The Inversion
A Descent Into Distortion
Introduction
A Universal Puzzle investigates how our material world is shaped by our sensations and emotions.
As we perceive the world, what was a wave of energy probabilities becomes specific sensory experiences.
We transform the invisible into usable data, rendering the vast array of energy that surrounds us into a personal lived experience.
All existence, including every material detail, from the most mundane to the most inspired, from the tiniest particle to the furthest reaches of the universe, arises out of an emotional state. E-motion or “energy in motion” is sensory data that gives us information about what exists. Everything around us and everything within us, in its most basic form, is made of this information. The physical carriers of sensory data are energy phenomena, including light and audio waves, and chemical and electrochemical stimuli. As we interpret this sensory data we receive information about the external world, as well as information about our internal experiences of the world. In this way, existence and experience are fundamentally interdependent. Since all experience of materiality emerges from sensory interpretation, we can see how our sensations are as fundamental as existence itself.
A World of E-motion
As we navigate the material world, we are not simply observing our environment. We are feeling things into form.
Our senses convert energy stimuli into a cohesive experience of physicality. On top of subconscious sensory processes, we have the awareness of our ego mind, the conscious narrative weaver that integrates an array of sensations into a unified emotional experience.
Every emotion is influenced by the previous one, with the sensory output of one event being the sensory input to the next one.
The intensity of our focus further concentrates our perceptions, being physically constructive in the same way a magnifying glass concentrates light into a new experience of the same light source.
All being—including the very existence of the material world—is simply feeling.
Each present moment that we experience is part of a continual cycle of expansion and contraction of focus, perspective, and possibility. Our perceptual rendering begins and ends with the focus of our awareness, which directs an energy burst of possibility, with our emotional impulses being the origin of all energy in motion. Emotions create a biological broadcast that is signaled through our nervous system, which then gives our cells data about the world around us. Cells aren’t accessing environmental information directly; they rely on our sensory interpretations, and function accordingly. In this way, our body is rendering the world around us from the inside out. Our emotional interpretations affect not only how our cells function, but also how our genes are expressed. Unlike genetic changes, epigenetic changes do not alter a DNA sequence itself, but rather how our body reads a sequence. Our DNA is akin to simulation hardware, while epigenetics is the software that runs the specific model of our reality that is created by our sensory perceptions. We could think of our DNA as an antenna that is tuning into the energy data that we are continually sending through our nervous system. Moment by moment, we are regulating what our antenna is tuned into through our emotions. Throughout the process of perception, we are creating a biofeedback loop, where our sensory interpretations inform cellular states that then send signals back to the mind, implying that the rendering of our environment is not happening outside of us. Instead, we are living inside of the render. Without emotions there would be no biofeedback, leaving us unmoved, akin an avatar frozen within a gamespace, implying that our sensory interpretations are fundamental to the process of creation itself. Our personal reality is constructed in the same way photo stills are combined to create the experience of a movie. Our heart is the camera’s aperture, with each beat being a closing of the shutter, continually taking photos as we navigate through life. The content of each frame is the input for the next moment that we experience. If our focus is in line with our heart’s desire, then the film is intelligible and enlivening. If not, our reality becomes a murky blur of contradicting intentions.
Unlike lower and higher dimensions, the fundamental characteristic of having three dimensions is the introduction of depth, where the density of materiality emerges. The first dimension introduces movement, extending outward into new locations and points of view. With the second dimension this original extrusion gains width, spreading out into the broad expanse of a flat plane, introducing orientation and the beginnings of shape. In the third dimension the idea of depth is born, and with it mass, volume, and a leap from concept to corporeality. When we go below or above the third-dimension, matter dissolves into nonphysical abstraction, giving us clues into the uniqueness of a third-dimensional experience of delineation and individuation. Higher dimensions contain more degrees of freedom, and what was an experience of depth is once again dispersed. The increase in possible movement within higher dimensions results in more information, that when projected down into a lower dimension, must be compressed. Relationships that were once spread out in space within higher dimensions must overlap and interweave within the third dimension, creating a newfound density.
