Greg Delapaix Musical Bio

Delapaix_Web_bio

Advertisements

Thoughts Regarding A Metaphysical Practicum

© 2017 Greg Delapaix

We are frequency practitioners– as such, we are not “qualified” in a traditional or status quo sense.  We should not be misconstrued as a group of people who are psychologists, social workers, therapists, or any other label which may be drawn from the contemporary lexicon, steeped as it is in the very trappings we seek to circumvent. As practicing musicians and creative thinkers, we are artists and scientists directly involved in the use of frequency as a leveraging component of a transformative process, whereby we draw actionable modalities from the larger realities we operate within. Results are based not just on the development of deeper self-understanding in relation to intention, but in creating direct experiences which can allow for true empowerment hand in hand with an ability to manifest change as desired, by means of our intention.

Shared Fields, Unity Consciousness, and Frequency…

All energy has consciousness, and all perceptions are the results of patternings of conscious energy which occurs within ever expansive fields of probability. The “order” within which we operate, is a kind of lens drawn from choices made not only by our conscious mind and our physical being– itself an expression of a larger entity choosing to experience a shared reality, but also by aspects of ourselves which we have learned to ignore, in our indoctrination into rational and linear modes of being. These larger aspects of self remain nonetheless, and what we seek to do is to provide tools which allow us to access these larger aspects of self, wherein we may refocus our lens and in a sense redefine the landscapes of reality we operate within, both collectively and as individuals.

There exists within our focus of perception the opportunity to identify beliefs and their contingencies as determinant factors of emotional and conscious response to events in our lives. The contingencies of beliefs are other beliefs. Every event we experience in waking life is an aspect of a larger event formed within larger aspects of the self in relationship with fields of probability. It is important to recognize that our emotions, operating as aspects of what some call the “emotional body,” follow beliefs, and not the other way around. Patterns of activity and manifestation in our direct experience are the result of ways that our beliefs channel our focus of perception– patterns of belief in this way operate as a kind of lens through which we view our various individual and co-creational realities, where reality is simply defined as a focus of perception.

Belief Systems…

With this in mind, what we want to learn to do is to identify the beliefs which operate within our ego, conscious mind, and subconscious mind. All of these beliefs are accessible to us, because we operate as a unified field of consciousness and energy, and all so-called levels of our consciousness are not in fact separate “levels” at all. The tools and methods we are utilizing in some components of this work are thus in a sense, a way of re-arranging the furnishings of our mind which we ourselves choose, and which we use to manifest our direct experience, drawing upon fields of probability. These choices operate on conscius and subconscious levels, but again, they are accessible to us. To simply attempt to re-program our thinking through repetitive suggestions will not ultimately succeed unless we learn to recognize, select, and modify those beliefs which drive our experience and our creation/co-creation of reality, but which are not serving our intentions.

Frequency itself can offer a way to help in focusing our level of intention. Additionally, uses of frequency of sound can help us in redirecting our conscious awareness within the present moment, from which both the future and the past ripple outward. With this refocusing of awareness and levels of perception in the present moment, we can better navigate through and around programming patterns which we are exposed to, and to better differentiate where our mental constructs are originating from, along with whether or not they serve our intentions individually and/or across counterparts of self. In this way we then become able to activate and align ourselves energetically in an inward sense, which can then be directed outward toward manifestation in our present individual and shared focuses of perception.

Mastering the Senses…

There is a diametric opposition between the digital technologies we often use, along with their requisite elements such as social media, and our direct connection with the planet where we live. We offer to employ techniques and tools which help to connect us with the natural world, and to maintain and magnify our functionality as natural beings. As natural beings, our consciousness has a mobility largely untapped in our current social paradigm. Recognizing and leveraging this mobility of consciousness allows us to recognize the choices we make within larger fields of probability. Consciousness and energy together create patterns of oder directly out of unpredictability. Our physical senses are a part of this ordering process; they allow us to operate well in our physical focus. Like the tools of the scientist though, they only allow us to perceive within the level of reality they exist in. To insist on operating within that modality or one level of reality is to operate within a camouflage system that occludes larger and more varied realms of consciousness and energy. Mastery of our senses points the way to these larger realms, from which our physical focus of perception emerges. It is our goal to integrate larger aspects of self into a space of conscious awareness in the present moment.

