Yuki’s Livrary

  • Creator
    Topic
  • #79
    EricEric
    Keymaster

    These are excerpts from Yuki’s diary, explaining some of the details of the experiment called — Malvina’s story —.

    Note: for the reader not familiar with all the names here is a quick reminder:

    • Araili > Yann, Írtak, Sam, Jacob …
    • Armelle > Fiona, Arona, Tina, Qixi …
    • Rafaela > Dory, Illi, Becky, Rodney …
    • Yuki > Quintin, Al, Janice …

    September 12 th, 2007

    Today, an experiment has been launched by Quintin. Time will tell if it will bear some fruit, but the idea sounds good.
    Having people join in a story telling, and see what happens, what are the “lessons” one can draw from this…

    Armelle, Rafaela and Araili are already on the starting-blocks, though Quintin is not quite aware yet.

    I can hear some thoughts: Let’s say for the moment that there are no rules. We will see what prompts the desire for having rules…

    September 13 th

    Some of the people familiar with Janice and her friends’ adventures have already joined in with much enthusiasm.
    This first comment seems very promising.

    Right now, it feels easy and fun.

    Quintin seems to think that everything is very straightforward.
    The magical world with the cave in one part, separated from the “real” world. (Two Worlds, and he thinks that will be enough to content Rafaela, ahaha, how presumptuous)
    The first he sees as a representation of what psychologists think of as “subconscious”, and the other being the conscious, physical part.

    But of course, he thinks he knows better than that. He calls the first one “subjective” rather than subconscious, because it’s a translation of subjects which unfold in many related objects in the “objective” or physical world.
    That’s a good point, though a bit distorted. It would be better to say Malvina’s World is a translation of the subjective, in the manner of a Heroic Dimension.
    But the thing is, that he missed the point in thinking one World is more “real” than the other.
    We’ll be having some fun soon…

    First remark… The second comment of the story has been interrupted abruptly in the middle of a sentence. That is interesting. We will urge Quintin to leave it as it is, despite his feeling of it being awkward.
    We will appeal to his imagination.
    It seems he has heard the suggestion.

    September 14 th

    For the most part, the story starts to get much involvement. Lots of energies are being projected into it, and with every adjunct, each participant’s perception stretches to accommodate the changes and smooth out the bumps in their own sense of continuity.

    But as I expected, some challenges seem to appear already.
    Is it raining or not in that world?
    The question seems simple, but it is very profound and Fiona seems to struggle a bit with it, as is Quintin. The question frame itself [“that World”] shows where the difficulty lies.

    He seems to avoid the discrepancy and pretend that he has not seen it. Mmmm, avoiding the obstacles… that will very soon come right back in front of you dear Quintin, for Dory is quite playful.
    At least Fiona has been challenging Dory for not paying attention… Armelle’s ineffable loving ruthlessness!
    How will it unfold?
    Rafaela seems to be delighting herself as though she’s preparing some mischief, but Dory struggles in the “back”…

    September 15 th

    Dory is indeed very playful and her imagination is unrestrained. I extend much appreciation to this focus of Rafaela, especially as Quintin has to stretch his imagination to make things “fit”.

    Quintin is still avoiding the issues that appear sporadically and prefers to stay focused on his own perception of the story… Careful Quintin :face-smile:

    Yann joins the fun —objectively, that is, for Araili has been present already since the very beginning.

    September 16 th

    Halcyons days…
    My dear friend Archie is answering some of Quintin and Yann’s questions.
    Something starts to dawn on Quintin. But his mind is on other matters.

    He understands that the energies of the writers are melding in writing the story, but he still tends to think that they blend completely.

    September 18 th

    Quintin has been drawing some of the characters of the story. It’s interesting.
    He had good insights, as Yann will tell him later that his clothes today were exactly the same as the colours he had drawn.

