not believe me or do not know you are inside your mind, even though it may sound bizarre, your actual mind realizes we are inside… and I understand you and your mind to be two different things. You are only the outside and a kind of pasted-on surface being, only a momentary or temporary, partial configuration of everything actually inside the mind. The mechanisms and systems inside that are the various parts of the mind are deeper and can be aware you are inside, even if you do not realize it. You need not worry, because the mind is simple… and it is exceptionally wonderful.

Everything in this chapter is a major finding. There is much more to come.

Chapter 7

How the Mind Sees the Visual World

When you walk, the eyes see the surrounding areas. At the same time, the mind sees the surrounding areas, but it sees them somewhat differently and knows where you are and what is around you. It sees above you, for example, up to the sky or up to the ceiling and then to the sky. And it sees all around you, front and back, and side to side. It does not see below your feet. So you walk around in a kind of bubble, flat on the bottom, which is the floor or ground, and you are in that rounded, bubble-like shape, at least as the mind sees it.

Sometimes the mind doesn’t communicate with your outside body about what is around you, and it may not tell you what is above your head, so you bump it.

The other part of this is that visually you see where you are, and this is translated into being amidst the entire solid world around us. If we are outside, it is fairly large, while if we are inside in a room facing a wall, the mind sees this as our entire world, small as it may be. The room becomes the entire world for the mind.

This has an effect on how you see and understand the rest of the items in the world, such as other people, the land, other countries, other religions, and so forth. Perhaps it makes us more self-centered unless we keep the outward-going perspectives functioning in our thinking.

Nevertheless, the room becomes the entire world as the mind sees it.

Chapter 8

The Two Main Parts of the Mind

There are two important parts of the mind I want to describe. Before I do, the thing most easily seen in our being the person we are is our main conscious mind. We see and know we are here, and we direct all our actions, pursuits, and thinking. My belief is that some people refer to this as our conscious mind or consciousness. It seems to have access to whatever we require in being who we are in the world. It sits there and seems to see everything. But the conscious mind is on the outside, not the inside. The real operating mechanisms are behind the conscious mind where you cannot see. And most of it is extremely fast.

There is the conscious mind, but there are also two main parts of the mind just behind the conscious mind, just behind the slowed-down version, and you cannot see these two parts or even know they are there.

Before I tell you about the two parts that I call part A and part B, I will tell you a story about some of my thinking during the time when I was struggling to understand the process and before I actually discovered and watched the two parts working. The story took place before I understood, and therefore it is only for showing the interplay of the various parts of the mind. Things happen inside the mind that are incredible, and perhaps I am simply trying to give them an increased identity, at least for later on when they are described as they actually are, which will be very soon.

When I first started to think about the mind and before I understood all of this, I lifted my two hands off the table and faced them with the palms pointing at each other and about a foot apart. I turned one as though it was looking around the room and then turned the other as if it was looking too but separately. It was almost as if they were on a stage, and there may have been a room around them as I thought about it. These were the two main players in the mind. This is just a beginning idea and not what exists in the mind, at least not exactly. What it eventually came to was that the two main parts paid attention to everything within the mind and all its information and to the present circumstances with the person. It was a beginning idea of what they were and led me to understand them fully during a later time when I watched them work. It turned out a little differently from what I have just described; it was a bit more complicated and with more systems involved.

My story of the hands is only to make it more understandable in the descriptions. I am leaving this in because later I have to describe significant interplay within the mind, which is quite simple, and show how it all works together.

My left hand was to be my conscious mind or the center of my life actions, but as it turned out, it was not my outside conscious mind but the part inside that served my conscious mind. It was within the mind and behind consciousness, but I think of it as the main connection with everything, although it is not at all considered to be connected to everything. As it became apparent, it is the center of some significant operations and the part that observes and requests and decides and approves and selects. It is what I call part A.

We learned in books that there are two sides of the brain, connected by something called a bridge, which possesses billions of wirelike connections so the two sides can communicate with each other. Nothing goes well if the bridge is cut, so the two sides of the mind are dependent on each other. At least, that is what I understand from studies. Perhaps the parts we are looking at here may reside in different sides of the brain, but I do not know, and it does not matter for our current purposes.

The first part is my hand on the left, and is called part A. It is the center of communication. When it needs to know something, it asks the second part, called part B, which is the hand on my right. This description is now so simple. The part on the left, part A, does only one thing. The left asks the other part on the right, part B, to answer its requests or questions. When it asks, it is saying it needs to know whatever it needs to know. The second part, part B, serves the first, so it goes and seeks the answer. If it takes a second, it responds. If it takes a week, it responds. If the person has to perform actions to create answers for part B, I believe the part A directs the action to satisfy part B that seeks. The right hand part, part B, knows what is missing and how to find out, and somehow part A understands and searches in the outer world by various means. The interplay goes back and forth. The one part is the leader, and the second serves. The one asks, and then the other answers. It is so simple. That is all.

The part that seeks, part B, performs tasks in memory or creating information through mental processes. It searches all memory and has access to the entire mind. It works continuously until everything is answered. Once asked, it works to completion, no matter what.

Before we go on, I will write this again. Part A asks, and part B answers. And part A directs part B by asking a question, and part B serves. Soon I will describe