Augmented Expression

documentation

A reading method

A writer can only deal on his own with how his works are perceived by other people to a very limited extent. At most, he can question those people he knows, or even put himself in their shoes. He will do this in different places at varying times, and he will know how to take on some of the focal points of the contemplation of the given. But this is supposed to be a limitation of his ability, which will be natural.

The writer is also a reader of his own writing. With increasing knowledge of this, he succeeds better in placing the words. Thus his work experiences some revaluation or devaluation by revision.

From this one can read directly that the author of a script can learn something about its value and has to do so. How else can he improve the scheme of language, if not by upgrading its value? - And this is how he approaches it.

But since the work is one that is to be given away, he has to finish it. It will be no different to do it that after the work also the printing of it takes place. Once the pages have been filled, a state of it will also become aware.

Thanks to the goodness of his efforts, the readership of an author now gains an impression of what he has achieved. The work on it would not be apparent. Even the path that has been taken to accomplish such things does not come from the shadows to the light. These things may have taken place, but they remain hidden. A readership seldom thinks about something like this on its own. Therefore, dealing with a work is usually a superficial reading of texts.

For a writer, therefore, the question arises as to what he or she wants to achieve, or even can achieve, with his or her writing. There he has little possibility for variation, because his own being is inscribed in him. He can hardly get over this without giving up something for it or even losing something of himself. Exactly because Schneider has taken this into consideration, he records his own thoughts with his works and thus represents an unabridged world of ideas. If this is not to arouse much interest in other people, then it is important to him not to cut back any healthy parts of himself.

He meticulously completes these hours of minutes and thus finds an inner order in his world of thoughts and ideas. He has come so far that it has even become possible for him to correct them linguistically. With the help of self-made sample texts he was able to understand and refine his style.

None of this would be insignificant. For Schneider, these are important milestones. Meanwhile, his goal is also clear to him. If he also names this to the highest degree with very blurred words, then he has a good reason for it. How is he to be able to determine in a different way what will be necessary for his future?

Starting from this position, the readership already knows something about the thoughts and intentions of the author Schneider. In order to give you a rule as to how you can understand his works correctly, he now names his own procedure by means of which he corrects his writings. Knowing about this will probably be able to dissolve something of the veil that appears over his words. In the atmosphere of his efforts, the author has done so many things that his motives could not be clearly seen.

To compensate for this, he now reveals to you his method by means of which his writings can be corrected by himself.

Starting from any position in the text, he continues to read the document chronologically. He pays attention to the flow of language and checks the sequence of the words as well as the structure of the thought.

He often has to read the same text twice or even three times before he can grasp it conclusively. Thus he connects the reading of his works on the one hand with an exercise of his own memory (mnemonics) and on the other hand with an awareness of the conclusiveness of his actual thinking (cognition) in situ. The third aspect that appears in the shadow of the twilight light of his spiritual work is the kind of focus that accompanies his writings. Thanks to years of efforts to develop his own ideas, he has finally been able to build up such a body of thought. This is taken from his everyday life. Therefore it is highly suitable for a description of his existence. It also serves to take note of his self-discovery.

Since the author is primarily concerned with this, he has been able to eliminate some medial influence of other channels on himself. Instead of leading a life of distraction, Schneider directed his attention to concentration and devotion.

If his state of mind sometimes seems to some comrades to be not very cheerful or even somewhat disgruntled in the events of everyday life, Schneider has kept a good intention for himself. A dissolution of vanities is one of his premises. To free the arbitrary makes it superfluous. There he can bring something wrong into independence and turn it around. What has not all been achieved by him in the right way, although it could not have been foreseen that something like this would work at all! - A delusion by medial contents of the present occurs alone already because of a use of it, he thinks. Every minute of the blending of an own power with views of third and fourth gives them a possibility to steer us humans suggestively. Let us simply avert this!

If we first switch off the TV, we would have no choice but to deal with ourselves. But that can be an essential key to a strengthening of the human mind.