    Characters drawn:

    • Mavina, Leörmn the dragon and weaszchilla, Írtak, Huÿgens (and Fjutch), Arona and Illi (the gripshawk)
    • Malika, Quintin, Yann, Fiona and Dory

    Interestingly, Fiona resolves her issues in her cave.
    Dory too, but she did not need the cave to do this.

    September 21 st

    For Quintin, the story seems to lose all common sense, as some characters move from World to World. You could have expected that Quintin!
    And Dory pops in and out, in her mind, in her dream state, or in future timeline mixed with present or past one.
    Quintin will soon realize that he himself is doing this constantly, though he does not register it.

    But the worst thing for him is that there are bleedthroughs in between Worlds. The Reality Times newspaper was brilliant Rafaela, a perfect trigger for the beliefs that the Worlds are closed and impermeable to each other!

    Archie has been answering new questions about that story and this had been quite interesting for all of the participants.
    There is much for them to digest from the realization that each of them had been creating their own versions of the stories through their perceptions. And that they were each having their version of the story, drawing from each other’s input, like a conductor of an orchestra incorporating some instruments.

    Of course, some things still matter, and one of the point of the story is also to discover these.

    September 22 nd

    Quintin has been drawing new characters.

    Characters drawn:

    • Båd Al’Guz (Bådul), BelleDora, Buckberry the dragon, the twin dragon eggs, Archibald the parrot, Sanso the Wanderer
    • Illi Fergusson, another Illi that Quintin has tried to sneak in as a bait for Dory, with hints that she is disengaged (or “dead” in common vernacular) and merges with others of her focuses…
    • Jacqueline Bleomelen (Nanny Gibbon), Lord Wrick, his great grand children the twins Cuthbert and India Louise, Manfred, William P. Jobsworth the painter

    A new perception trick: Dory felt relieved upon seeing the moth feelers of BelleDora.
    She had at first thought they were whiskers, which was not Quintin’s intent…

    September 23 rd

    Quintin seems to have connected to a map drawn by Lord Wrick, when the old Lord has started to document his great grand children travels.

    Quintin had tried to put some annotations on this fragment, but he doesn’t yet completely understand that his perception of this World, though accurate, is only valid in this present moment, and may change at any time.

    Up to now, here are the names he could find:

    • North: the Icy Lands, and Dragon Cemeteries
    • Center: Goldfindely, homeland of Arona, connected to the Warring Kingdoms of Lan’ork by the Isthmus of Ghört’s Hammer. The Isthmus of the Dragon Head seems to lead to Malvina’s cave and hideout. Mount Elok’ram is pointed as the highest place of the World yet discovered. Three main rivers are drawn: in the ancient myths of the people of this land, they represent the three Daughters of Ghört, weavers of men’s destinies: Tibreÿa, Uleÿa, and Snimeÿa. Snimeÿa cuts the thread of life, which is shown as the river leads after many meanders to the Marshes of Doom.
    • Far East, North: the Land of Båd Al’Guz, Åsgurdy. A harsh mountainous land of islands and seas.
      Both parts of the World seem to ignore each other till now, as they are separated by the Great Rift, which in the past has deterred many intrepid navigators.
    • South: the Desert Lands. Illi’s birthplace, rarely explored by humans thus unaware of most of its marvels, gripshawks nomadic tribes included.

    When he discussed Arona’s village with Fiona, Quintin had the vision of some dolphin-like creatures, but bright yellow. They are called golfindels and are mostly seen on the northern shores of Arona’s homeland, which is thus called Golfindely.

Viewing 10 replies - 1 through 10 (of 10 total)
  • Author
    Replies
  • #1308
    EricEric
    Keymaster

    September 24 th

    Quintin remembered a snapshot of the notes that Dory had taken during her first trip to the Madagascan caves, a year ago.

