Puppet theater of The MindWhy We Don’t Agree

We have all been shocked by points of view that dismiss our own and believe in their own absolute rightness. We may often wonder, ‘How could such people exist who believe this or that?’ They think the same of us. Both of us shake our head and walk away. We find those who believe as we do and try not to keep company with people who think we are crazy. But there is a larger perspective we can hold that actually makes sense of it all. This perspective allows us to see that people who believe differently from us can also be correct. It allows us to respect one another’s view point, and even appreciate the information, because it all fits together, allowing us to see much more of the whole, and even the truth.

If we understand that we are a species that has a choice of three frequencies of perception, third, fourth and fifth dimensional ways of seeing things, we begin to understand how everyone speaks their truth, given their frequency of perception, and how that creates disagreements.

Earlier in my life I wrote a book entitled The Warming of Human Consciousness, to explain different frequencies of consciousness and how they perceive the world differently. An analogy helps to explain this. A strobe light is a sharp, bright light that may be set to blink on and then off very crisply and at a great number of frequencies. Strobe lights are used by auto mechanics, for one example, as a tool that allows them to see wheels that are spinning very fast as if they are standing still. By setting the strobe light to blink on for an instant every time a spinning wheel makes exactly one revolution, one is able to see that wheel as if it is standing still and examine aspects of it.

Now let’s say that humanity has only a strobe light by which to see the world he or she lives in. For the sake of this analogy, we may also say that these strobe lights may be turned on from fully on to 1000 on/off strobes per minute, but that culturally they are used as if they are preset into three frequencies. The Red ones are traditionally used in a range from 1 strobe per minute up to 300 strobes. The Green Strobe lights are generally used from 301 to 600 strobes per minute. The Violet strobe lights may be set from fully on to 1000 strobes per minute using its full range potential.

These strobe lights will be our only way of seeing in, let us suppose, an otherwise dark world.
Let us further say that we have an abandoned, dark factory. In this mysterious factory a machine is stored. This machine is a tall, ten foot high, column that is from a car washing machine apparatus. It is a round column that is five feet wide, made of large brush bristles that are painted in black and white squares. It is also left on, and is rotating at 1000 revolutions per minute.

Now, into this factory walks a man who has selected a strobe light that we will call three dimensional consciousness, or RED STROBE. His strobe light is capable of blinking on and off from one strobe per minute, which allows the light to be on for almost a full minute before blinking off for an instant and then on for nearly a full minute again, and up to a top speed of 300 strobes per minute, as mentioned.

He hears a humming sound in the darkness and, feeling that there may be danger, he sets his strobe light for the longest period of being fully on. He sets his strobe for one strobe, giving him a virtual, bright lantern. He feels that this will give him the greatest amount of information and make him safe from whatever it is that is making the sound.

Once his strobe is set, he sees the column in the center of the building. He walks over to it and sees not a black and white spinning brush, but a solid, gray column that resembles concrete. He concludes that it is a strange concrete pillar that for some unknown reason is giving off a sound, which makes no sense. This is because his “full on light” is too low a frequency to see the rotation of the giant brush. Full light reveals only that it is a gray, homogeneous surface, like a stone column. He leaves, concluding that there is nothing to fear and of no particular interest to him. A concrete pillar is being stored in a factory. That is all.

The following day, a young woman comes into the dark factory. She, too, hears the humming sound but she is not suspicious of it, but only curious. She playfully sets her strobe light for its maximum setting, 600 strobes per minute. She sees a column in the center of the room that is changing colors and patterns. Amused and fascinated by it, she moves closer to it and begins to toy with the frequencies of her strobe light. Indeed, as she dials different frequencies of light, the patterns change, the colors from the strobing black and white squares spinning by cause patterns in her perception. Black and white changing or spinning patterns create color in the human eye, and she plays with these “colors” as an artist would. When she is tired, she leaves the factory, vowing to one day come back and play more with the magic column of changing patterns of color. She is fourth dimensionally conscious. Her strobe light is the GREEN STROBE variety.

