We know from writings in the ancient Greek Iliad, the Bible, and the Koran that the human perception of color has been evolving. The language used to describe the color of things like the sea or the sky, once compared to other common objects, has changed. Until recently, our understanding of science argued that the evolutionary process occurred through genetic inheritance. However, the idea has been put forward that the linguistic perception of color is generated by non-genetic forces associated with evolutionary development within a holographic universe.
The recent creation of time crystals by American University researchers has shown that our scientific, spiritual, and political understanding of the evolution of reality is a primitive illusion. The workings of time crystals have shown that our notion that science is governed by a supreme law that demands our extinction is incorrect. The evolutionary process associated with a non-genetic linguistic color perception process therefore deserves investigation.
Our science and our social customs are governed by a dysfunctional carcinogenic information system discovered by epidemiologists. It is a 3D global epidemic transmitted by modern communication and information devices. In 2016, the World Fund for the Arts in Russia discovered and recognized a color perception linguistic antidote to this global epidemic. In 2017, this Russian Science and Art Organization set out to establish a research program to investigate the role that linguistic artistic perception of color will play in futuristic technologies. In 2017, researchers at American University created time crystals that embraced the reality of the antidote. They stated their intention to apply their new knowledge for the advancement of existing artificial quantum information technology. Since that technology is an integral aspect of the epidemic, this would be a serious mistake. If the Russian program follows the same logic and fuses the antidote information with infected AI, the 3D global epidemic will interact with the holographic evolutionary process in ways we don’t understand.
It is common knowledge that there is the use of artistic linguistic color techniques to control the human mind with dysfunctional intentions, for example, North Korea, is now a cause for concern because of this. To a seemingly minor degree, we are being governed by a non-stop, non-stop barrage of commercial television mind control. To make a positive contribution to this situation, the quantum biological antidote needed to develop a healthy evolutionary technology must be made visible to the general public as soon as possible.
The philosopher Plato argued that aesthetic art appreciation was unethical and required ethical spiritual wisdom through art to prevent the destructive property of formless matter from emerging from within the physical atom to destroy civilization. Later, in modern times, the philosopher Immanuel Kant, in agreement with Plato, wrote that an asymmetrical electromagnetic field was evolving within the creative and artistic mind as the spiritual wisdom that Plato was seeking. Plato’s concept was that the physical world was an illusion, which is consistent with the idea that a holographic universe is an evolving illusion of reality.
We know that within a holographic universe, artistic illusions can generate neurological emotions open to manipulation by unethical dictatorial regimes. However, the technology of the antidote uses an alternative to the artistic rhetoric ‘Color on the mind’ accompanied by artistic sound and color to create a dysfunctional mindset. Within holographic reality, ‘Mind over Colour’ uses the physical concept that is equal and opposite to unethical illusions.
Modern artists subconsciously paint stereoscopic images in their paintings. The artist Salvador Dalí was convinced that this phenomenon existed for ethical purposes. His eccentric Freudian language along with scientists advocating science, politics and social morality to free themselves from his dilemma embraced Immanuel Kant’s more ethical future. In 2002, stereoscopic asymmetric electromagnetic glasses were patented. When used to view works of art from this century, Dalí’s conviction that the paintings contained an invisible stereoscopic message became fact.
Paintings now exist that depict a stereoscopic multidimensional holographic image that echoes the descriptive text of the painting. This linguistic perception of color goes far beyond the scope of the mechanistic description of the concept of chromostereopsis of old, in which a visual illusion of depth is conveyed in two-dimensional color images. However, in art today, many planes of stereoscopic images are fused together to create a reality of holographic motion that engineers recognize as spiritual twisting forces. These are the torsion forces that belong to Chales Proteus Steinmetz’s asymmetrical electromagnetic spiritual technology. He wrote telling the world that such a spiritual technology would be far superior to the global mechanistic asymmetric electromagnetic technology that he helped spawn as a leading figure in the electrification of America. Without the new spiritual mindset, the civilization governed by the 3D epidemic of dysfunctional information will result in nuclear war.
Permission for this article is from a 1979 Australian National Television documentary entitled The Scientists – Profiles of Discovery. A detailed explanation of these discoveries can be found in the article, The Optical Nature of Artistic Genius, (April 2017) by Chris Degenhardt, published on academia.edu.