    Relevant extracts:

    At one moment, I saw some hooded figure in the sideways tunnels… He vanished on the left, couldn’t follow him…
    […] HE KNEW HIS WAY INSIDE !
    When he vanished, I had the vision of something, […] like the layout of a labyrinth, of cave tunnels — that are all underground and the many entrances are all over the world… PORTALS
    focus opening/doors ; time/space…
    The central cavernous part is some kind of key center, where anyone can meet…

    This has inspired Quintin to write some notes too.
    He has the vision of these portals organized as clusters, like a tree, with branches and leaves… I will send him a more detailed image, but that may take him some time to digest!

    September 26 th

    The latest additions to the story have inspired Quintin. He had some inkling of how “essence” (or what is somewhat referred as “oversoul” ) and all the “focus” of essence (or lifetimes) interplay, and are not as separate as they sometimes seem to be.

    Here would be what we will say to him, if he wants to listen:

    « Now, terminology can become tricky as, for much time, you have been accustomed to be considering of your experience as the projection of that of an “essence”, somewhat separate from you, the lowly focus.
    Of course, you pretend the contrary, and become quite nifty in brandishing sentences like “I am essence, and I create all of my reality”, which you are and do actually, but that you do not always believe and trust.
    These terms of “essence” and “focus” were given to you as means for you to better understand the interplay of consciousness. In the beginning of the acquaintance with these new terminologies, you have felt them remotely blurry and unrelated to previous concepts, which was the intention. But now, you once again objectify your understanding in something too rigid at times, and that little story is giving you a hint of what your real power is.
    And you begin to really experience it, and really pay attention.

    « As was expressed many times, “essence” is no thing. It is an action.
    The “essence” is each of you, that very portion of you that you feel when you slide your attention into the comment box.
    In that, your purpose, you see, is only to experience, nothing more, nothing less.
    And then time, as you know it, becomes irrelevant, you see. Your natural time is expressed through you and your explorations.
    Notice how playfully, as essence (essence playing focus or focus playing essence), you let your natural time unfold, and at times find some strange weather pattern in your awareness that needs clarification. As essence, you playfully find the most perfect habits [shapes and clothings] to wrap around you, and continue your story.
    Just as your dreams at night overlap and blend into each other.
    Just as Rafaela created new focuses [Sam and Becky] to continue to play and make the story expand for all of the other focuses, Dory included.

    « That “I” of you is ever present, and is reflected perfectly in others’ perceptions, as you are drawing them to you purposefully. Do not brush aside their adjuncts, for they are also you, having moved your pawns forward, so to speak, through their moves.

    « Thus understand that the story is a continuous stream reflecting the essence that is you, and your travel through the various guises you borrow.
    In that manner, it does not matter how much sense it makes in linear terms. Because, in a way, it can’t make sense in these linear terms.

    « Let us explain this in other terms.
    When you found difficulties in understanding the “scheme” so to speak, the figure that is drawn by the participants, it is because you apply the linear understanding of what such a scheme should be.
    In that, you only perceive the “plot” as a succession of dots without a continuity, whereas the continuity is to be found in the other stories interwoven.
    You are accustomed to stories where a single individual is enacting throughout the play, in a linear continuous fashion. The individual goes through many different actions, but is always the same in your perception.
    Here, the tricky thing is to notice the continuity throughout the various habits [clothings] taken by the essence(s). It matters not that the essence takes that guise of say, a pirate sailing on high seas, just after having been an old crafty Lord in his windy castle. The underlying aspects of his exploration has been continuous and coherent: in this case, exploring and making sense of one’s exploration. It is just that a certain appearance has been perhaps more fitting to express certain aspects or qualities of essence, but the exploration has been one, throughout the entirety of the experience.

    « We will let you ponder this, and we will continue our own story, writing about you… »

    September 28 th

    This sand symbol that Quintin has brought up seemed to have come from many directions at once. Each character has connected it, in various ways.
    Armelle (Arona) to her magic, Rafaela (Becky) to her collecting customs, etc. etc.

