the Art of Nao
67 x 133 cm / 26 x 52 inches
Scroll 20-section 1.1
Based precisely on the words that we use to describe our life experiences, to ourselves and to others, thus we seed and harvest the stories of our lives. As we magnify some elements and minimize others, this process makes editors of us all. From a structural point of view then, a lie is the ultimate form of editing.
Regardless of its degree of truth, each word is a billboard that sells the supposed existence of its subject. As does any advertisement, it stands between us and what it indicates. In like fashion, any verbal descriptions of "our" life story will always be framed in a way that we each find most comfortable. A scene described by ten people will emphasize, in each case, those things that serve each person’s self-preservation (Omitted: and status).
Separated by over a thousand years, the Bible and the Vedic texts both state that the >
Scroll 20-section 1.2
> “Word” was the beginning of life. Whether as a metaphor or as a fact, that a word was the kick-start of existence makes complete sense because life is synonymous with information. When you can no longer receive it in any way at all, then you are no longer alive.
“Word” is also among the best of words to begin any story of genesis since it is one of the few that points back to itself. Life begins by revealing its wit (what’s another word for “word”?) However, life could have begun with any word since inherent in one of them is a system that needs a multitude of other words to accompany it.
Words are conceptual maps that reconstruct realities while they simultaneously unlock us from the linearity of time and the restrictions >
Scroll 20-section 2.1
> of distances. To the 2-Dimensionality of words, our imaginations add a 3rd animating dimension through the images that we associate with them.
Words cast spells that literally come from how words are spelled. We imagine far different realities when words write “they are poor” versus “they are rich.” The very etymology of “grammar” takes us to the word “magic” and is also at the root of the word “glamor.”
The etymological echoes of words are keenly descriptive of a past made of tangible and dynamic materiality at many levels: physical, emotional, conceptual, and psychological. Many English words originated centuries back when being alive made great concrete demands. Most people’s everyday lives were then on a rough scale involving strenuous 4-Dimensional events.
Scroll 20-section 2.2
Fast-forward to today's highly literate societies and our vocabulary reflects hyper-techno lifestyles where we use words whose textures are slick, cool, and abstract. In an opposite direction from pre-industrial times, these words reflect distances detached from human touch: nano, quantum, atomic, digital, satellites, software, dark energy…
Words are a human fabrication. Every word needs an author since no word can exist without first being thought of, or spoken by someone. Interestingly, a word’s popularity is then an organic exercise in democracy since each person votes for a word by electing to use it. On the elitist side, a rarely used word >
Scroll 20-section 3.1
> can become a finely meshed filter whereby only those who speak a given second language (for example, Sanskrit) or who know a specialized word (Sesquipedalian) can become part of a social or professional in-group.
There are thousands of languages and an infinity more can be created, but the things towards which any of their words point stay in the universe’s most basic language, that of forms, of which there are several: material, emotional, conceptual, imaginary, etc.
Imagine a table where you eat. According to the language in which it occurs, the common spelling of the word for it will change: >
Scroll 20-section 3.2
> Tisch, mesa, tafel, tabela, sofra, tabl, table. Meanwhile, irregardless of the different 2-Dimensional words by which your table is called, it stays constant in 4-Dimensionality as the physical surface that you know.
Paradoxically, within a given language, the 2-Dimensional form of the word “table” stays virtually the same. Again, meanwhile, the 4-Dimensional form of your table physically changes through the effects of usage: paint chips, knife cuts, oil stains, burn marks… Should we even think to mention them, we must still talk about the “table” using the exact same word each time.
As etymology shows us, words do not forever >
Scroll 20-section 4.1
> own their meanings. They only own the properties of their structural elements: written forms, translations, tonal associations, etc. Just listen to a language that you do not understand, or repeat a word over and over, and you will experience words as nonsensical vibrations represented by arbitrary shapes and lines.
In the absence of literacy, no word’s visual form or sound can reveal the reality that it is about; we have to be taught what a word represents. The quality of our education correlates exactly to how well we understand the forces and forms that a given word designates, and in what context.
Scroll 20-section 4.2
All words are equally true in their fundamental emptiness since there is no master word for anything. What is the “real” word for something when it sounds and looks different according to the language? Only what it is pointing to stays as what it is—even if not everyone’s perception of it is the same.
Words can be more accurately understood when viewed as 2-Dimensional graphics than as meanings. Words have form, just as form is itself a language. To see a word without first coming under its spell requires us to consider its elements in a purely visual way. It also requires the ability to read form as a language all its own. As concretely >
Scroll 20-section 5.1
> as words, the language of form contains information that distinguishes each thing from every other.
A form’s definition is built from a multitude of parts. To name a few: its geometric properties, its capacity for reorientation (circles roll, lines don’t), the character of its angles (open, sharp), its symmetry (or not), the wavelengths of its colours (warm to cool), the cultural context of its parts (symbolism), its materials (metal, concrete, smoke), its mobility (slow, fast, moderate), its size (small to large), its visibility, its location (inside or outside), its tactile textures (smooth, rough,) and many other sensory aspects that have nothing to do with meaning, but with sensual information.
Scroll 20-section 5.2
With rather poetic justice, just as words affirm realities, they can also undo them. The conceptual basis of our life allows for a complete reformulation of our perceptions simply through a change of words in how we describe them. Before we can rephrase any story, however, we must disassemble the one that exists. This process requires us to view a situation’s meaningful (to us) subject matter in its most fundamental form: as pure energy that is vibrationally >
Scroll 20-section 6.1
> guided by our emotions and concepts—especially regarding self and reality.
Vibrations, either in the air or in our minds, are the basic bodies of the words that we use and that use us. Similarly, our bodies are both structured and de-structured via vibrations, including those of words—a fact that leads medical technology to come ever closer to using pure vibrations as a means to influence the organizational forces in our bodies.
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This is why the words of our affirmations have the potential to create changes, including great ones. Specific word combinations—spells, so to speak—have the potential to catalyze beneficial structures and relationships within our organism; they can even lead to epigenetic changes. Our use of affirmations not only benefits us, but also has the potential to advance the entire human species through a conceptual investment forward.
The power of words to both build up &/or to disassemble perceptions apart makes many life solutions possible. As a chemist uses this word, a solution represents a mixture of materials in suspension: not yet settled into their lowest and most stable level. This definition describes how we can process the words we use to deal with problematic >
© C.C. Elian 2010 - 2016