On The Mind
The mind has many components. It has many lobes and faces, grooves and dips. It is teller of reality, and purveyor of falsities. It doesn’t judge but merely hints. It is truly an amazing work of machinery. Still, in all its wonder, it is simplified. It astounds me how simplified it remains. The power of the brain is unknown to most. Most are subject to its whim. They do not realize. The brain can usually be categorize by processes that are conscious, unconscious, and subconscious. I am of course not talking of thought processes or morality, but workings of the brain that are sectioned off. Your thoughts are conscious. Your dreams are unconscious. You digest food subconsciously. This is known. What isn’t known is the specifics in the overlaps of those systems, and the unknown systems that overlap them.
(OVERLAPS S/C (SUBCONSCIOUS)(CONSCIOUS) PLANE)
(RAPID EYE MOVEMENT PLANNING via CLOSED EYED VISUALIZATION PLANE)(REMP’VI’SEV)(OVERLAPS MOST PLANES (S/C/U) )
»MIND’S EYE PLANE
(OVERLAPS C PLANE, SMALL PARTS OF U PLANE SOMETIMES)
A diagram shown and subsequently explained.
Firstly, the SYNESTHETIC PLANE and the MIND’S EYE PLANE may intersect with each other, depending on the individual and their awareness of their SYNESTHESIA.
The SYNESTHESIA PLANE (or SYNESTHETIC PLANE) also extends outside the relative intrinsic globe of The Self, depending on the individual and their awareness to their synesthesia, along with the type of synesthesia they may have. Certain types of SYNESTHESIA occur in the visual field (many of course also occur through other means, e.g. taste/touch, sight/tough, sound/taste, etc.), outside of the head. Other types include an involuntary visual response to music/sound that also interferes and exists partially in the MIND’S EYE PLANE, as well as the visual field. In that case, the two can compete for ‘space’. The MIND’S EYE is of course a completely conscious and voluntary way of thinking (one might say the most basic
way of thinking), and lives totally within the C PLANE, unlike its SYNESTHETIC counter-part. The SYNESTHETIC PLANE is a purely conscious phenomena (excluding drug/substance induced SYNESTHESIA, which, while able to occur on the C PLANE, has tendency to overlap into the U PLANE), and of course lives on the C PLANE. However, because of its involuntary and autonomic/automatic nature, it also lies on a type of S (SUBCONSCIOUS) PLANE (not pictured). Because the exact definition of SUBCONSCIOUSNESS differs between fields and also exists sometimes as a synonym for UNCONSCIOUSNESS, this plane has been omitted in the above diagram. It should be noted also that brief stints have been known to myself in which the S (SYNESTHETIC) PLANE does cross over into the U PLANE, being a purely anecdotal individual occurrence. In this event, music was played as I prepared myself for a memory meal, yes a NAP, and in this hypnagogic state, my (un)consciousness was momentarily transformed into the shapes and movements of the said music. It is still generally thought to be a C process, so it will be further noted as such. Experience is no substitute for fact (also, ha, sometimes it is!).
Next in line are the interactions of the MIND’S EYE PLANE and the REMPvCEV PLANE. Because these interactions are weak at best, I will attempt to mostly focus on the REMPvCEV PLANE, as it is generally an allusive and altogether difficult entity to describe to anyone who does not experience it, and all its special nuances in regards to the U PLANE.
The REMPvCEV PLANE and the UNCONSCIOUS PLANE have a unique relationship. While most are familiar with the U PLANE, I know not many are as well-rounded with the REMvCEV PLANE, if at all, so I will indulge in a (possibly long-winded) explanation.
The REMPvCEV PLANE
Some people are familiar with CEVs, or CLOSED-EYE VISUALISATIONS. These manifest, as the name suggests, when you close your eyes. You see spots, static, a visual calm, sometimes patterns and flickers. This is the common, this is the usual. The main difference between your run-of-the-mill CEVs and REMPvCEVs is two-fold. First, individuals with REMPvCEV do not require recreational drugs or mind altering stimulants/substances to see or experience it. Many wondrous examples of CEVs include alteration of the mind via ‘unnatural’ chemicals, or ‘unnatural’ amounts. While no less ‘real’, I address this issue in a purely ‘normal’ state brain (although, of course, ‘normal’ can be debated). Second, the visualisations existing on the REMPvCEV PLANE exist in a certain form wholly unlike those patterns or images perceived with normal CEVs. This form being ultra-intensive and hyper-realistic and detailed.
