In an infinite universe (what other sort is there?) the likelihood of unimaginable and diversely inhabited worlds without end is of course undeniable. In an infinite universe probabilities are infinite.
In infinity there is no beginning, no ending, no boundary, no time but eternal now, and no limitation on what may be, and so already is. In an infinite universe everything imaginable and infinitely more exists everywhere.
So why call it infinite? In the micro-macro view how could it be otherwise? Finite is only a measured portion of the infinite with a name. Whatever we give a name to, we thereby define as a finite thing as being distinct from its surroundings by having an edge. The name conventionally only applies within this boundary, while in actuality any so-called 'thing' only exists by virtue of what surrounds it.
Beyond every edge however is always space for more and we call it absence. What we don't focus on is that form and space are not two separate realities. No form without space no space without form, anywhere, ever. Self-evident of course but universally ignored, we think we find things more useful than absence, but if that were true, most things would be useless.
Try depicting or even imagining form without space or space without form. One implies the other. As with any complementaries, what we call their difference is their shared relative distinctness they have in common. Each implies the other, they are each and both one- another, and so on to infinity in all directions forever, form and space inter-relating, mutating one into the so-called other.
On another level, it's been quite a while since the previous blog post and the previous painting. Not surprisingly the unprecedented global drama was affecting my inspirational flow and motivation even before it surfaced and I was already questioning the nature of creativity before that, and then a shock to see a world so universally tricked by deception, literally spell-bound by fear into behaving less than human and in conflict with our own most basic best interests.
Relevant to the counterproductive absurdity of so-called lock down, these drawings and many more during that phase came out of a decade long seemingly unavoidable confinement in a sordid substandard and claustrophobic rented backstreet house without daylight, or window view but for concrete and no surrounding space and an uphill road right on the doorstep with oil tankers, diggers and dump trucks grinding gears by the window for a year and a half, now that was a lock down.
So much for understatement, but despite being trapped in a box of gloom I did do a lot of paintings, illustrated a published book: see on this blog 'Castles of Cork', played Grand Piano publicly, self-taught in the process, in Bantry House a 'Stately Home', every season, every week. See 'Videos' (especially No.7 of 7) on this blog at right and CD 'Tracing Ten Summers.'
So these drawings and many more evolved from meditative and therapeutic 'doodles', along with multiple page after page of variations on an unknown but spontaneously and meticulously improvised hieroglyphic script of a very self-consistent character and which I still have examples of. Mary Rodwell of A.C.E.R.N. in Australia has some of it in her book: 'Awakening' and uses some of these drawings in her E.T. related presentations.
Basically I simply want to share these selected otherworldly drawings as they have a gentle introspective quality of improvisation which would be a shame to remain unseen. Even though they are in the archive previously here in 2013. under 'News Soundbite', I wanted to make them accessible again.
They were originally transcribed very slowly and carefully with inner receptive focus, open to exploration of intrinsic imagination of what may be actual insights like remote viewings or glimpses of how it may be in other realms of predominantly prevailing benevolence or even on other worlds. No need to wait for "disclosure" to be assured that everything imaginable and more, exists somewhere, on other worlds. *
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Martin Rainbowmaker
