So far, we’ve mostly been exploring the nature of the subconscious mind from the perspective of emotion. This was done to give you a more intuitive sense of how the subconscious mind works and hopefully made things a little bit easier for you to understand. Many of the concepts discussed so far, such as subconscious frequency and subconscious charging, are probably easier to understand through the lens of emotion and could easily be recognized in some of your own past emotional experiences. But the subconscious mind is capable of doing a lot more than just producing emotion. In this chapter, we will discuss some of the other mental abilities that your subconscious is capable of. As you will see, these abilities function in pretty much the same way as your emotions do. But this time, it may not necessarily be so easy to see how the various properties of the subconscious discussed so far actually manifest in these particular abilities. However, they do show up in these abilities too and I will try to demonstrate this by using everyday examples as a kind of reference point for clarity.

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SUBCONSCIOUS TRANSCENDENTALISM

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The reason I wanted to start off talking about the subconscious mind in terms of emotion is because I thought that it would be pretty easy to see the difference between your two minds through it. Since you clearly can’t control your emotions completely at will, it should be clear how emotions differ from the normal everyday thoughts that you do have full control over. Recognizing this difference also makes it easier to understand the dichotomy I’ve set up between the concept of a negative mind and a positive one. The problem we run into with your other mental abilities is that this clear and easy-to-see dichotomy no longer exists. At the very least, it’s just not as clear. There’s more of a gray area with these abilities that makes it a bit tricky to tell where exactly the negative mind ends and the positive mind begins in terms of performing these abilities. In practice though, it will become much easier to make this determination as you get more experience controlling your subconscious. However, to make our discussions go a bit smoother, I’ve decided to use a naming convention that should help to streamline things a bit.

          Going forward I will describe actions and thoughts performed using the negative mind as being normal or non-transcendental in nature. Whereas actions and thoughts performed using the positive mind will be referred to as being transcendental in nature. Emotions for example are a kind of transcendental thought or mental ability. Since all transcendental abilities come from our positive mind, we can say that transcendental abilities in general have the property that they cannot directly be controlled at will. This is in contrast to normal or non-transcendental mental abilities which come from the negative mind and can always be performed at will any time we want to. Another property of transcendental mental abilities is that they’re always quantized and can only be expressed in a certain way depending on the nature of our intention and subconscious frequency at the time. Lastly, all transcendental mental abilities have the ability to become charged up more and more. We will discuss what it means to use these abilities with more and more subconscious energy, or with greater intensity, throughout the chapter.

          Now while these rules made it pretty nice and easy to see the transcendental nature of our emotions, it is not necessarily as easy to see when it comes to your other transcendental mental abilities. This is because your negative mind can perform actions in a way that somewhat mimics these other transcendental abilities that your positive mind has. This same mimicry doesn’t really exist when it comes to the actions your negative mind performs and your emotions. For the most part, the conscious mind can’t really do anything that’s similar to producing an emotion. So it’s always pretty cut and dry that whenever you feel emotion with even a half-decent amount of intensity, that’s your positive mind doing stuff to cause it. But it won’t be quite as clear to see this with your other transcendent abilities. However, again, I want to reiterate that you will get better at being able to tell when you’re actually using a transcendental ability or a normal ability to perform some action as you gain more experience charging your subconscious.

          Another important property of transcendental mental abilities has to do with the way in which they’re related to your emotions. When your subconscious energy charges up, it won’t be the case that this energy can only be used for one particular transcendental mental ability and not any of your others. This charged-up energy will actually be expressed automatically through all of your transcendental mental abilities all at once and all at the same time. Although you can charge your subconscious energy in a way that is slightly more focused on one of your transcendental mental abilities than the others. When I used to practice charging my subconscious to feel more emotion, I was actually focusing my subconscious energy to express itself more in the form of emotion than any of my other transcendental mental abilities. However, this concentration of expression is relatively limited so you’ll still be using all of your transcendental abilities at once in a manner that’s determined by your particular charge to some degree. This principle naturally includes your emotions of course as well. So whenever you’re able to use a transcendental mental ability, of any kind, it will pretty much always be the case that you’ll feel a specific emotion at that same time as well. The more charged your subconscious, the more strongly you’ll feel that emotion. This will be true even if you’ve charged your subconscious in a way that’s more focused on another transcendental mental ability that's different from your emotions. Furthermore, the specific emotion you feel will determine the subconscious frequency of your charge and will therefore determine the specific way in which you’re able to use your transcendental mental abilities.

