Make IT Real! - Sander R.B.E. Beals (self help books to read .txt) 📗

low guttural voice. Sounds like sound advice, but is it? Like anything in this dualistic world, Ayreon's lyrics bring you both sides of the coin, without too much of an advice on how to choose, unless you read your own emotions properly. I have no intention of even wanting to try and explain their brilliant stuff for you: this indeed must be experienced directly. Don't worry, if you are not inclined to run to the store and buy one of their CD's, then this music is just not for you. But rest assured, you will have your very own set of evolutionary inputs, from which you can easily deduce the very same gems of Truth.

Truth, such a laden word. Implies right and wrong, when in fact there are none. There is that which is preferable, and that which is not, and even these largely depend on the observer at hand. While common consensus reality may feel like it's the most stable, it is also the most restricting of realities we find ourselves in. Simple arithmetic: if we all are certain of ninety-nine percent of Reality, but we are not all certain of the same ninety-nine percent, then one hundred randomly chosen people might very well agree on zero percent of reality (provided they all doubt a different one percent). Now extrapolate that to 6 billion people, and keep in mind that the actual percentage we are sure of is probably much lower......

4444AD, Day 223, 12:34, Home

I'm flat on my back, relaxing as I'm working. The two by two meter vidcloth on the ceiling displays various windows, from various eras. Top left is my vision feed of March 12th, 2010. I have the accompanying audio on the speakers, and “Day sixteen: Loser” plays, not interfered by anything else in the vicinity. I just love seeing myself be busy creating. The video feed gets interrupted by the screen saver kicking in: photos of an intimately familiar lady fill that top left corner. I leave it be, and switch to another, apparently me on a train. Nobody in view, just empty seats opposite me.

I remember how I felt back then, being busy with the idea of the neural network I'd envisioned myself creating. I know I can't actually make myself achieve anything better back then, but I can make myself feel better about it. I flip open the plans of the Quadrionic mind in my mind's eye, and study them for the next few minutes. By focusing the energy of that activity on my past incarnation, I can strengthen his belief in the fact that he will, in due time, achieve his goal. Just as he eventually did in 2042....

Selina steps into the bedroom, seeing me enjoy myself. She bounces onto the bed next to me, and immediately succeeds in getting my mind off myself. Hey, some people have that effect on me, what can I say? “And, where has my most favorite girl in all the world been hanging around?” I ask her. She tells me she's been walking around town, collecting interesting things from an antiques collector she frequents on a regular basis. Roberto, the antiquarian, told her he had some really nice needlework from around the turn of the second millennium. She jumps off the bed, and steps into the corridor, only to return with four almost square frames. They depict four angels, delicately embroidered on white linen. Two are relatively colorful, a third is done in distinct autumn-like colors. The fourth and final one apparently depicts wintertime. A quick glance at the vidcloth on the ceiling gives the game away: the design is indeed a quartet, and these are called the Four Seasons. My vision enhancer highlights a slightly off-colored patch in the corners of the needle works. In icy blue, nearly indistinguishable from the surrounding whiteness, some sort of code is embroidered: MS2000. I now begin to appreciate the weird familiarity of the female foursome: I have seen them before! Rather than letting the raw power of the Google Vision Search loose on it, I let my mind do the work involved. The Vision Search is a descendant of the Google image search, which used to search for imagery based on text. Vision Search does quite the opposite: based on a single image, it retrieves images of the same subject, or similar ones, to enable the user to gather contextual data on something they've only seen once.

And then it hits me: around 2000AD, my dad in that life embroidered these ladies, proud to have done it in only 555 hours! I flip over the frames, and indeed: one of them has a small label on it, specifying the name of the works, the period they were made in, and the telltale 555 hours.

It is always nice to find stuff from your own recollection. It reminds you of the timelessness and the interconnectedness of things, which reminds me:

While Selina goes down to the kitchen to make her famous macaroni with synthetic (but no less tasty) chicken and sweet & sour, I go with her and read some more in my manuscript, so attentively sent to me by Denisa.....

