Name: Lensing
Nature: pseudo-spatial
Method: Focus on a spot in the distance, then sort of aim and release whatever keeps you rooted to your location. It's not quite a projection-within-a-projection, because whichever body you self-identify to, will sustain its presence through their process. It's faster than flying and less of a shock than teleportation.
Additional Comment(s): I call it lensing because the moment between "being here" and "being other-here" has the world condensed, distorted, or blurred in the interim-- just like adjusting the focus of a telescope or microscope. The experience is that of collapsing the distance into something smaller or just not there, but I do not consciously act upon the space around me when I use this.
Name: Genesis
Nature: pseudo-spatial, pseudo-temporal (sustainability), abstract information
Method: This feels like generating fresh new spacetime, and matter to occupy it. The result tends to be less resistant to change-- or changing back-- than perceiving something that's already there, and using what Stephen Berlin calls "dream emergence" to modify it into something else. It seems to come from the attitude that you can build the world that you want, that you are a creative creator-- rather than the attitude of adjusting to or reconstituting something that is already present. The process feels a little like the splashes that come from making a water balloon explode. On one level, I can imagine what I want the space to resemble, but it's the feeling of genesis that provides some subtle undercurrent, that "ensouls" the visualization with something to steady it-- far more than simply repetition of the envisioning can do. Although, repetition of the envisioning can help.
Additional Comment(s): By my experience, my imaginarium which was created with genesis, recently had some memories annex themselves... or, rather, encroach upon my generated space. I used more genesis to push those features away and it was fine, but it looks like something I should maintain every so often. Unfortunately, I don't know how to explain the development of this skill. It just came to me somewhat spontaneously, and I remembered what it felt like and so could repeat it.
Name: Annexation
Nature: pseudo-spatial, pseudo-temporal (memory), abstract information
Method: This is doing the reverse of lensing. Rather than you being pushed out towards a focusing point, that same force is synchronized with something familiar, focused on it, and then pulled in towards you. The force behind the Genesis technique above, can then be used to anchor the annexed area in its new place.
Name: Poppins Jolly Holiday
Nature: pseudo-spatial, pseudo-temporal (memory)
Method: This just might be a prerequisite to layering (see below,) but I'm not sure. It might help with understanding how to do layering, anyway. Many people who use tarot cards as focusing points for meditation, might have encountered a sort of "genesis reflex" or "passive genesis" where, in the course of the meditation, the scene at which they are meditating on takes on a life of its own and swallows the meditator up in a 360-degree world. This is far, far more passive than the genesis skill in that it feels like a far more derivative process. It's inspired by a source image, such as Bert's chalk drawing in the Mary Poppins movie, but the imaginative expansion feels more... reconstituted, somehow, logically extrapolated rather than intuitively created-- and channelled, rather than produced.
Name: Layering
Nature: pseudo-spatial, pseudo-temporal (sustainability), optionally: pseudo-temporal
Method: In basic metaphysical belief, the physical and otherworld often intersect without displacing one another. I use this understanding, along with annexation and image extrapolation, to generate a layer within a layer.
Additional Comment(s): The outside of my imaginarium is wallpapered over with annexed memories that I picked up while hiking through a misty coniferous forest-- the lay of the land, with a few unconscious changes. If you walked up to the edge of the wall paper, you would not walk into a wall. You would walk into that forest. The forest would intersect with the same space as the inside of my imaginarium, but you wouldn't be able to get in because the outside wallpaper attunes whoever witnesses it to its own layer. Sort of like a recurring gag in Loony Tunes, where Wile E. Coyote paints a road on a brick wall, the Road Runner runs into the painting as if the painting were really what it was a painting of, and Coyote runs after Road Runner only to run into a wall instead of into the painting on the wall. The imaginarium that I have, which is defended in this way, has walls from the inside but no outside for itself except for these illusionary layers and the keys within them. And maybe Eddy's locker room, wherever the outside of that might be that isn't stuck to my rooms. It works out nicely.
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