          Lastly, although not terribly important, I’d also like to note that the concepts we discuss in this chapter and for the remainder of the book could be thought of as the idea of subconscious transcendentalism – which could be considered a kind of offshoot from the philosophy of American Transcendentalism. This was a philosophy that arose from a 19th century philosophical movement that focused on intuition as a means of gaining knowledge about reality. As I became better at controlling my subconscious and started to recognize the difference between doing something with my negative mind and doing it with my positive mind, I began to use the term “transcendental” to describe the things that I did with my positive mind. Out of curiosity, I wanted to see if anyone in the past had already been using this word in some way to describe their theories or if it was up for grabs in terms of using it uniquely to name things in this particular theory of the subconscious. Well after only a little bit of searching I, sure enough, came across the concept of American Transcendentalism – which attaches the word “transcendental” to its whole philosophy. Although I was a little disappointed that I wouldn’t be the first to make philosophical use of this term, I did find many of the concepts in this philosophy to be very compatible with the way we describe the nature of the subconscious here. I recommend looking into this philosophy after you’ve had some experience controlling your subconscious if you’re curious to see this relationship.

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MY EXPERIENCE WITH SINGING

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Before discussing the next transcendental mental ability after emotions, I’d like to take a quick detour and first talk about an experience I had a few years back when I suddenly started getting into singing. I know this seems like a completely random and pointless diversion from our discussion but I promise I’m going somewhere this. Now I’d like to start off my diversion by saying that most people probably start to figure out what things they’re pretty good at in life by the time they’re teenagers in my opinion. Even if they’re not completely aware of what “their thing” is yet, they do start to at least get a sense of what it is by that time. Usually, it takes a few years longer for them to realize that the thing that comes so easily and naturally to them doesn’t also come that easily and naturally to everyone else. Only then do they realize that this skill of their's is special? For me, that skill was always in the general area of science, philosophy, mathematics, the art of abstraction and stuff like that. I was never particularly good at anything else really, especially when it came to pretty much anything involving art or creativity.

          I was ok with this as I wasn’t really interested in doing anything else anyway. I enjoyed math and science and was really only interested in studying that further. But as I got older, I learned that there is still value in practicing things you know you’ll never truly be good at or, at the very least, that you don’t have a strong aptitude for. I believe that there are certain important lessons that you learn as a result of the effort alone and that these lessons make you a better person overall. I believe you should try to work hard to succeed at things you know you’ll probably be terrible at. In my case, I decided to do just that with music and the art of making beats. I thought expressing myself through music was pretty amazing and decided that this was something I really wanted to do even though I had no aptitude for that sort of thing. Well after years and years of effort, I finally got a little bit decent at it. Actually, to be honest, I only kind of learned how to make music when I began to understand how the subconscious works. This is because the goal of music is to cause you to feel emotion and, by studying the subconscious, I began to understand the science of emotion in spades. In a sense, I lucked out and became able to understand music through my normal language, which is the language of math and science.

          But then, sometime after that, I decided to try my hand at singing. Now I wasn’t nearly as determined to succeed at this as I was with making beats, but still, I put an appreciable amount of effort into the goal. At first, as you might expect, I was really really bad but over time I began to feel like I finally got up to only really bad. And after practicing in a non-serious way for about a year or two, I noticed that I had essentially plateaued. I could tell that my singing ability was no longer getting better. Furthermore, I kind of just knew that continuing to practice in the same way that I had been was no longer going to help me. I’d hit a cold hard wall and had no idea how to get past it. How do you get better at something when more and more practice isn’t going to make you any better at it? After thinking about this for a while, I got a bright idea one day and decided to start recording my voice as I sang. Now this alone wasn’t unusual for me but what was different was that I’d also decided to adjust my voice while singing, in whatever way I needed, to sound better on the recording during playback. Normally I’d adjust my voice in whatever way was needed to sound better to my own ears as I was singing. But then I thought, well I can probably hear my own voice better than anyone else so it’s probably not the best reference point to judge how I sound. Instead, I should adjust my voice in whatever way makes me sound better to others, even if not necessarily to myself. And the best way to accomplish this, short of singing for an audience, I felt was to judge how I sound on a recording.