The REMPvCEV PLANE is completely natural. The user closes his/her eyes, and after a moment when the eyes have adjusted to the darkness, and all sprites and dots have receded, these gorgeous scenes, figures, objects, or abstractions will appear. They of course are always there, have always been there. Ones with the REMPvCEV PLANE find the visions are constant, a visual background of noise only apparent in the darkness. Perhaps this is why it is so unheard of, as many are afraid when it comes to the infinite pale. It is subtle too. Perhaps also the many are too preoccupied with their thoughts to even notice what lies before them.
The REMPvCEV PLANE is not visual tricks or patterns or optical illusions, but can include them. As mentioned before, an average vector with the REMPvCEV PLANE experiences a constant stream of scenes. These scenes move and change without a static moment. They continue for the whole of a lifetime, an impossible amount of time in which the worlds or visions seen never repeat. One may have the same dream over again, but one will never experience a similar REMPvCEV vision. It is the ultimate form of entertainment, created by the you, the/your brain. Our kind will never be able to achieve or create such a surreal, original, pulsing, contrastive, hyperbolic, or creative work. It is unfortunately physically impossible. Even if one were to begin work immediately after birth on some ground-breaking originality of self, your brain would have already behind the scenes been tirelessly creating, generating as a dividing cell. An unwanted side-effect of this occurs when discussing creative visual work with others. When I see art I am often disappointed. People ask me why but I can usually not explain correctly or coherently. If you’ve seen the ultimate work and continue to do so, what else can compare? How does one lie to a face and say, “Yes, this is very original, how did they think of that?” when you’ve seen your own brain iterate and play out that idea or visual form dozens of times already before? How does one become fulfilled as an artist when one has seen the unobtainable pinnacle? The impossible? The ever desirable? How does one stay sane? Contain one’s self?
I wish to discuss the visuals more, but through a metaphor to perhaps harbor more of an understanding. Imagine a Vision Box. This unit is no ordinary Vision Box though. Image it can display areas from throughout the entire known universe, and all other universes in the multiverse. All known physics, beings, entities, entropies, and matter. Imagine this VB could constantly pull scenes from across the multiverse, and display them to you. It would edit these scenes live, so one scene would transition so seamlessly into the next that you wouldn’t even know there were different scenes. No discernible point between one figure, land or object from the next. You of course recognize objects and things, sometimes
. Most of the time you feel like you know what you’re looking at, but are at a loss for what it is or what it does, or where it is or what it’s doing. But you know, you really know it’s something
. It’s nothing abstract or fuzzy. These are very detailed concrete objects doing real things, just usually in an entirely different context than you are alien to. Plus it is always changing; do you have time to think about each moment? To decipher every object’s soul? Sometimes it’s easy to describe to yourself because familiar things (or amalgamations of both familiar and unfamiliar) pop in about half the time (for good reason, as it is linked with the U PLANE) but usually it’s really baffling.
The REMPvCEV PLANE also has a few unique properties. For one, while it may seem at first to be static in that it is always changing but never able to be controlled/changed, you can actually influence the things you see time to time. One good way is to flood your visual input with many figures or shapes of the same type for an extended period of time. An easy example is video games. Video games often use a similar tile set, or similar enemies or have an overall cohesive aesthetic. If you play one video game for an extended amount of time, and then close your eyes, usually your brain (again, a brain with the REMPvCEV PLANE) will generate many iterative scenes comprising of the figures or aesthetic you have just subjected your visual cortex to. Much as your retinas will create an after image when subjected to an extended amount or influx of the same color or visual, the REMPvCEV PLANE will attempt to balance out the excess of similar visual input. Most never see it, but those with the REMPvCEV PLANE will see these iterations once their eyes have closeed and adjusted. You will never see anything you actually played, or recognize characters or places, only iterations and interpretations of the video game played via your unconscious mind. Think of it as a real version of SUBLIMINAL MESSAGING. But instead of quickly flashing a message, the unconscious is bombarded with the same message (or in this case, visuals) for a constant period of time. These visuals however, over a bit of time, will disperse as the REMPvCEV PLANE will attempt to achieve an equilibrium, and eventually after a short while, phase this video game aesthetic (or whatever aesthetic you have been subjecting your U PLANE to) out completely as it returns to its normal visual ‘static’ state. Another easy example to test would be to watch pornography for an extended amount of time (although not recommended), if you are in to that. The influx of naked figures all similarly thrusting and pulsing activates the patterning necessary in the REMPvCEV PLANE to initiate its iterative process. Playing a porn video game might be a bit too much though. For risk-takers ONLY.
