An Inability to Draw: Understanding Portrayal

Understanding reality to be a collection of concepts like knowledge and duality, which also represent stories of behavior, we experience these living ideas, evolving and growing in parallel with our being; without us they are lifeless, but with us they are alive.

Economics, justice, morality, they are all living stories and living building blocks of the mind that we experience. These are our angels.

In this world all of the rendering of these stories is done for us. Our renderer is given to us by a long time of evolution, as our stories remind us.

Perhaps, as we gain a little more freedom with the power of technology, there will come a time when we are faced with a question. What is the meaning of reality?

Is reality a series of practical mechanics which allow one to climb himself from a hole, as is the most profitable belief? Is reality just a reverse equation of negativity: its whole purpose to undo its own flaw, returning to a default state? Is it just oil and water separating after having been vigorously combined?

We get there — to the surface of Heaven — and we can see seemingly an infinite number of problems it could’ve had — the possibilities are theoretically endless.

Aside from being plenty fine and healthy, there’s something to do in Heaven. Sure, there’s all the stuff from the movies and video games. That was fun, but it improved. Chasing the missing element of desire, entertainment evolved to feel perfect and natural.

Realizing the arid cognition of a dot-follower, games and movies became deeper and more complex, soothing the injuries that had been done to our souls. This was done by alluding to the very concepts that define our thinking — the very cognitions which host our intelligence — the very patterns which define truth. Insight was key. Exploring the truth of consciousness became prized in the world of media; clever caught on quickly and the world was filled with a currently impossible wisdom, collected and perfect, enamored and enthused, intelligent and creative.

But what does it look like?

This brings me to the meaning of this post; we don’t even see the world of portrayal yet. Without the ability to manipulate it, we hardly realize its existence.

What exactly are we experiencing? Are we really experiencing atomic physics?

We are experiencing stories which echo, evolve, learn, and mutate. Stories which go back so many years ago — a distance that is difficult to know — into worlds made of time differentials, to worlds made only of lines, to shadier places who focused on knowing what was around the corner, and to worlds made of yin and yang and the stories and colors these forces tell and display, the allusions to an imperceptible normal of this world, weaving like two dragons, fluorescent and brightly glowing due to the effect of pronounced contrast.

We experience stories is the truth. We don’t care about the mechanics so much as about the experience. This is when we learn to draw.

Instead of using the plain default reality, we learn we can portray the stories of life in very many ways without actually lying about anything that anyone actually cared about (the people and the emotions and gestures and whatnot, but the atomic composition wasn’t usually a concern, unless the activity was specifically about that).

We’re thinking about something. Even if we solved all of the science, we’re still doing something; we don’t have any intention to stop. We think about these stories of which the mind is composed, so if we’re thinking about these stories, we might as well design reality to portray these stories. The power to manipulate becomes realized, and the distinction between realities becomes an antiquity.

You may ask, “how could we believe that the virtual reality was real?” It’s because the important aspect that we were using to define this reality as real was the power to manipulate the reality, instead of the background behind that power. This is because if we can manipulate the reality to our desires, then we consider it completely real and at least as capable of accommodating the various actions of life. Extrapolating this information that makes reality realistic, and recomposing it in different ways can be expected to lead many, if not all but a few (who like to hold on to things like that), into the belief that the old reality was just another portrayal, considering the different realities would logically be indistinguishable in realness.

Understanding this more thoroughly, the ability to alter the reality leads us to believe that because we have power over it, then its real. The ability to masterfully alter the reality is a connection of abilities that extend through all different perspectives. It’s a network of actions and possibilities that are perspective ambivalent in the end.

The effect this has is obscuring the master/controller dynamic of the reality structure.

We draw reality to illuminate and animate, beautifully, all of the emotions of our being. We find this is actually the natural way of being. We draw emotions and tell stories with paintings of beautiful realities.

(We’re here, possibly, to fill our repertoire of memory, which in heaven, is a pallet of the colors which define you, becoming ever more detailed in a most perfectly divine way, and reality is your and everyone’s canvas.)

The look of the future is difficult to describe today. It is like living in a song, the world and emotion as one — all portrayal is a tool of the artist and sage, which we find, is everyone. I think this because it is the most natural way for consciousness.

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