Support mechanisms disguised as distractions/interferences….

The most objective is the least present- science as it is taught today seeks to remain objective. Yet true understanding requires presence. To be present is to identify with a subject the way an artist does. Thus the practice of an artist is just as valid as the practice of the scientist today. The internal multi-dimensional operation of the universe is not an objective affair at all. As natural beings we once connected deeply with nature in ways which actually allowed us to experience aspects of the natural world– that of a tree, or a river, or an animal in a direct way not mitigated by our physical system of perception, which today is focused upon to the extent that we are held locked in place in a camouflage system of mitigated understanding and perception. Distortion filters emerge within this one-sided objectivity. They can be clearly seen in the realms of science and medicine, where the focus is not upon subjective identification, but rather on objective separation- ultimately a dead end approach.

There are many ways of “shaking loose” rigid thought, belief, and perception patterns, such as the use of psychotropic plants (and animals), entheogenic approaches, and synthetic chemicals. It is well known among shamanic practitioners that certain frequencies of sound such as drumming at certain rates, can produce altered states of consciousness. In relation to the often bewildering avalanche of shifted perceptions, enhanced and altered awarenesses, and torrents of personal symbology which drugs can induce, sound offers a tool whereby we can intensify our focus and enhance our awareness in more deliberate ways, where ritual and the use of tools like imagination and visualization can exist alongside.

Seventh Sense Team Offering

Mike- In moving to a more individual stance I’m not precluding the opportunity of others to consult with me. Your understanding of my situation is fairly clear, as I do plan on establishing an independent living space and lifestyle, in order to be clear in my own choices and intentions, which are indeed at odds with the status quo assembly line. In addition to writing a book on quantum philosophy in relation to visual art, I think it best to begin work on a metaphysical practicum which will lend itself quite well to what you are trying to situate into the world. As your sonic brother, I can make this material available, but it will take some time. Additionally, I want to do this in a way which references my sources properly while languaging it in a way which will make it unique and accessible to those in a position to best use it. The material will be copyrighted appropriately by myself as the author, and made available in a way which grants permission to you and others to use it, with the stipulation that I am credited as the author. I’m sure this makes sense to you.
Many are pointing out the way toward new uses and understandings of sound, but resistance from entrenched systems of control requires a kind of camouflage which a somewhat academic approach can provide. As you know, my main traditions of information are the channeled Seth material in conjunction with the Toltec tradition, which gives sorcery a disassociation from negative patterning normally associated with these traditions within the rational assembly lines of a disempowered humanity. I also as you know will be employing Tibetan techniques freed from the distortion patterns of ethnocentric ritual- much in line and in tandem with yogic traditions as espoused by the likes of swami Rama- founder of the Himalayan Institute of Yogic Science and Philosophy. Of course there are shamanic traditions as well which tributate into these approaches, from which religions as patterns of distortion all feed off of, but which in their more advanced (“ancient”) purer forms have a lot to offer. Each of us has these choices in how we are to incorporate our unique facets of the material we as a team will activate, but it is up to each of us to delineate a heritage which frees us from generalized labelling by those who mistakenly believe that end results are somehow justified by means to those ends. Those people have painted themselves and others into corners as always, and force those who align energetically with them into a willful ignorance of larger realities at work.
At this point I am willing to work with those who would like to “enfold with the unfoldment” of the material I am illuminating, but will require payment up front. I believe that it is incumbent upon all of those who are involved in the efforts of our unified field of intention to clearly delineate their part just as I am doing, whether it is entirely unique to the individual or not. Additionally those who are intending to bring this team into the world as an available and monetized resource, are required to structure the framework. In short I’m just saying that I am happy to be a part of the team- as an author and practitioner of a unique approach which can lend itself to other facets of your project- but have chosen not to be engaged in structuring and putting into place the overall operational structure of the enterprise. This is an adjustment which has ramifications I know, but one which I don’t believe necessarily manifests any kind of mutualized exclusiveness, as I am certainly amenable to consulting in an ongoing way which does not place any responsibility on my part beyond working directly with those who want to engage with the various approaches we as individuals offer, or beyond assisting philosophically and conversationally with others whose intention it is to organize and monetize the tools we offer, i.e. those who will implement Web sites, payment systems, promotional materials, etc. Many Blessings,

