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The Smithy of Thoughts


The Perfect Workshop for the Articulation of the Thought


The Secret Craft on the Level of Creating Music


The Process of Mental Shaping


The Mechanics of Sensory Perception


Analysis and Synthesis of the Thought

The Mechanics of Gaining Knowledge





The Daily Experence of the Creative Process

Our inner organ of speech is not only the natural organ for the articulation of speech but also our natural organ, our perfect tool, for the articulation of any thought. It is indeed our smithy of thoughts, and has all the attributes of a real smithy to shape our thoughts in their diversity and to present them to our senses which incessantly survey our mind.

On a subtle level of our inner activity – the same level which we defined as the level on which music is created – our inner breath is pumped into the material of our mind with the help of the warmth of our feeling; this heats the surface of our mind and raises its flexibility – as it happens with metal in the forge of a smithy.

Once the mind, through the skilled hand of our intellect – in coordination with the formative force of our feeling and the formative force of our understanding – has reached the desired shape, it is cooled by the understanding aspect of our intellect and hardens: the thought gains its fixed form.

Now the thought is finished and contains all the attributes necessary for our sensory perception.
Our sense of sight surveys the thought and extracts its outer shape – the visual aspect;
our sense of taste tastes the thought and feeds on it, and our sense of smell sniffs at the thought from all sides.

But our understanding, too, examines the thought with respect to its analytically comprehensible values, and our feeling traces the common basis of the attributes of the thought.

If this seems unlikely, one must recall what happens during dreaming: during the dream one thinks; the thoughts are formed from within the mind by the inner organ of speech.
Simultaneously, the dreamer – the dreamer's self-experi-ences, and it is again the self of the dreamer, who hears in the dream, and this hearing comes about through his sense of hearing because in a dream the sense of hearing surveys the dreamed thought. So, the dreamer does not hear outside, but inside.
And in the same dream the sense of sight surveys the same dreamed thought just as the sense of hearing does, and it communicates what it sees to the self of the dreamer.
And no one will doubt that this "seeing" takes place only inside since during dreaming the eyes are closed.

In the same way also the other friends of perception are active: the sense of touch, the sense of smell, and the sense of taste. Together, they all amuse themselves on the fairground of our dreaming state of consciousness.

And the great organizer, the self of the dreamer, sends its custodians of order: the aspects of the intellect – through which it distinguishes between the sensory perceptions: between past and future, between now and just before, between high and low, between blue and green, between sweet and salty, between stinging smoke and the mild fragrance of lilac, between soft cushions and hard rock, between the sound of drums and the chirping of the cricket on a blade of grass beside the large bridge across which a train is rumbling.







The Superiority of Music over the Language of Today

Fundamental Research

The Organ of Speech

The Smithy of Thought

Sovereignty over
Bound and Free


The Dimension of
Creative Unfoldment

Control over the World
of Thinking

Content and Form,
Meaning and Structure

The Share of the
Senses of Perception
in the Process of
Gaining Knowledge

The Language of Music

How Our Ancestors
Used Language

Conclusions from the
Ancient Records

The Legacy of Our

The Task Set by
Our Ancestors



Ethnic Music                                                            continued 44