          After approaching things this way, the first thing I noticed was that there was no real emotion in my voice as I sang. Honestly, I sounded kind of like a robot who was just going through the motions. Or perhaps like one that was trying to imitate human emotion as best he could because he doesn’t have the real thing himself. Now by this time, I was actually pretty good with controlling my subconscious to charge more emotion – so charging it to feel more emotion as I sang was a relatively simple matter for me. And when I’d done this, it actually did work. I did sound better on the recording by a decent amount. You could hear so much more emotion in my voice which I felt did successfully enhance my overall performance. But what was interesting about this experience is that there were other positive changes that had occurred which I did not expect.

          I noticed that I got a lot better at controlling my breathing as I sung. No longer was I making such audible breaths as I tried to take in more air as I sang. I could now sing much smoother even though I was still taking in breaths of air. On top of this, I noticed that I didn’t run out of air as much either. Somehow I was controlling my breathing in a way that allowed me to sing almost non-stop without it feeling like I needed to stop or slow down to catch my breath. Furthermore, it wasn’t nearly as straining for me to sing. Normally after I sung for a while, I’d feel strain in my voice which made it a lot harder to keep singing. But this time, I could sing much longer without feeling almost any strain at all.

          Somehow I was singing with much greater physical efficiency than before. And last but not least, I could inflect my voice much better. Now this is probably to be a little expected as the goal was for me to put more emotion into my voice. But still, I could tell there was a bit more than just that going on at the time. I understood that I could suddenly control my vocal muscles to a greater extent than what I was normally capable of. But then how did all of these changes happen? How did the simple act of feeling more emotion suddenly give me all of this newfound singing ability? What does emotion have to do with breath control and vocal inflection? And why was I able to sing with so much more efficiency than before? Well, the reason these new capabilities manifested in the way that they did is because of another transcendental mental ability your mind has which we will now discuss.

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TRANSCENDENTAL CONTROL

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The first major transcendental ability I’d like to discuss in this chapter involves the way you move or control your body. As strange as it might sound, we’re actually able to move our body using either our negative mind or our positive mind. Controlling your body using your negative mind pretty much looks like the normal everyday moving around that you’re used to. This kind of control allows you to freely move your body at will, in any way you want to, and at any time you’d like to. For example, when you engage in activities such as walking, eating, reading, or walking, you’re usually doing so using the normal bodily control that comes from your negative mind. The opposite of this normal control of course is transcendental control which comes from your positive mind. This involves using the positive mind, or your subconscious, to control your body.

          One of the main differences between these two kinds of control has to do with timing. You can’t necessarily just control your body in a transcendental way whenever you feel like as you can with normal control. In the transcendental case, your subconscious has to first become quantized before you’ll be allowed to control your body transcendentally. This quantization will also determine how you’ll be able to move your body transcendentally. As was the case with emotion, you can’t just control your body in any transcendental way that you want to just because you’re able to move transcendentally at all. Also similarly to emotion, quantization will be determined by both your intention and subconscious frequency. Since frequency comes from intention, you might be tempted to say that quantization is determined entirely by intention. However, in my experience, there is some quantization that is innate to frequency and some that occurs beyond a particular frequency and is entirely dependent on the intention. Because of this, I like to say that quantization is always determined by both of these factors instead of just one. The last quality of transcendental control of course is energy. The more charged your subconscious becomes, the more often you’ll be able to move your body in a transcendental way and the more explosively you’ll be able to move your body transcendentally. Also, as with all transcendental mental abilities, you’ll usually feel some emotion rather strongly as you’re controlling your body in a transcendental way. It would be very difficult and very unlikely that you could manage to transcendentally control your body while in a very calm and not very emotional state.

          Based on this description of transcendental control, can you think of some good examples of it? Can you recall certain ways that you’re able to control your body that you can only do some of the time and not necessarily all of the time? If so, can you think of what emotions you usually feel during these times? If you were able to think of an example of bodily control that fits these conditions, then you’ve probably thought of what I think is one of the best and clearest examples of transcendental control. This is the relatively simple and benign act of laughing. This pleasant and very common act of bodily control is actually an ability that requires the use of your positive mind rather than your negative one. You’ve probably never thought of this action as functioning any differently than the usual ways in which you’re able to control your body. However, this is actually a transcendental action and not a normal one. To demonstrate this, we will show that it fits all of the criteria for transcendental actions described above.