Dimensions are the constructive tool that allow for changes in our perspective, being the very foundation for how we experience life. While we experience physical dimensions, we also are experiencing emotional and mental dimensions, which allow for changes in our mind’s perspective about what we are experiencing. At its most basic, a dimension describes possible movement, and with that movement more perspectives. Without any dimension, there is only a point, one possible location and a single point of view, a coordinate with the spark of pure potential. Outside of dimension the only way to move or perceive anything, including oneself, is to spin. It’s no surprise that our material world is constructed of spinning particles, the most fundamental building block of dimensionality. Within the first dimension, movement beyond spin is introduced, extruding out into a line, producing additional points of view, thereby creating a newfound split between the observer and the observed. With every new point comes an additional point of view, and what was once a single perspective has now broadened into a multitude of perspectives. Each added dimension introduces a new direction of movement, or extrusion, providing additional perspectives and more opportunities to be observed. From here we can see the correlations with mental dimensions very directly, where an increase in the dimensions of our mind results in more points of view. Two people can have vastly different experiences of the same physical reality, because their mind is creating a mental perspective as well. The broader our perspective, the more depth we have within our mind when we are interpreting our physical environment. Each dimension can be represented in a lower dimension through projection, which we see in our everyday world with shadows. Each additional dimension is simply a different way of experiencing the same thing, with the shadow of an object being an expression of the object itself, albeit distorted. All of this means that we don't really ever go "through" dimensions, but experience more possible movement and perspective with each additional extrusion. The higher the dimension, the more extrusions, with each one providing more clarity of what is being perceived. This clarity emerges because we can experience the dimensions below us directly, having a kind of bird’s eye view (think of looking down at a piece of paper), but we can only experience the shadow of the dimension directly above us, and beyond that, we can only conceive of dimensions conceptually. Higher dimensions contain more degrees of freedom, that when projected down into a lower dimension, must be compressed. Relationships that were once spread out in space now overlap and interweave, creating a newfound density. We could think of higher-dimensional degrees of freedom in mental and emotional terms, with the emotions of love and joy feeling more spacious and less constrictive, while negative emotions are felt as a kind of compression or contraction. What if the only thing that ever changes is our perspective? As with a field of marquee lights, movement through the quantum field occurs when areas of excitation are turned on and off. Just as the light bulbs of a marque don’t move, the field itself does not move through space. The vast interconnectedness of the quantum field gives us clues into how “spooky action at a distance" could be occurring, since there wouldn’t be any discrete, independent movement within a contiguous field. When focus on an area of the field is turned on and off, an illusion of movement through space occurs. After all, dimensional extrusion arises alongside expanded perspective, creating different experiences of the same underlying phenomena. What appears to be movement through dimensions is simply a change of focus and perspective within the field. This implies that energy itself isn’t anything at all. Instead, it is what happens when consciousness moves.
An Illusion of movement
The Origins of Form
With the first three dimensions we see the building up of density, allowing for the experience of physicality to emerge out of an infinite energy expanse. The 4th dimension provides a full perspective of 3D transformation, revealing all cause and effect events simultaneously, thereby existing fully outside of linear time. Similar to a computer processor, the 5th dimension holds a kind of cached version of 3D object information, and as with a game console, the 6th dimension holds the design framework for 3D spatial configurations, acting as the container for all 3D event processing. Within the 7th dimension, the infinite probabilities of the 8th dimension are collapsed into specific outcomes, transforming the vastness of the quantum field into a selection process. The 9th dimension acts as a container of quantum processing, being the boundary and bridge between higher-dimensional origins of form and lower-dimensional processing. In the 10th dimension, the concept of polarity is born, being the foundation for all origins of form that emerge within the 3D materiality. The concept of the triad emerges within the 11th dimension, which is the foundation for the 12th dimensional blueprint of all lower-dimensional density. Once outside the 12th dimensional information matrix, the building blocks of non-material existence emerge within heat radiation expansion and contraction. The overall dimensional structure holds the origins of life as we see within the material world, resembling an egg or womb for the entire cosmos.
Our dense, seemingly inert material world emerges from an underlying quantum reality characterized by fluidity and possibility. Energy's expanse is fundamentally generative, with space unfolding like a breath, allowing for the realization of infinite potential. Cosmic rhythms of unity into polarity produce the origins of form, not through containment and separation, but within a unified process of continual expansion and contraction, outwards into expression and inwards towards reflection. Each moment within a render sequence arises out of a universal will to create and experience life. Rather than being linear, time flows in the direction of greater articulation, expanding onto multiple paths simultaneously. Observation enhances possibility instead of collapsing it, and rather than colliding, energy forms interpenetrate and harmonize with one another. In this underlying reality, stability is not achieved through inertia, but through relationship. Unlike our world of isolated pieces, forms are made up of processes and patterns seeking coherence rather than dominance.