The following day, a young man enters the factory building. It is dark, and he hears a hum. In a moment he turns on his strobe light randomly and sees in the blinking light, a column. He moves over to it, points his strobe light at it, and begins playing with the dial. He sees that when the strobe is full on, the column resembles a solid stone pillar. When he dials the frequency higher, up to 600 or so strobes, the column shifts into dazzling colors and shifting patterns. When he dials his strobe light up to 1000 strobes per minute, he sees that it is a still column of brush bristles that have been painted white and black in squares. He has become attuned to whatever is before him. He also sees something extraordinary. He sees that it is not a column that is standing still, because the other frequencies of his strobe light have already told him that this column is spinning very fast. He sees that it is not full of colors, but appears to be colorful only at a specific set of frequencies. He also sees that it appears to be a sold, stone pillar when seen in full light. He realizes that he may never see the column as it truly is. His means of perceiving, through strobing or full on light, do not allow for him or anyone to ever see the brush as it truly is. It is not possible to see it spinning and a brush that has black and white squares. These are mutually exclusive frequencies of perception. There is no such thing as seeing it as it truly is. It is what it appears to be as determined only by the frequency of perception that he chooses. That is all. He leaves the factory with this piece of wisdom. The nature of reality is forever unknowable. It is relative to one’s own frequency of perception, and no frequency of perception can ever give the whole truth.

In human consciousness, we have three frequencies of perception. We may slide up and down in frequency as a given situation calls for. In any given day we use them all. In general, experience slowly or quickly moves us up in frequency of perception. This is the evolution of human consciousness.

The three-dimensional frequency is fear based. It sees the world as separate objects which have no relationship to one another except through physical contact. If something cannot be quantified, physically, it does not exist. To the three-dimensional perception, doing one thing on earth has no effect upon anything else on earth. It is absolute, believing that there is a right way and a wrong way and that things are either good or bad, black or white without gray zones.

Fourth-dimensional consciousness is playful and therefore creative. It perceives the world as a place to explore, and to trust until something proves itself to be of danger. This frequency wants to play with reality, in the arts, in science, and explore the uncreated possibilities. It sees that the universe itself is at play, and wants to join the fascination with what is possible to create. It is not absolute in its thinking as is three-dimensional consciousness. Truth becomes relative to situations in the fourth dimension.

The fifth dimension of consciousness is once again absolute. It absolutely knows nothing. It perceives the world as the world presents itself, without embellishing what is before it. Since all that comes before it is seen from such a high frequency, the wholeness and interconnectedness of everything is witnessed firsthand, as a kind of energy field. All things are expressions of the unity of the whole. To do any one thing effects the whole. This frequency of perception comes from having a fully opened heart, allowing the mind to take in all information being issued in any given moment. To do anything to anyone is to do that to one’s Self. It is all one.

We may also move to another realization from this. Reality is not perceivable through mind, but only through the emotions of the heart. The mind, like the choice of strobe frequencies made, is the faithful servant of the heart. The first person who came in was afraid, the second person was playful, mostly open hearted, and the third person was present, open to seeing and willing to resonate with whatever is before him. It was the heart of the three people who came into the factory that determined which frequency to view this particular reality at, and therefore it was the heart that determined what the nature of reality would appear to be. The first more fearful man chose full light and perceived the column as a piece of solid, separate stone, of no value to him. The second more playful woman chose playfulness in her heart and set her strobe (mental frequency) for a mid-range frequency of perception, and experienced playfulness. The last person did not choose, but simply dialed frequencies without playfulness or fear, attuned to whatever it was he saw. This was absolute acceptance and receptivity without resistance.

We are all perceiving the same unknowable reality with our chosen frequencies of perception. We are all of us correct in our description of what we see. We each may have different degrees of fear or trust in our upbringing which causes us to be fearful or playful, in our hearts. No blame, it’s just what happened to us. We are each honestly describing reality as we see it, but until we realize that we are all describing only the position taken by the fear or trust in our hearts, (not our minds), we cannot understand one another. The mind is the faithful servant of the heart. The only way to ever see the truth is, like the last viewer in the factory, by opening our hearts which opens our minds to one another and whatever is before us.

When people disagree on what is taking place, it is simply because each is describing the situation from a different frequency of perception. When we understand that what is actually being expressed is one’s degree of fear or trust, and not one’s intellectual superiority or inferiority, we may more easily open our hearts to one another, and thereby learn how to understand with warmth and compassion.

Ross G. Drago
Paint Rag Magazine
Cover Painting-Puppet Theater of the Mind, by Ross G. Drago

No donation is too small