          First, it is clear that you can’t necessarily just make yourself bust out laughing any time you want to – the first property of transcendental abilities. You can usually only laugh naturally when something is actually funny to you and not otherwise. You can of course try to force a fake laugh but then this wouldn’t be a natural laugh and you’d still be using your negative mind to perform this action and not your positive one. You also feel a particular shade of the humor emotion as you’re laughing so the requirement of feeling some emotion relatively strongly, while performing the transcendental action, is also met. Furthermore, it is pretty much only when you feel the emotion of humor that you’re able to naturally laugh. You wouldn’t feel the need to laugh if you felt some other emotion such as anger, peace, or joy. You could still laugh though if you felt these emotions along with the humor emotion too but you would still need to at least feel the humor emotion in order to laugh. Therefore we can say that this transcendental form of bodily control can only be performed when your subconscious is charged up at the humor frequency, so the condition of quantization is also met. And lastly, you can laugh naturally very lowly and only for a short time or you can bust out laughing very loudly and for a relatively longer amount of time. The more explosive your laugh and the longer you’re able to perform that natural laugh, then the more charged your subconscious is at the humor frequency. You can usually recognize how charged up your subconscious is by how intensely you feel the humor emotion as well. So the condition of a transient energy component to the action is also met.

          As you can see, the act of laughing pretty much fits all of the criteria mentioned for transcendental actions. Crying, which is somewhat opposite to that of laughter, is another example of transcendental control. You should be able to verify that this action also fits all of the criteria for transcendental control as well. Other subconscious frequencies such as anger, fear, confidence, and social gregariousness also cause you to move your body transcendentally in very specific ways. However, the transcendental motion that results from these frequencies is not quite as distinct as the laughing and crying examples. In these cases, your negative mind is a little bit better at imitating their transcendental motion. However, it still isn’t completely able to imitate this motion and you can usually still tell when a person is moving in a transcendental way that’s quantized by these frequencies or if they’re using normal control from the negative mind – at least I feel like I can still tell. We’ll talk more about these less clear cases in the next section. Before moving on though, I’d like to mention that the negative mind is still involved in transcendental motion and is not completely cut out of the process. This is because the negative mind still has free will and can resist any compulsion from the positive mind to move in a certain way. So the negative mind has to still agree in a sense, when performing a transcendental action. You notice this when you feel the urge to laugh but are trying not to for a certain reason.

 

 

PROPERTIES OF TRANSCENDENTAL CONTROL

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The positive and the negative minds both clearly control the body in very different ways. This becomes easy to see when we look at how different the criteria for normal control is from the criteria for transcendental control. However, even beyond these basic differences in criteria, there are even more differences between these two kinds of control to consider. In this section, we will discuss some other differences between normal control and transcendental control that aren’t necessarily hard rules but usually tend to be the case in practice. To better understand these differences, we will try to imagine what happens when the conscious mind attempts to imitate a transcendental action that only the subconscious mind is capable of pulling off.

          The first major difference between these two types of control has to do with bodily coordination. Specifically, your positive mind is able to control many different parts of your body at once and do so with a much greater degree of accuracy, finesse, and smoothness than is generally possible for the negative mind. To understand this, try to remember a time when you pretended to laugh at a joke that you didn’t really think was very funny – perhaps to spare the feelings of the individual who made the bad joke. In that case, you didn’t laugh for real but instead you “fake laughed”. From experience, do you feel like there is a genuine difference between a fake laugh and a real laugh in terms of bodily control? Most people would probably answer “yes, there is”. A fake laugh usually feels much more forced and rehearsed. It lacks a certain smoothness and harmony. There may even be a kind of herky-jerky feeling to it as if you’re struggling to control so many parts of your body at once to pull off a particular kind of action. These symptoms all come from the fact that fake laughing is actually an action that is performed using normal control from the negative mind.

