We know from writings in the ancient Greek Iliad, the Bible, and the Koran that human perception of color has evolved. The language used to describe the color of things like the sea or the sky, once compared to other common objects, has changed. Until recently, our understanding of science argued that the evolutionary process occurred through genetic inheritance. However, the idea has been advanced that linguistic color perception is generated by non-genetic forces associated with evolutionary development within a holographic universe.

The recent creation of time crystals by American University researchers has shown that our scientific, spiritual, and political understanding of the evolution of reality is a primitive illusion. The operation of time crystals has shown that our concept that science is governed by a supreme law that demands our extinction is incorrect. The evolutionary process associated with a non-genetic linguistic color perception process therefore deserves investigation.

Our science and our social mores are governed by a carcinogenic dysfunctional information system discovered by epidemiologists. It is a global epidemic in 3D transmitted by modern communication and information devices. In 2016, the World Fund for the Arts in Russia discovered and recognized a linguistic color perception antidote to this global epidemic. In 2017, this Russian Organization for Science and Art set out to establish a research program to investigate the role linguistic artistic perception of color will play in futuristic technologies. In 2017, researchers at American University created time crystals that embraced the reality of the antidote. They stated their intention to apply their new knowledge for the advancement of existing artificial quantum information technology. Since such technology is an integral aspect of the epidemic, this would be a serious mistake. If the Russian program follows the same logic and merges the antidote information with the infected artificial intelligence, the 3D global epidemic will interact with the holographic evolutionary process in ways we don’t understand.

It is common knowledge that there is the use of artistic linguistic color techniques to control the human mind with dysfunctional intentions, for example, North Korea is now a cause for concern because of this. To a seemingly minor degree, we are being ruled by a non-stop continual mind control barrage of commercial television. To make a positive contribution to this situation, the quantum biological antidote needed to develop a healthy evolutionary technology must be made visible to the general public as soon as possible.

The philosopher Plato argued that aesthetic art appreciation was unethical and required ethical spiritual wisdom through art to prevent the destructive property of formless matter from emerging from within the physical atom to destroy civilization. Later, in modern times, the philosopher Immanuel Kant, in agreement with Plato, wrote that an asymmetrical electromagnetic field was evolving within the creative and artistic mind as the spiritual wisdom that Plato was seeking. Plato’s concept was that the physical world was an illusion, which is in keeping with the idea that a holographic universe is an evolutionary illusion of reality.

We know that within a holographic universe, artistic illusions can generate neurological emotions open to manipulation by unethical dictatorial regimes. However, the antidote technology uses an alternative to ‘Colour Over Mind’ art rhetoric accompanied by sound and color art to create a dysfunctional mindset. Within the holographic reality, ‘Mind over Colour’ uses the physical concept that is equal and opposite to unethical illusions.

Modern artists subconsciously paint stereoscopic images in their paintings. The artist Salvador Dalí was convinced that this phenomenon existed for ethical purposes. The eccentric Freudian language of him together with the scientists who advocate science, politics and social morality to free themselves from the dilemma of him embraced the more ethical future of Immanuel Kant. In 2002, stereoscopic asymmetrical electromagnetic glasses were patented. When used to view artwork from this century, Dalí’s conviction that the paintings contained an invisible stereoscopic message became a fact.

Paintings now exist that depict a stereoscopic multidimensional holographic image that echoes the painting’s descriptive text. This linguistic perception of color goes well beyond the scope of the mechanistic description of the concept of chromostereopsis of yesteryear, in which a visual illusion of depth is conveyed in two-dimensional color images. However, in today’s art, many stereoscopic image planes are fused together to create a reality of holographic motion that engineers recognize as spiritual torsion forces. These are the torsion forces that belong to the asymmetrical electromagnetic spiritual technology of Chales Proteus Steinmetz. He wrote telling the world that such spiritual technology would be far superior to the mechanistic asymmetric electromagnetic global technology that he helped bring about as a leading figure in the electrification of America. Without the new spiritual mindset, the civilization ruled by the 3D epidemic of dysfunctional information will result in nuclear war.

Permission for this article is from a 1979 Australian National Television documentary titled The Scientists – Profiles of Discovery. A detailed explanation of these discoveries can be found in the article, The Optical Nature of Artistic Genius, (April 2017) by Chris Degenhardt, published on academia.edu.