    Let us say that this symbol is not as innocent as it may seem. There are lots of associations with sand.
    It is solid, yet fluid. In association with water, it can be used to build, and also to erode. It can shift into many forms, one of which is your glass, and your electronic components.
    And most of all, it is, after your very oxygen, the most abundant constituent of your reality.
    It is almost limitless in your understanding.
    As is your magic.

    This magical device we made Quintin see in a visualization is an analogy of your very action of creation as essences.
    The sand which molds itself to make forms and shapes in three dimensions is in fact likened to your consciousness. Each grain of sand represents your links of consciousness that bind together to do your command.
    The shapes are moved by your essences, in which you may see that the essence is no thing at all, but is a continuous stream of action, not separate from others’.

    As Quintin said to Fiona, some individuals do differently when they create and shape their sands.
    In analogy with the coloured sands, some people like Quintin enjoy using other people’s colours in shaping his own characters, while some others prefer to keep their own colours, to create a more definite sense of individuality. But they integrate the others’ movements and shapes nonetheless, regardless of how much they perceive it to be coming from them.

    With that said, let us see how much more will appear from that sandbox…

    September 30 th

    The Wrick family tree as it is now (or “will be” drawn around the time of the twins in 2057).

    The Secret Life of Margaret Wrick , a newspaper cut from 2033.

    October 7 th

    The dragon Naasir’s dream
    A panorama illustrating the portals between the worlds created by each of the participants… But who is dreaming, really?

    And an illustration of Chiara’s encounter with the glutton “dreggun” Buckberry

    #1309
    EricEric
    Keymaster

    October 12 th

    Lots of movements have been started, movements of expansion, and the joint efforts and ventures took off for new exciting potentials when the migration to the new “expanded sandbox” (as playfully expressed by Quintin) has been completed.
    Interestingly, it has been relatively painless and quick in both the find of the perfect “method”, and the perfect “tools”. In noticing how the feelings where acting as a compass that was telling him whether he was in the right direction or not, and in trusting them, Quintin has incorporated that tool without previous knowledge of its potential use. He just knew it was right.
    And so it is.

    October 16 th

    My dear friend Elias has expressed some time ago this, which may be interesting for the adventurers to read and see how it applies to them…

    “I expressed to you at our last meeting that some focuses continue each other as ‘sequels’ of books. … They are continuations, so to speak. Although they are not accomplished linearly, you may view them as continuing chapters of the same story. In this, they would be considered parallel focuses. You may view within your new game many focuses in which you have held experiences quite different to each other. Then you may also view some focuses that are seemingly related. You are engaged with all of the same characters within a continuation of the same play.” [Elias, #142]

    #1310
    EricEric
    Keymaster

    October 21 st

    What’s the use of a new-born baby?

    An interesting reflection is prompted by Armelle about the need to understand things for some of our focuses.

    « I can do whatever I like with your Stories, give them any Meaning I want. It doesn’t matter… » (Armelle)
    « Of course! that is the Magic of it » (Rafaela)
    « And we can see them as Seeds. You don’t need to understand how Seeds work to have them grow » (Yuki)
    « Yes, in a wild Wilderness. A weedy, overgrown, yet mysteriously lovely Wilderness » (Armelle)
    « A modicum of Cooperation but largely total Freedom to make what you Want » (Rafaela)
    « It’s a repository of Energy Seeds » (Yuki)
    « A weedy, overgrown, yet mysteriously lovely Wilderness » (Armelle)
    « Yes, that too! Or,… an Eden Garden, with a hovering scaly stinky beast . May it be either an English, Chinese or French Garden, whatever pleases your tastes… » (Yuki)

    #1312
    EricEric
    Keymaster
    #1311
    EricEric
    Keymaster

    October 23 rd

    “I may express to you that each of these chapters basically, so to speak, are not necessarily identified by one particular action, or that they are accomplishing one particular direction, in a manner of speaking. But that they all incorporate actions and movements that create a contribution to your awareness in this focus.