          The negative mind just isn’t capable of coordinating the body in the way that’s needed to laugh smoothly. This is not the case, however, when you have a “real laugh”. In this case, your laugh is much more smooth and natural. You’re able to coordinate all of the muscles involved in laughing very easily and very accurately. This greater level of control and coordination comes from your positive mind and is available to you whenever you’re using transcendental control. In the experience I had with singing, which I spoke about earlier, I mentioned that I was able to control my breathing and vocal muscles with a much greater finesse and harmony than I could before. Well, the reason for this was because, in attempting to charge my subconscious to feel more emotion as I sang, I also inadvertently charged my subconscious to enable me to sing with transcendental control as well. Prior to that, I was singing with normal control over my body. This includes the way I was controlling my vocal muscles and breathing while singing. This level of bodily control is quite limited and wouldn’t ever really allow me to sing with the level of finesse that I was attempting to reach. That was why no amount of practice was helping me to sing better and is also why I had plateaued, or reached a ceiling, in my singing ability until I started to sing with more emotion.

          The second major difference between the two kinds of control you have has to do with efficiency. Transcendental control is also far more efficient for the body than normal control. This generally means that you’ll be able to perform some action longer, more often, and with less strain on your body than if you were to try to perform that same action using normal control. If you’ve ever tried fake laughing for a relatively long period of time, you’ve probably noticed that it was very straining on your voice as you kept attempting to force yourself to laugh at will. A natural laugh on the other hand – which uses transcendental control – doesn’t usually feel straining at all most of the time. You can usually keep laughing naturally very often and for a very long time without feeling sore from it – although it might be hard to breathe. This occurs for example when you see a comedian or watch a comedy movie. If you were to replace every real laugh during the comedy routine or funny movie with a fake laugh, you’d probably find your voice to be very sore by the end of the activity.

          This quality of efficiency is also a symptom I alluded to in the singing example as well. When I charged my subconscious to sing transcendentally, I noticed that I could sing almost non-stop with very little effort and without feeling as strained vocally as I normally did when I sung too much. This is due to the heightened efficiency that comes with transcendental control compared to normal control. Another example of efficiency that I think is worth mentioning has to do with impressions. I sometimes notice that when I am trying to make my voice sound silly or exaggerated, like a cartoon character, I’m able to pull it off super easily and naturally. Yet there have been other times when it can be quite straining on my voice. During these straining cases, my vocal impressions feel very uncoordinated and forced - similar to the way it feels when I fake laugh. But when I’m able to do the impression just right, the control of my voice feels very smooth and natural just like a real laugh.

          One more interesting application of the kind of efficiency that occurs with transcendental control, which I think is worth mentioning here, has to do with sports. I’d consider myself to be a pretty big fan of boxing and have noticed that sometimes fighters – who seem to be in the zone – are able to move with an unusual but impressive level of grace and finesse. When this occurs, they also seem to have much more stamina than what is normal for them. A good example of this has to do with a boxer named Adrien Broner. In general, Broner is a low-stamina fighter and usually has a low output and work rate during his fights. But when he fought a boxer named Allakhverdiev, he seemed to be in the zone and noticeably had much more stamina than usual and had a much higher work rate compared to what is normal for him. A similar case occurred when Canelo fought Jermell Charlo.

          The last property of transcendental control I want to discuss here has to do with manifestation. This refers to the natural way you feel the need to move your body when you’re controlling it transcendentally. For example, you may have noticed that when you’re arguing with someone and become very angry, you tend to frantically move your arms about in a certain way. You may also start to frown and raise your voice, as well as change your vocal tone in a way that just sounds meaner and angrier. As you control your body to enact these particular mannerisms, you’re probably not thinking of them as being anything special. As far as you’re concerned, you’re moving your body this way purely out of free will – no differently than when you put on your sneakers for example. However, I believe that these movements are actually the result of compulsions that you feel from your subconscious mind. When charged up at the anger frequency, for example, your subconscious actually compels you to move in a very specific manner – whether that involves frowning or frantically moving your arms or both. Furthermore, you will also be able to perform these actions in a highly coordinated and efficient way that can’t completely be mimicked or imitated by the negative mind. The type of bodily motions that you feel compelled to enact is the manifestation phenomenon of transcendental control.