G

Belief Systems as Mental Furniture

Belief Systems as Mental Furniture
Greg Delapaix Aug 2017

There exists within our focus of perception the opportunity to identify beliefs and their contingencies as determinant factors of emotional and conscious response to events in our lives. The contingencies of beliefs are other beliefs. Every event we experience in waking life is an aspect of a larger event formed within larger aspects of the self in relationship with fields of probability. It is important to recognize that our emotions, operating as aspects of what some call the “emotional body,” follow beliefs, and not the other way around. Patterns of activity and manifestation in our direct experience are the result of ways that our beliefs channel our focus of perception– patterns of belief in this way operate as a kind of lens through which we view our various individual and co-creational realities, where reality is simply defined as a focus of perception.
With this in mind, what we want to learn to do is to identify the beliefs which operate within our ego, conscious mind, and subconscious mind. All of these beliefs are accessible to us, because we operate as a unified field of consciousness and energy, and all so-called levels of our consciousness are not in fact separate “levels” at all. The tools and methods we are utilizing in some components of this work are thus in a sense, a way of re-arranging the furnishings of our mind which we ourselves choose, and which we use to manifest our direct experience, drawing upon fields of probability. These choices operate on conscius and subconscious levels, but again, they are accessible to us. To simply attempt to re-program our thinking through repetitive suggestions will not ultimately succeed unless we learn to recognize, select, and modify those beliefs which drive our experience and our creation/co-creation of reality, but which are not serving our intentions.

Dissertation Abstract

Components of Cultural Thermodynamics: Visual Understandings of Energy 

April 8, 2016

Society and culture along with the world at large, can be thought of as a thermodynamic system, where thermodynamics is synonymous with ontologies of energy in interactive states. Numerous visual artists have sought to present understandings of these energetic systems in varying ways.

Situating artworks within a field of intentions, where those intentions are to visually present understandings of energetic forces at work, whether in society and culture or the world at large, requires a contextual identification of artists to be considered, along with works which are exemplary in their approaches to presenting visual understandings of energetic activity or functionality. In choosing which artists to be a center of focus in this type of study, one is presented with almost limitless ways in which energetic forces may be visually modelled vis-à- vis creative works.

Theoretic aspects of the artworks in question must be identified as modellings (or direct appropriations of) of energetic forces at work and analyzed in terms of the way(s) that energetic activity may be modelled or mapped. Many avenues of inquiry spring to mind in relation to this proposition, especially when one considers the myriad forms of media and combinations thereof seen in contemporary culture.

My intention is to focus this inquiry on artists who work in more or less traditional mediums of visual art, namely drawing and painting. Initial choices include early abstract pioneer Frantisek Kupka who according to University of Ontario professor of Art History John G. Hatch, was concerned with wave patterns appearing in nature, and metaphysician and visual artist Emma Kunz, whose drawings in her own words depict energetic patterns in nature. These, along with a constellation of contemporary artists working in a more “visionary” or shamanic framework will be analyzed, along with correlations to modern scientific and more metaphysical or “para-scientific” theories and syntheses thereof, which seek to present understandings of human subtle energies and ways they are expressed visually in these contemporary works.

This research can ultimately fit within an overall extended field of research which seeks to understand creative works and the cultures they operate within, in terms of thermodynamics as defined above. The focus in this project is on ways that natural and human subtle energies can be understood through visual means, and grounding these understandings in contemporaneous theories which support their expressions.

