Neurographic drawing can take you from the belief in a specific problem, to the realization that problem-making is all mental and emotional. It is a way of rewiring and refining that tendency, toward the general capacity to see that all problems are constructed in the same way. There isn’t one particular problem, there is only a mental and emotional, reflexive, process that seems to present as a specific, time-dependent, conflict” out there”.
The algorithm of the Lifting of Inner Constraint (notice the use of the word “inner”), otherwise referred to here as the Removal of Limitations, takes the physical discharge of that mental/emotional discomfort out of the mind/body and onto the page. What is at first a nondescript, somewhat harsh, scribble is transformed into an aesthetically pleasing whole. The difficulty is effaced and, if not entirely, at least diminished in importance and intensity. The process addresses not just “problems,” but belief-generated limitations of possibility. Anything is possible, when the inner constraint is seen as a purely mentally-generated construct.
Yes, there is respect by the Neurographic facilitator for the suffering the problem seems to present. We do seem to have them. But as Pavel Piskarev describes, it is the “streaming state,” like meditation, that is continually entered into when drawing neurographically, that takes you from the specific to the general natural state of equilibrium that is your true nature. Which leads to an underlying “aesthetic intelligence” that can supersede the divided and divisive problem-and-limitation-creating mind, to a more holistic perspective. The inner representation becomes the outer experience. Until they are seen as one and the same.
The first algorithm of Neurographics is called the “Removal of Limitations” algo. (Algorithm is the term used for modality or method.) Limitations are created by the belief–thought/emotion–generated perceptual system.
Which shows us that what we think we are, these thoughts, these emotions, are the limitation, and act as the “me,” or selfing, that fundamentally creates the situations and/or problems. Removing those mental limitations, this mind/body conditioning, is what Neurographics is good for. The world changes as we draw ourselves out of conceptual limitations.
Which inevitably and happily leaves room for new ways of seeing and being. Boundaries are removed as we see and feel and draw through them. This is what happens. Imagine that–unless there is some belief that interferes with that possibility.
The thing about drawing Neurographic art is that it changes things. Changes the way you see, the way you feel, the way you respond. It is designed to do just that–alter your habitual thought patterns, your reflexive emotional responses. And it isn’t just you that changes, it is the world itself. Because now it is seen in a new way, as if remembering what is true.
Coming soon: Online classes in Neurographics for groups and individuals.
“Connectivity is the ability to connect a variety of contradictory, sometimes contradictory in terms, sometimes contradictory in contexts judgments, thoughts. But a person is so arranged that he is not linear, he is not constant, sometimes when I sit at work I think about home, when I walk with children I sometimes remember about my work. How to tie it all up? How to link this so that there is no dissatisfaction with yourself inside? How to do it so that it becomes one continuous stream of consciousness? It is for this that the neurographic pattern was invented, which allows you to connect neural networks, weave wonderful knots that connect a variety of things that turn a fragmented, neurotic person into something whole, into something that is able to pass energy through itself, a person turns into a medium, just a filter of lifeflow, which directs this flow into the reality that his consciousness invents. And in this sense, the neurographic pattern is the second amazing asset.”
The first time Neurographics was brought to my attention, I was watching a man sitting in a corner, in a crowded room, and whatever he was doing–drawing?–he was clearly in some kind of Ohm-like state, off in his own world, pen and notebook in hand. As it turns out, he had learned Neurographics almost a year ago, and he had been drawing like this ever since. Continue reading “Slip Into a Meditative State”