          I believe that each subconscious frequency has its own set of manifestations, or bodily motions, that you’ll feel compelled to enact when subconsciously charged up at that particular frequency. For example, when you’re feeling very confident, you may notice that you feel a rather strong urge to stand tall and both arch your back and raise your shoulders. You may also feel an urge to make what we might call a “bold” facial expression. Your voice also changes to sound more powerful, direct, and lacking in hesitation. These are all bodily motions that tend to manifest when your subconscious is charged up at the confidence frequency. By the same token, when you’re sad you may feel the need to frown, lower your shoulders and hump your back. Your voice becomes lower and doesn’t project as much. You may also keep your arms very close to your body. These are all bodily manifestations that result from the sadness frequency. In each of these cases, your subconscious is compelling you to move your body in a very particular way that’s directly related to the frequency your subconscious is charged at. To be clear these are still transcendental forms of control, but they can sometimes be a bit harder to distinguish from normal control. However, if you try to move your body in a confident way without actually feeling confident, then you’ll be using normal control to try to pull this off. The corresponding motions usually won’t have the same level of coordination and finesse and will often look fake and forced as a result.

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TRANSCENDENTAL PERCEPTION

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The next kind of subconscious thought or transcendental mental ability your positive mind has involves our perception of reality. In a nutshell, our subconscious has the ability to warp the way reality appears to us. This basically means that it can cause certain things to stand out to us and make them easier to notice while, at the same time, causing certain things to become less pronounced to us and making them harder to notice. Consider how a camera lens can make certain parts of an image sharper and more in focus while also making other parts of that image appear more blurry and out of focus. This is essentially how transcendental perception functions. I'm sure that is probably an oversimplification of how this ability works in practice but that is for the most part what's going on with it. Your subconscious is capable of doing this on many different levels of perception as well. In fact, it really has the ability to do this with just about any category of perception that you want to create. For me, I find it useful to categorize our perceptions into three main categories. We will talk about each of these categories throughout the next few sections and discuss how transcendental perception affects them. It should be noted that, while we’ll be looking at three different manifestations of transcendental perception, they are all still the same transcendental phenomenon.

 

 

TRANSCENDENTAL SENSORY PERCEPTION

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The first branch of transcendental perception I'd like to discuss has to do with your 5 senses. Although its warping effect is not particularly all that dramatic here, it does still occur nevertheless. For this branch, transcendental perception refers to the way your subconscious alters how you perceive reality through your own 5 senses. In this case, your subconscious has the ability to make certain aspects of some sensory experience stand out while making other aspects of that experience less pronounced. A good example of this has to do with sound. Have you ever been in a noisy room with a whole bunch of loud sounds but wanted to hear a specific sound within it that was relatively quiet? If so, then you would’ve held the intention to focus on that quiet sound as you were attempting to hear it. When you did, your subconscious responded to this command and actually altered how you perceived the sounds in that room. In particular, it made the quiet sound seem more in focus and easier to perceive while making the loud sounds more out of focus and harder to perceive.

          It should be noted that your actual physical hearing capability itself doesn’t actually change, at least I don’t believe it does. Your eardrum is probably functioning the exact same way it always does, is receiving the same amount of audible information from the room and is still delivering all of that information to your brain. The only thing that changes is how your conscious mind perceives that information. I believe this effect is also behind a phenomenon that occurs when people unfortunately lose one of their senses. It is well known that when a person loses one sense, it appears as if their other senses actually get stronger to compensate. And yet, while this is apparently true in terms of a person’s subjective experience, there is actually no physical evidence that this is the case. The other senses don’t actually show a measurable increase in neural activity or stimulation – although there are apparent changes in the wiring of the brain over time as a result. However, I believe a good chunk of this apparent phenomenon actually occurs as a result of transcendental perception.

          Another example of transcendental perception occurs whenever you feel pain. Have you noticed that when you’re in physical pain, it actually seems like the pain is worse when you directly focus on that pain vs when you don’t? In the movies, you often see people distract someone who is injured just before they perform some quick but painful medical procedure. I’m not sure if medical conditions are ever so poor in real life that people need to do this, but I believe that this effect has a hint of truth to it. When you’re in pain and decide to focus on that pain, you’re actually holding the intention to perceive that pain. Well, believe it or not, your subconscious actually perceives this as a command that says you want to perceive this pain more directly. So it alters your sensory perception of feeling and tunes your focus into that feeling of pain more powerfully and, at the same time, tunes out other feelings so that they’re harder to notice – and are less able to interfere with your focus on that pain. This of course makes the pain seem stronger to you even though the nerve activity in your pain receptors likely hasn’t changed.