'From one marvel to the next'

Thinking back, I wonder why our hosts arrived on foot when they could just as easily have flown right to where we were standing. When I ask her, Mayra gives a simple explanation: “Two beings on foot pose much less of a threat than a flying saucer carrying the same two people. Hence our preference for walking the extra distance”. Now there’s a train of thought I can wholeheartedly agree with. I thank her for the explanation, and go back to my own thoughts, that wander to the design of the floater that we are in. Sure, its mind-controlled interface is spectacular enough, but otherwise it’s very minimalist in design: a large metal disc-shaped object, with a depression at the center. Around it, seven seats are placed. Come to think of it, it looks suspiciously like the wild water rides that we use on the outside of the globe. Only this one floats on air instead of water, and it’s a much smoother ride. It has no apparent roof structure, so I ask Kayim about it. He explains that inside, the weather does not have its ups and downs like outside, for there are no seasons. There is occasional rain, but the people here don’t really mind that, and the same force field that floats the floater also keeps out the excess water. As we approach the city, I take a closer look at it: it consists almost entirely of spheres of various sizes, some buried halfway in the surface. Lots of green in between, making it a great place to live in, I imagine. The spheres are different shades of color, giving the impression of soap bubbles from afar.

We land on the edge of the city, next to a modest globe. I can now spot an entirely glass surface surrounding it, which can be seen to be divided into six distinct levels. The top level seems to have no real ceiling, more like a greenhouse.

We enter the structure at ground level, and step onto a disc that’s in the core of the building. You can look up and see all the floors, just like an elevator that has no walls. The disc starts to rise, and I see Jane trying to scare me to death: she holds out her arm, and steps to the side of the platform to allow the next floor to chop it off. Her plan is foiled, because of some unseen barrier that won’t allow anything to cross the edge of the platform as long as it is moving. Mayra notices also, and laughs at my youngest.

We stop on the next floor, and find it divided into four quarter-circle rooms. “These are the working areas,” Mayra explains: “They are on the lower levels because of the frequent transporting of goods in and out of them. Because of their being on the lower half of the sphere, they are usually lit by artificial means”. I see what she means, but for the life of me cannot discover any source of internal light. Still, the rooms seem better lit than any I’ve seen on the surface. We get onto the disc again, only to stop briefly at the next level, which is divided into six pie-shaped rooms.

Each one has two discs on the floor, and two discs on the ceiling directly above them. One of the rooms clearly demonstrates the purpose of the discs: another Inner Earth person is suspended in between two discs. As we approach, he effortlessly swings into an upright position, and steps forward to meet us. “I’ve been waiting for you since I finished preparing our meal. My name is Sinan.” Further talking reveals that he is the mate of Mayra, and Kayim is their son. They live together in this house, which seems somewhat large for the three of them. Mayra explains that they have been appointed hosts of the access point that we came through, so they sometimes have guests from the surface, hence the six bedrooms. The seven of us step onto the central disc again, and ascend to the next level, which also has six pie-shaped rooms. “These are for our various activities,”, Mayra explains: “Kayim has his musical studio in one of these”. Valerie can’t wait to hear her new friend: “Will you please play us something?”, she asks in her sweetest voice. Kayim obliges, and takes the seat behind a desk-like piece of furniture that features various colored crystals. They light up the moment he sits down, and his hands above the array of crystalline light start making subtle movements. The end result is one of the sweetest compositions I’ve ever heard. All of us stand there and listen intently, until the spontaneous concert is finished. When it does, we outsiders all applaud Kayim, with Valerie cheering as well. “Who wrote that marvelous piece?”, she wants to know. Kayim smiles, taking a bow. “I just improvised a little, so you could say I 'wrote' it...”, he says.

We go up another level, and come to another set of four rooms, with large, tilted windows all around the circumference of the building. Three of the four rooms are home to various plants, growing in shallow tanks containing a greenish, luminous substance. “This is our hydroponics area. It grows all of the fruits and vegetables we consume.”, Mayra explains. She goes on to tell us that the plants that thrive best on real sunlight are closest to the windows, whereas the more rugged plants get by on artificial light. Finally, the ones that don't require light, like mushrooms, are grown in a subterranean level at the base of the sphere. The one remaining room on this level is the kitchen, which has its own dedicated access to the dining table above, which we will see shortly. Sinan gestures towards the central disc again, to introduce us to the final level of the structure: the living area.

The four of us stand in awe of the sight we behold: a large circular floor, that is topped by an equally large glass dome. Basically, this dome is the top sixth part of the sphere, leaving the entire floor permanently lit by the smoky central sun. We can see the entire city, and the landscape that surrounds it. ”That's something different from the street view you get from your average outside city home.”, I say to Gina. She looks at me, and just smiles quietly. Mayra calls our attention to a round table, with a big gaping hole in the middle. As we look on, a plateau displaying the most delicious dishes surfaces, inviting us to the table. Around it we find simple but adequate stools, that automatically adjust their height to the size of the person sitting on them. We all sit down, when Sinan invites us to quietly contemplate