The origins of inanimate materiality arose out of an inversion of the underlying energetics, reducing unity into containment, and transforming connection into fragmentation. Cosmic rhythms were disrupted by a collision process between matter and antimatter, pitting the containment of particles up against their annihilation, masking consumption for creation. Instead of annihilating back into pure radiation, matter emerged as a fossilized version of the universe’s underlying dynamics. What was once a reflection of light energy had become its confinement. The material world appears to be inert, as matter’s inner motion has folded in on itself, sealing the dynamism of energy into a kind of structural silence. Hard boundaries override what was once permeable, and inward curvature replaces outward radiance. The inversion of a living, symbiotic cosmos results in topological constriction, as we see with the distortion of spacetime, as well as the loss of optionality, transforming the infinite quantum world into a finite material one. The tragedy of our inverted reality is that a universe designed for exploration has become a closed loop, recasting boundaries intended to shape creation into its confinement, and a dimensional structure designed for emergence into a recursive trap. Within matter’s containment unity devolves into separation, support becomes hierarchy, intuition results in confusion, freedom dissolves into a continual search for survival, and our emotions become a threat as we fall into fear’s grip. Instead of providing connectivity, spacetime has become the fabric that holds everything down. Nonetheless, the cause and effect processor of the cosmos gives us clues into how our inner processor carries the memory of what lies underneath the seemingly endless layers of distortion.
The internal origins of inversion arose out of the degradation of our DNA, flipping what was akin to a high-gain, complex antenna into a lower resolution version, resulting in a kind of biological loss of information. Once inverted, what was once a broad array of sensory data collapses into a geometric downgrade, reducing a 3D knot of information into a simple linear strand. The DNA loses its antenna-like properties, and is dumbed down from a dynamic, finely-tuned sensor into a less sophisticated receiver of information with more signal noise. The body’s cells start responding to random environmental entropy, introducing new forms of distortion into how genes are expressed. Biological rendering becomes blurry, resulting in aging and disease, succumbing to newfound entropic tendencies. The DNA antenna is now stuck on a more limited frequency band, akin to a broken radio dial lodged between stations. Energy signals are weaker and more distorted. The infinite possibility of the quantum field is squeezed into a downgrade of biological potential and performance, resulting in repetitive biological loops, which we see with the uncontrolled growth of cancer cells.
Within the chaos of cosmic inversion, the connective force of creation, what we call love, metabolizes distortion, not through avoidance or assertion, but by sustaining radical neutrality. Chemist Ilya Prigogine’s theory of dissipative structures describes how the chaos of entropy crosses a certain threshold and transforms into higher levels of unexpected self-organization. After experiencing a profound lack of equilibrium, energetics that were once fossilized break free, reverting back to their original state of fluidity and creative expression. The question then, isn’t how to avoid chaos, but how to learn to hold it, to persevere in its presence, and to have the patience and compassion needed to give space for transformation to unfold. Evolution’s push, with its fierceness and sustained integrity, has already placed its bet on creation over consumption, containing emotional annihilation as it does antimatter, betting instead on the immense, unwielding power of love.
Exiting The Inversion
Transforming Distortion Into Reflection
The more distorted our internal world, the more chaotic and destructive our external reality becomes. A material world fixated on and constructed out of fear is a breeding ground for distortion.
If we look at the distorted versions of our id, ego, and superego, the correlations between our external environment and our intentions become strikingly obvious.
While a simple dwelling is made out of the need for survival, a bunker is constructed primarily from a state of fear, and a military base erected by an invading army intent on controlling resources is built out of malice. We can see quite literally how different intentions create different physical realities.
Preventing distortion is not about avoiding sensory information, but rather what we do with it. Our emotions, including seemingly negative ones such as fear, arise out of our innate intuitive wisdom. Our fears are energy signals that help us navigate the world, which can be released once the information has been received.
Ultimately, the exit out the inversion is found within us. Our emotions are the echo of a cosmos that is not defined by separation and confinement, but by relationship and intention. It is through our emotional dimensionality and intuition where we can find the last vestiges of our cosmic origins.