          A similar effect of course occurs with your other senses as well. When a cook is seasoning food, they will taste the food to determine whether or not some seasoning is coming in too strongly or not strongly enough. Even though they can taste all of the flavors at once, they will actually have the ability to more easily taste the particular seasoning that they’re taking the taste test for. A similar phenomenon occurs when you wish to smell one particular odor out of many. This warping effect is even more pronounced when it occurs with visual phenomenon. In this case, your subconscious can alter the way you perceive some image so that certain parts of the image stand out to you and are easier to perceive while other parts of that image are less noticeable. But what’s interesting here is that your subconscious can alter your perception in a way that allows you to see rather complex images within some main image. A good example of this has to do with clouds. If you see a random cloud that has a weird shape passing by, you might not think anything of it and simply disregard it.

          But let’s now say that a friend tells you that this cloud is shaped like a turtle or a bird or something like that. You didn’t see this shape yourself before but now you actually try to see this image that your friend is talking about. And when you do, you actually do see the animal-like image in the cloud that your friend had mentioned. But then why couldn’t you see this image before? What changed that prevented you from seeing this image before that’s allowing you to see it now? I believe the answer to this question of course is your subconscious mind. When you look at the cloud with the intent of actually trying to see the shape of an animal in it, your subconscious actually responds to this intent and treats it like a command. It then alters your visual perception to more easily see the shape of the animal you want to see. The parts of the image that stand out to you will actually form the shape of the animal. A similar phenomenon occurs with the image people generally see in the moon. Some people can see a man’s face in the moon while others are able to see a rabbit. You can generally see whatever image you’re holding the intention to see to some degree.

          Now since your mind has the ability to use this kind of sensory tuning capability any time it wants to, technically it would always start off as a normal, non-transcendental, ability from your negative mind. However, this tuning ability can also charge up and become more and more pronounced over time. As it does, it becomes more transcendental in nature. A good example of this occurs in music. When I’m making a beat, I usually have to hear the same track play over and over again in a loop. During this time, I’m constantly adding different sounds to the main song track and making the beat more complicated as a result. As I do this, I may end up constantly holding the intention to hear some particular instrument more than the others or I might hold the intention to hear the beat in a way that sounds very pleasing or melodical to my ears.

          As I keep doing this, my subconscious actually begins to charge and now alters my perception so strongly that it can no longer be trusted to know whether or not my musical creation is any good. This is because other people, when listening to my beat for the first time, will not have this same perceptual charge to hear my music as “good” that I have. This is a common creative problem that most artists will try to work around and be cognizant of as they’re creating. There have been many times that I’ve made a beat that sounded really great to me at the time but then sounded absolutely terrible to me later on. This is because, as I kept hearing my beat over and over again, I kept charging my subconscious to audibly perceive my beat in a positive way. However, when I waited a while for this transcendental perception charge to discharge and then listened to the beat again, I could hear it from a much more fresh perspective that was not altered by transcendental perception. From this unaltered perspective, my beat sounded terrible. This effect is also why some artists who normally make good music, can sometimes make utterly horrible music. If they’re trying too hard to make their music sound good, they will inadvertently charge their subconscious to hear their music as good even if it’s actually not good. I learned that part of making good beats involves learning how to work around this effect.

          The last comment I’d like to make about transcendental perception when it comes to your physical senses has to do with quantization. As with other transcendental abilities, transcendental perception is quantized by both your intent and subconscious frequency. For example, certain images or colors, sounds, and even smells can more easily be perceived and stand out to you based on the subconscious frequency of your transcendental perception charge. However, this effect on your 5 senses is not as pronounced as other instances of transcendental perception so it may be difficult to notice which subconscious frequencies are better for perceiving certain kinds of things than other frequencies. It may also be difficult to observe that your sensory perception of reality changes somewhat when you’re in a highly emotional state. However, one area where this effect is much more pronounced is the sexual frequency. In other words, when your subconscious is charged up to make you feel the sexual emotion very strongly, you will notice certain physical parameters, of the sex you’re attracted to, much more powerfully. We will talk more about this phenomenon in the next chapter.

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