Another unique property happens with the eyes open. This is easiest to attempt after freshly waking up, as a larger proportion of alpha waves helps the process. If one with the REMPvCEV PLANE stares for long enough, with his/her eyes open, at the same spot and without blinking, the vision of the user will slowly start to deteriorate. This is partially caused by a large amount of image burn-in, or after image. As mutliple burn-ins compile, the vision will start to get spotty and black in the middle (in most cases). If the eyes are kept open for long enough, in that blackened center the REMPvCEV PLANE will manifest. The REMPvCEV PLANE becomes easier to discern in that area after attempting a few times and blinking, returning quicker every time (as in, after each blink, the ‘blackness’ returns quicker during the time you hold your eyes open (without blinking)). The images of the REMPvCEV PLANE in this state, however, are usuall low-quality and black and white, or at least extremely desaturated. It is still an interesting experiment to experience though. This is consistant with the theory that the REMPvCEV PLANE’S process is constant and never ending, and not just something that starts up after you close your eyes or seclude yourself in the dark.
The last unique property of the REMPvCEV PLANE is, as mentioned above, having to do with the mind’s eye PLANE. When picturing a physical object, one thinks about it in your MIND’S EYE PLANE, where a visual is ‘seen’. Of course, it isn’t literally seen like in real life, but only in the head. For some strange reason, large amounts of concentration on the somethings seen in your MIND’S EYE PLANE can influence the forms seen in the REMPvCEV PLANE. The effects are usually extremely small though, so while you may concentrate on a CAT for «MINUTES», it may manifest only for a few seconds and only vaguely CAT-like in the REMPvCEV vision you see. While at first it may seem that one can influence their dreams via this fashion, it should be pointed out that this phenomena can also me mistaken as a form of confirmation-bias. While one might think of CATS, belief that even the most vaguely CAT-like form to be a direct result of your concentration would be fallacious.
As mentioned before, the REMPvCEV PLANE and the U PLANE are tightly nit, and the reason the REMPvCEV PLANE is called such and not just the CEV PLANE. These images, scenes, and iterations are in fact constant prep work by the brain to prepare itself with REM SLEEP
. This may sound counter intuitive, as why would the brain spend such an enormous amount of time preparing for something we only experience for a few «HOURS»? This fact might reveal that the time we MM/NAP might be more important to the function of the body and mind contrary to we think. The scenes and images of the REMPvCEV PLANE are the very things our dreams birth from. The very same substance that creates those tiny little jumps, jerks, and transient hallucinations that kick us before dozing off for a few. From these scenes the brain immerses our consciousness, telling us that not only is this what you are seeing, but experiencing. Although, much as the visions themselves, what you actually see
, or experience
might change very quickly
from the initial conditions. There are no clear ways to predict what one will dream about, even with extensive studies of one’s REMPvCEV PLANE imagery.
This is the constant streaming of your U PLANE, your unconsciousness. The greatest revelation of all - your unconscious mind consists not of heavy-handed metaphors or sexual urges regularly, but a fairly harmless visual display of extremely wide-spread scenes, interacting objects, and alien worlds. It means that your mind is normally a very chaotic place. It means that the brain is constantly at odds with what it is seeing and attempting to make sense of it, iterating it, generating experiments bases off the visuals, picking up the world and scrutinizing it, turning it, twisting it, squinting and rotating it hoping to explicate a panacea. A brain that is as desperate for meaning as you or I.