    “They all lend, in a manner of speaking, energy through experiences to you within THIS focus that benefits your movement in allowing yourselves to widen your awareness and insert this shift in consciousness into your actual objective reality.

    “As I have stated, this shift in consciousness, in a manner of speaking, is an enormous undertaking. It is a Source Event. And as you are aware, Source Events are so immense within consciousness that they may not be entirely inserted into your physical dimension. They are, in your terms physically speaking, larger than your dimension incorporates the capacity to express.

    “Therefore, in recognizing this immensity of this movement and this creation within your reality, one focus, one time framework would be overwhelmed in attempting to create this type of movement singularly, and independent of other energy and other focuses that may be creating experiences that shall offer you as essence the type of opening within this physical experience that shall allow for this insertion of this shift into your actual objective reality.” [Elias, March 02, 2001]

    #1313
    EricEric
    Keymaster

    November 9 th

    For Yurick, or perhaps shall we say, The Artist Formerly Known As Quintin this sequence of sequence of 911 has the signification of a reminder to be paying attention to self, and being present to himself.
    The last few days have been, in appearance, quite devoid of exciting new installments of the story, yet, we nudge him not to judge this lack of activity on his part as categorically as he has been used to do. It was a time of self-retreat, a time we have shared with many other essences, as all is connected.
    A very fine point which has been brought forth by Elias a few days ago (in Yurick’s perception of time) has been that you want to appreciate the process. His illustration was that of a beautiful flower bud that you hold, and that you don’t want to tear open, but rather let itself reveal its splendor, and also, its surprises.

    It has prompted Yurick to remember something, which had lots of meaning to him.
    Some years ago, when he was in Kyoto’s forests, he picked up an acorn, as he liked to have seeds or tree corns in his pockets. Back from his trip, in his home, there was this big pot of earth were an old plant had died from the summer heat, and he planted the acorn in it.
    And he waited. Till he had to move, some months later, having renounced to have the acorn grow at all, as the soil’s surface was remaining desperately flat. Perhaps it had rotten altogether. Before leaving the apartment, Yurick started to rummage with his bare hands into the soil, to look for the remains of the acorn he believed had rotten, only to find it perfectly healthy. And even more, it had grown lots of long roots.
    So he took it back home, where it was planted and still continues to grow at a rapid rate.

    Looking at the now big sapling reminds Yurick how that process of growing roots was important for the plant, as they were essential for the oak to be able to survive the winters colds and the summers heats.

    Such is the importance of these moments were inspiration seem to be scarce, or away. It is ever present, growing its roots very carefully inside the soil of your being, and expanding your connexions, redefining some, bringing new nourishments to yourself… The effects are not always immediately visible, but things never cease to move.

    Be prepared to be amazed by the colors of the flowers and leaves your seed produces, for as Yurick’s oak was an unusual kind of oak (a chestnut oak ), the very seeds that are in your pockets or waiting in the soils of your dream gardens may reveal their own surprises…

    #1314
    EricEric
    Keymaster

    December 3 rd

    ( Hey, that’s 12.3, might be a hint for growth… Yurick)

    A communication about coordinate points, and how to travel between idea clusters

    As the story starts to develop in a rapid and very intertwined manner, much like waves in the ocean, overlapping and rippling from and to many directions, Yurick became concerned that it may be difficult to keep track of, or rather to retain an ability to graciously navigate in it.

    Let us imagine for a moment. Take your own life. It is composed of a multitude of moments. Your construct of linear time gives you the impression that there is a continuous succession or stream of moments.
    In a manner of speaking, it is easier for you to grok the concept of multiple points of attention for your naturally associate them with your space. You can easily envision your many focuses happening all at once in a variety of places, towns or countries, and having a possibility to zoom in and out, so that to encompass more than your single current focus.
    But what you do in engaging your conceptualization with your focuses would be equally valid were you to engage it in relation to that single focus that is you, in all of its moments of actualization.
    But that would be far less familiar, as you identify quite strongly with that construct of time.