Cogito ergo sum et non cogito ergo sum.' (Quote)

insight

Testimony

Only then, when one has purged one's own works of those strange parts of other people that have sometimes appeared and occurred, can one reveal to oneself what Schneider finally wants to acknowledge as a true truth of this existence. The own personality of ourselves should be that which it is really given to us.

method

Augmented Expression

The author Schneider has understood what he calls 'augmented expression' as something like an extension of a person's sensual experience. The elementary should be able to form structures of a higher order by extending itself by entering into a connection. Such things, to which this applies, have always existed in his artistic work. These have occurred and have wanted to be understood. He would now like to briefly explain something about how he copes with this phenomenon of his work. A classification of what is meant by it should be given by it.

What would be the starting point? - Where there would be nothing additional to what one does himself, nothing of significance has actually happened. Man's work will then remain fruitless. It would be terrible if the fate that goes with it were to appear at all. Schneider considers this to be unreal, and therefore believes that something like this could not be achieved. In addition, it would be the very opposite of what Schneider's works are about. For him, an assumption of what is naturally given is closer than something like that. He is looking for such structures in works, but also in everyday life with its events, which, thanks to their spontaneously emerging bond with other higher quality qualities, already emanate them as an effect, even show them. He would like to call this process the taking of a stable potential with the materials. Then he also tries to describe it. He would not only be able to recognize such a potential in the chemical compound of molecules. This phenomenon also occurs elsewhere. It acts as a principle in the world and establishes a connection between the occurrences in the first place. Of course, it also follows the other laws, which can occur everywhere, sometimes even despite a form of transformation of possible properties. These are truly given, because they embody a part of the world and cannot be dissolved.

Augmented expression' is for him the key word when it comes to the development of his art form. Where it takes place, people step into the shadows and allow other things to happen. He should not act as a medium, but as a leader. He is not the mediating one, but the instance superior to the matter to cause something to happen. In this way he works independently of his work and can oversee it, even intervene in an orderly manner and give it weighting consideration. What would all this not result in for us! - Thus the worker has the opportunity to take a self-determined approach to the work. If he retains this kind of inner orientation, he will probably be able to maintain this approach well.

Those structures formed from something elementary basically presuppose the possibility of taking higher natural orders. Otherwise they would not even be able to be connected to a unity. There they would be difficult to join. In contrast to such an idea, what exists in nature is easily connected, the essence of it is playful. With a certain willingness to do so, the elements can be united to form elementaries and acquire other properties than those shown by the source materials. Other things become possible, given things appear in a new way and thus become a real enrichment.

The given expands through its connection to a higher value of the things involved. Perhaps this also happens thanks to the inner order of a form. This results in other properties of the material, other reaction forces can occur and thus achieve something that can be of use. That unit of connection is its own, classifying it. Like the phenomenal appearance of physics, there are typical external effects that can be assigned to a thing and that are recognizable when they are triggered and caused. These can be recognized and distinguished from others, so that a knowledge of the material can be found and described. The associated knowledge can be well clarified and summarized. Everything that can be understood and perceived faithfully in this procedure has its cause in the world of 'orders', i.e. the connections of elementary components to a larger whole, the elementary. It should also be possible for something like this to occur in art, which is why Schneider likes to give his consideration here.

So the author Schneider sees things as something educated. Everything occurs in this way of appearance. There the world is an organic one and also to be understood as such.

To describe such things must seem unusual and therefore be brought into balance with other things, which will also be there. In this respect, attention to the trivial part of things has at some point been given high priority by Schneider and is also carried out by him. He likes to carry out his vision of the given with his own (thought) contents, but he knows something about the necessity of connecting points for outsiders. He doesn't want to lose those people with other mental emphases as his readers for no reason, but he wants to win them for his own. That will be the majority of people. Meanwhile the simple has become his hobbyhorse for him, since with his help bridges can be built where otherwise there would be nothing but wasteland.