Keylontic Science Related Independent Research

Professor/Dr.

 My name is Greg Delapaix, I am in the Fine Arts Doctoral program here at Tech, and I anticipate the coming Fall as being my last semester for coursework here, after which I will return to Oregon to research and write my dissertation. 

I am looking for faculty members here who are teaching coursework which intersects on some level with my dissertation topic, which is a visual (and musical) culture study of a branch of metaphysics called Keylontic Science.

This topic deals with a multidimensional universe and the manipulation of energies within these dimensional structures, along with other topics such as relationships between sound and light, ancient and pre-ancient histories involving interactions with numerous off-world races, and an egalitarian system of conscious living principles.

Feel free to let me know if you wish more information on the subject of Keylontic Science. There are communities emerging around the world who are working with these principles in various contexts including creative fields such as visual art and music.

Possible independent research topics include visual cultures of various paranormal subjects, such as the human subtle energy body in relation to out of body projections, shamanism, other comparative religions, etc, the use of visual symbols as encryption codes in contemporary culture and corollaries in ancient cultures, sacred symbols, sacred geometries and crystal structures in relation to sound, music, visual symbols, etc.

I am also interested in reconciliations between diametrically opposed thought systems such as transhumanism and ascension mechanics, cyborg culture vs. goddess culture, comparative religions in relation to metaphysics and the paranormal, etc. Certain aspects of science such as quantum and multidimensional models might also be useful. My topic may also intersect various disciplines including Sociology, Anthropology, Ancient History and ‘Human Sciences,’ Comparative Literature, Urban and/or Ethnic Studies, and Music.

Because no one has yet written about Keylontic Science on an academic level, I will be drawing on many disciplines besides the material published by those intimate with Keylontic Science over the last ten to fifteen years. This essentially means that I’m developing a cultural study entailing searches for overlaps and departures between various thought systems and Keylontic Science.

I would be interested to read/hear any of your thoughts about these ideas and how any of them might intersect with coursework you will be involved with in the Fall, or ideas you may have regarding the possibility of independent research related to your areas of expertise, or areas of research your colleagues may be involved with. 

Thank You!

Sincerely

Greg Delapaix

Course Substitutions

[I am re-sending this to include Dr. Steele and Dr. Ortega, since I forgot to use ‘reply all’ the first time.]
GD

Hi Dr. —-, and thank you for your response ~
There was a letter included with my original submission for the course substitutions. I believe this letter was included when I re-submitted all of my original documents to you, and also included when I re-submitted the documents to Dr. ——. My submission included/includes also the syllabi and class outlines/descriptions of the three classes taken as the Art History component of MFA studies.
I am attaching a copy of the letter as a separate PDF document, titled “proposal,” to this email. Feel free to let me know if there is anything else you may need for me to do; thanks again for your prompt response.
GD

Greg,
Once you hand in a letter regarding your course substitutions, as was asked of you more than a month ago, I can get them taken care of. (Note that similar requests for course substitutions for —- —— and ——- —– have been put through this semester.) No need to involve Dr —— at this point. If you handed in a request previously to Dr ——, resend it again to me at your earliest convenience.
I kindly suggest that you focus your attention on what really is at issue – locking down your dissertation topic and committee.
Thank you.
Regards,

Dr —-

PhD Art Coordinator

Hi Dr. —— –
I am of the understanding that at this point the course substitutions I submitted over a year ago can be applied to my coursework credit hours as a part of the next steps forward in my FADP process. I am writing to you for verification of this, but also in the hope that these course substitutions be expedited/processed in the short term.
I have been asking the various PhD coordinators, faculty members, and chairpersons for help in resolving/completing the substitutions for well over a year now, since I first submitted them to Dr. —— during Spring of 2012. This is so that I can proceed with planning the last part of my coursework, especially with regard to what I will be doing this Fall. I believe that Dr. Ortega has also asked Dr. —- for help in this matter, so I am including them in this email; I thank you all in advance for help in knowing the status of my course substitution requests.

Best regards,

Greg Delapaix