    As that story unfolds, you discover that there are an infinity of points of attention dispersed in many many comments, and one comment can include many more than one point of attention itself. What you would be tempted to do, for it is something that is very automatic in your current associations, would be to attempt to draw lines between the points, to recreate a linearity, and thus facilitate your understanding of a certain action.

    This is unnecessary and within your current movement of expansion of awareness would be counterproductive.

    But you are familiar with that concept of coordinate points. For most of you, you once again associate them strongly with the space continuum, but they could be used in many many other situations. That story being one of them.
    The coordinate points are in a manner of speaking, conglomerate of very coherent energy; they would not be “points” per se, but rather high concentration of these points of attention that your attempt to link together.
    As such, they become the links that you are in search of, for in that drawing of energy points of similar expressions, they also become passageways between the associations that the points are linked to.
    As a matter of fact, the “point” that you come to identify to the concentrated cluster of points would rather be a tone representative of that coherent energy that you can use to activate the links contained within that cluster of points.

    That would be the reason why Yurick, in coming to understand that concept, has slightly adapted the original cloud of tags in the story, so that it can expand and be used to access the coordinate points that the tags are, quite simply.

    #1315
    EricEric
    Keymaster

    December 5 th, 2007

    My dear friend Elias has whispered this to Yurick this morning, which he has apparently connected.

    “Through your inner senses, you may connect with vibrational tones. Everything within your perception incorporates a vibrational tone. Your table incorporates a vibrational tone. Every molecule, every atom, every unit of consciousness incorporates a vibrational tone. Therefore, within your inner senses your ‘objective,’ so to speak, would be to be connecting with an individual scenario of connection of vibrational tones, of which there are more than you may count.” [Elias #79, March 17, 1996]

    #1316
    EricEric
    Keymaster

    January 4 th, 2008

    A communication about legends, to complement what Yurick had connected to during his sleep, with ties with the dimension of Alienor, and possibly counterparts within his dimension

    Starry sky, eternal and boundless waft of dreams and legends…

    Many if not all of the physical dimensions possess legends. Legends of their beginnings, and legends of their ends.
    The language which legends speak is a language of symbols, and though many of the receivers of legends are prone to erect them as absolute and faithful accounts of historical soundness, they are much more mutable and protean than what may be commonly thought of them.
    They are connections, bridges from a locus (point in time/space) drawn as a frontier between what is known of the now, in which civilizations of these worlds are thriving, and a locus which is forgotten, or beyond the commonly perceived world.
    As such, they essentially represent boundaries.

    And of course, boundaries are only boundaries because they serve a purpose. Much like boundaries drawn on maps are not necessarily representing actual obstacles which cannot be physically crossed. These are mere perceptive frontiers, which tie in the various developments of history and societal relationships.
    When the civilizations, or species, as you understand them, come close to one of these perceptive boundaries, there is an interaction with the very nature of the boundary, which is receptive to the inception of volition to cross the perceptive limitation.
    And a process of reshaping and expending the borders takes place, by means of insertion of new legends.

    Legends, in that way of seeing things, are not necessarily old dusty accounts sung by blind bards with jovian white beards. Not quite. They are much alive. They are created and recreated in the instant where boundaries of perceptions are being tempered with. Which makes it important to notice that they are translations of much wider movements in consciousness, spanning more than the physical dimension in which they manifest.
    Many of the legends that humanity is aware of are very similar accounts, throughout your globe. And they are also projected in other dimensional areas vibrationally close to your manifestations.