Thanks to such thoughts and ideas the author has already found his basis. This should consist primarily of ordinary things, which can be added analogously to previous considerations and thus result in a real added value, something of significance. A completion of the trivial parts suffices Schneider as a landmark, in order to carry out his work already in the rough and whole. At times he finds many a cornerstone.

A conclusion of the whole would not be exactly in his sense, because it is about an overview. Practically no applications of it occur with him. This restraint towards something recognized should serve him to continue to accept the hidden as present or even to be able to find it again if it has already fallen into oblivion. He has tried to avoid getting lost in the details of the given or even mixing them with the overviews of it. After all, it would not have to be his goal to create an analytical cacophony.

Phenomena

Caution and return

In order to be able to walk a path completely, one has to return to the actual starting point. The actual experiences can finally be transformed by us. What causes us finally becomes our own history.

Phenomena

Stabilisation

In a world in which everything strives to release energy, the state in which this has already been achieved can be described as stable. The elementary connections form for this purpose. In this way they are freed somewhat from the burden of a surplus energetic charge.

This results in an emanation of the compounds, those structures consisting of elements appear there.

The potential contains 'everything' and 'nothing' as limit values of the possible. In between there is a range of relative assignments.

In order to understand something correctly, it must also be represented in an appropriate way. So it can be helpful to first show the limit values of a range, how this happens here. The relative assignments result in situ from the occurring possibilities and are eventualities.

One must know something for the determination of such conditions. Energy surpluses can be harmful for the structures. The absorption of a certain amount of energy is sometimes sufficient to cause a possible decay of the substances. However, this would not correspond to the urge of things to release energy (liberation).

At the same time, however, it should also be true to us that energy alone can only be passed on to an environment to a very limited extent. A difference of the potential to the environment can make this possible in the first place. And this should only apply if there is a real way of transmission for it.

So everything stores energy, but also energy surpluses. The latter reduce the stability of the materials. Even the living being as organism is constantly under current, because it must be able to endure these processes. It requires some insight into this own behavior of our body, in order to be able to determine it itself, how thereby certain kinds of the weakening are caused with us. To lift such again makes a recovery possible at all only for us.

Every surplus potential will be one imposed by external circumstances. That is how it is to be understood. Man actually strives for an inner order, his actual stability, which will be easier to achieve without such surpluses.

speech formation

Substance under the aspect of structure and sequence

From my time in tool making some processes for the production of machine elements are still known to me. The production of such components, which must be created in a logical order, makes something necessary. These objects have a structure of the form and the measure as target value to own. This is determined in advance by the technical drawing on the basis of empirical values. But the manufacturing process of a defined form has its pitfalls. One would not be able to proceed arbitrarily. Certainly not everything would be possible in any way. At that time I knew how to recognize this myself and tried to constantly consider it in my work. So I realized how I could do my work.

The correct clamping of the workpiece is a real art. The manufacturing process also has its own characteristics which make it unambiguous. Those who would not have resisted the necessity to organize their work steps often do a good job. The resulting product will then be suitable for use in production.

I have transferred such a procedure of manufacturing machine parts to the writing of my own texts in my card index. Since I have knowledge of how to do this, I have tried to put my own words into meaningful order. These should be those which are pleasant to understand. In doing so, I pay attention to the characteristics of my mother tongue known to me and confess it. I have tried as hard as possible to maintain a positive connotation of my own words, even to keep it.

I have already written down many things before, even without thinking about what all this will be worth some day. Afterwards I had to straighten some of the lyrics again. Some of my writings sometimes still have to be extended by the necessary objects before they are ready for the actual correction. The structure of my writings as a card index has gradually become clear to me. As it exists today, it is a grown structure what can be found in it. Some of my better texts shall serve me as an example to improve the rest of my work.

The structure and the sequence of the words determine the essence of my text works. Those, thanks to a reading of it resulting thoughts and ideas in a person reveal a benefit of this writing. A meaning of the whole should remain unaffected.