    You are currently fiddling with the legends of your ends of times, and that is the reason why at the same time, you are starting to create new legends. Legends of new beginnings.
    In actuality, this is done oftentimes; each time a perceptual limit is crossed and seen beyond. The only difference here would be the unprecedented span of the process which is occurring now. The point where you are standing, prodding into the interactive frontier you have come across is not a single mere frontier, but a converging point of many of tinier, shorter ones. This also creates a singularity which makes the frontier respond with a sort of inertia. In fact, it is like a wide net of fine threads, which possess altogether a high absorbing potential for small energy bumps. Nonetheless, it will give way to a vastly expanded perception, as soon as the collective energy is focused upon, and steadily moving into the direction of pushing that protective envelop.

    That process never ends, and during that process, new legends are being remembered. For the lands beyond the frontiers exists when you are aware of it, which in retrospect also means, it is created, or inserted as you are prodding the frontier.
    In fact, you are, as you stand before that specific nexus point, being creating new legends, in that you are evaluating the potentials that you see fluctuating as a shadow world through the layer of a soap bubble, and have them blend with legends that you know of.
    Your very lives become the legends of these potential worlds, and thus is the importance of your being at that locus of transition. You indeed come at that point, as much for making it possible but more so, to experience the transition and alteration of the legendary landscape. You are the bridges between a future which you are creating as you remember it, and a past which contains the clues that will be seeds for your new discoveries.
    And that is a most rewarding travel, as you will come to see…

    #1317
    EricEric
    Keymaster

    January 21 st, 2010

    About Worlds creating and dreamwalking

    Has it occurred to you that your current technologies [such as social websites] are more than a little reflection of what you are doing as essence.
    It is more indeed, and very useful as an analogy.
    You have, for one, certainly noticed how different the “feel” of certain of these “sites” is, even when you are most of the time surrounded by the same set of friends and relationships? Yes you have.

    Let us call these sites “dimensions”. Yes, it sounds familiar, doesn’t it. You all participate in some manner into these, and you all have persona of yourself in various of these. They compete for your attention, and some of them are more popular than others —these are the ones which offer you the most fulfilling experience, not necessarily the most pleasant.

    In many ways, you connect as essence through these dimensions, which reveal aspects of your personalities, aspects that are not always visible or noticed in a direct interaction. When you congregate through these sites, you also start to realize, you have access to all of the others as essence, either through proxy of friends, or by direct interaction. You are all connected.

    They all have different rules, or shall we say, conventions; you can do certain things, certain others you cannot (or not yet), and others, you can, but they are not well tolerated or accepted.
    We let you do all the fine analogies, you mostly get the idea. The technical rules behind those sites are like your mass beliefs. They are helpful to maneuver your “avatar” —that focus of yourself inside the system— and without them, there would simply be no interest, no interaction, no experience.
    Of course, these beliefs can be bent ; with applications, made by these people wanting to develop new systems plugged into the architecture, to offer new functions, or interactions with others of these sites or dimensions.

    The creators of these dimensions are similar to dreamwalkers; some of them are bent on technology and development of the system at its core, but not all of them. Many in fact come with other intents, such as making the dimension a more beautiful, interactive, attractive or pleasant place. They all work together to bring the experience of the envisioned dimension to the other essences —and at some point, they also choose, themselves to interact, as a focus, fully part of their created dimension.

    Having that in mind, would it not seem natural that you would integrate more functionalities to these sites, if they respond to the promises of keeping focuses interested? What you call “upgrades” are in fact a major part of the conception of these dimensions, and occur quite frequently, either driven by popular demand, or by technical need.
    Such is the nature of the shift you are experiencing, which is above all a tremendous upgrade [of mass beliefs] towards a more integrated experience, without simply dropping the current dimension for another.

    We would finally like you to notice also that even if the biggest of these dimensions are calling for a great part of your attention, you also are attracted daily to countless others, little sites and areas, the purpose of which is different, but not less significant to your whole self.

Viewing 10 replies - 1 through 10 (of 10 total)
  • You must be logged in to reply to this topic.