Certain grammatical structures should be considered by us. For this purpose one has to illuminate these. The German language always exists also on the basis of such conditions. Its grammar is strongly based on Latin. The wickerwork, which results because of a knowledge of it with us, can be cleaned up and clarified. Those actual characteristics of a language have to be emphasized and completed.

documentation

Sources of my inspiration

In presenting what I know, I was guided by the writings in my library that could not actually be imitated by myself. So I have been able to read some beautiful works of other authors and perhaps consider the most necessary things.

As far as the course of the words in my writings is concerned, I have oriented myself somewhat to a German-language translation of the Mahabharata, since it is rich in content and beautiful. The Mahabharata is an Indian epic, which enjoys a high reputation within world literature. Furthermore I try to enrich my writings with factually correct parts, true to a recommendation of A. Crowley, an English author and esoteric of the 20th century. I do this in such a way that they will be less fictitious and easier to understand. I carry this out up to an integration of those trivial conditions of this existence of mine into these writings. I determine these facts and insert them into my texts as a work of wickerwork. This is how the basic grid of my considerations was once created. The prerequisite for this, however, was that these ideas had really arisen before in my own doubts. Then I was able to think about them again afterwards and wanted to do the same. In the end, the 'construction kit' has become this wickerwork, as you can find it here now.

This work is one, which should practice me in the correct use of such vocabulary, as I have named and quoted these here. For this purpose I have produced it, among other things, as it appears today. I try to achieve this by incorporating the words I use in everyday life into sequences that are executed correctly in terms of language and according to real conditions. Thereby an internalized space shall be clearly visible, which I would like to call a matrix. This should be accessible to the mind of the human being and should also be accessible. Then it can also occur. According to an inner illustration of man, he should be able to appear to us in the same way. Then, when we will finally be able to see it, something has become clear. So I create all this in the sense of an actual education of man as well as for a preparation of his works.

speech formation

Artefacts

I have already written down many things about my work. I present everything as it just came to my mind. I try very hard to choose the right words. What is shown here shows characteristics and features of myself. There are also many artefacts to be found which characterize my work as my personal one.

I allow everything to happen and present it in a way that is really recognizable for me. In this way I would like to express what is mine as something good. It will one day be possible to see whether other people will recognize it in the same way. Basically, all this here wants to be accepted by you once, but also assigned and understood.

My work on the 'construction kit' means so much to me. That's why I strive for a good form in the description of these facts of my existence. At least a certain kind of conclusiveness of it should be given once.

The structure of my everyday language should be clearly visible to you on the basis of my texts. I show these qualities of my person now here willingly. I arrange what I am aware of into the existing text where it is possible and thus add my things.

Something arises there. That wants to be heard. It is those words that go along with it that constitute the substance of my things. Thanks to a knowledge of it, I myself receive many a fortune for discussing and describing what has been given to me. I am visibly being trained to deal with how this works.

The sayings and thoughts I have already written down can sometimes be derived from the actual ideas of those fellow human beings I know, according to their works. These represent a basis for my reservations. This sometimes takes place monologically, but also in dialogue with me. It is simple words that can be spoken by me. It is only because of their assemblage that higher-quality contents appear.

Meanwhile, there are some recursions in works for me. This is connected with a threading of further approaches into the already existing structure. How I come to my thoughts and ideas should not be insignificant for you as a reader. It is really true that I have already mentioned some of the reasons for my work here. But it is precisely those statements about my existence that are connected with these that should be decisive. I will weave into these writings what can be made of it.

All this should be good, true and correctly pronounced. For this it can be represented and occur here. I do this so that it is finally preserved. Such a simple good is finally gladly regarded by some as arbitrary, which it would not be of course.

insight

Specifications

The given can at times be well considered by us humans, especially if the thoughts and ideas connected with it are coherent of their kind. Their elementary components are composed to knowledge. These want to be of a certain value for us, but also for other people.

Words can actually be united with the knitted of a human being to his basis, since these have already been said and determined. Then, with their help, something can be clarified and it can be made understandable what happens. For this purpose one should speak this language in a simple and appropriate way. We should be able to make some good things possible for us if we can do that.