24 Hours

2 THE

DOORWAY

TO

4 HOURS Limitless Imagination is the doorway to infinity

INFINITY

THOUGHTS ON IMAGINATION PAPER FROM THE THINK ON PAPER SERIES OF PROMOTIONS FROM NEW LEAF PAPER

2

4 HOURS Limitless Imagination is the doorway to infinity

This book is printed on acid-free paper.

Copyright Š 2013 by Stanley Santoso. All rights reserved.

Published simultaneously in Canada.

No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted. Requests to the Publisher for the permission should be addressed to Stanley Santoso, 627 Moscow Street, San Francisco, CA 94112, (925) 219-7683.

E-mail: STANLEYPRAMANA@GMAIL.COM

Santoso, Stanley.

24 Hours - Limitless Imagination is the dooway to Infinity Includes Production Notes, Product Listn and Colophon.

DEDICATED TO: FAMILY AND FRIENDS

NEW LEAF

IMAGINATION New Leaf Paper creates beautiful papers with market-leading environmental specifications. We enable companies to make sustainable paper choices and share the benefitss with their employees, customers, and the greater community. We inspire, through our success, a fundemental shift toward sustainability in the paper industry.

New Leaf Imagination combines superior print performance with leading environmental specifications. Its surface quality and brightness compete with the best virgin uncoated papers.

OUR CREATIVE

IMAGINATION From the paperline “Imagination�, I started to think of how far can I imagine? Turns out, there is no limit in imagination. A person can keep creating creations as long as he wants to. The only limit to imagination is the person using the imagination himtself. To potray the subject, I take an ordinary object, something small, but very useful, a watch.

Watch is a really complex mechanism all put into a two-inches rounded metal. By taking apart this watch, I will then able to get interesting objects, elements, typography, shapes, and color. Using all that I found from the watch, I can then create something totally different, abstract .

01

300

OUR CREATIVE IMAGINATION

‫׀‬

▲

‫׀‬

▲

OUR CREATIVE

IMAGINATION Our creative imagination is the doorway to infinity

OUR CREATIVE IMAGINATION IS THE DOORWAY TO THE INFINITY of our being and the doorway to the exploration of our infinite nonconscious mind and the unseen realms of Creation. Our creative imagination is infinitely vast and can provide us a never ending journey of exploration and the potential to experience whatever we can conceive. It is limited o nly by our mind in primarily two ways. First it is limited by and the experiences it has had in mind’s ability to characterize what we an access in our imagination. The second way it is limited is by the limits and barriers we impose on ourselves. If we cannot find true freedom in our creative imagination, we will never find freedom in the life we live or in any realm of Creation. 7 Creative freedom is not about bringing everything we experience in our creative imagination into physical manifestation. Rather is about being able to be free to explore all options and use the concept of complex integration to find ways to move past what are otherwise insurmountable obstacles. 7 Our creative imagination is what allows us to access the infinite possibilities of cre- ation in any situation we face. It is where we can explore any and all possibilities. The question is, "Are we free to explore all the possibilities that are available to us within our imagination?" for this is where the constraints and limitation on our creative spirit and creativity start. 7 Our creative imagination should be a place of childlike play. We should be free to innocently and spontaneously discover and explore ourselves in any realm of reation in our creative imagination. If we cannot experience spontaneous and the innocent childlike play in our creative imagination, we will never experience it in the world in which we find ourselves. This lack of freedom within our creative imagination will in turn keep us from entering the most creative state of being.

02

‫׀‬

▲

‫׀‬

▲

▲

‫׀‬ ▲ ‫׀ ׀ ׀ ׀ ▲ ׀ ׀ ׀ ׀ ׀▲ ׀ ׀ ׀ ׀ ׀▲ ׀ ׀ ׀ ׀׀▲ ׀ ׀ ׀ ׀ ׀‬

1 OUR

1

CREATIVE

IMAGINATION

OUR CREATIVE IMAGINATIONIS THE DOORWAY TO INFINITY

R

OUR CREATIVE

400

IMAGINATION

03

2o KEY

2

CREATIVE

IMAGINATION

THE KEY UNDERTANDING TO OUR CREATIVE IMAGINATION

OUR CREATIVE

300

IMAGINATION 04

‫׀‬

▲

‫׀‬

THE GIFT IN OUR CREATIVE

IMAGINATION

▲

‫׀‬

RELATIVE TO THE CREATIVITY PERSPECTIVE AND HOLD OUR CREATIVITY SACRED, OUR CREATIVE IMAGINATION IS OUR GREATEST GIFT. It is here we can literally experience the expansion of our consciousness into the infinity of our being and experience what it feels like to be that expansion. Here we can experience the free and unfettered blossoming of our creative spiritto feel it and know what it feels like to have our creativity blossom and be in the fullness of being. 7 It is here we can imagine that which does not exist manifested in physical form. It is here we create the seed condition which can be brought back to plant within our psyche to grow into an experience of whatever we desire. 7 We need to understand, mind only knows the past and what it has experienced. To do what mind wants and/or thinks is to recreate the past to one degree or another through ourattachments to the past. Only in listening to the heart to feel the flow of energy do we breakfree of the past to create the new and unseen. 7 It is our creative imagination that contains the ability for mind to step beyond itself into theunseen world to explore options and pursue paths that mind would not otherwise take. Mind can see what is possible based on what it has experienced and it can explore the possibility within its creative imagination. But it must give itself permission to step out of it own imposed limits and barrier in the freedom of play to spontaneously and innocently discover and explore what is possible. 7 If we can thinks of it, it is possible for everything we experience in our creative imagination has a real part and an imaginary part. However, it may not be possible to manifest here and now in Physical Creation given the constraints of the time and place in which we find ourselves. But that not mean we cannot explore the options within our creative imagination to create it. We may find that there is a way within our creative ability and creative power to create it to make the impossible possible, the possible probable, and the probable a certainty.

▲

‫׀‬

▲

‫׀‬

▲ ‫׀ ׀ ׀ ׀ ▲ ׀ ׀ ׀ ׀ ׀▲ ׀ ׀ ׀ ׀ ׀▲ ׀ ׀ ׀ ׀׀▲ ׀ ׀ ׀ ׀ ׀‬ 05

THE KEY UNDERSTANDING ABOUT OUR CREATIVE IMAGINATION IS TO REALIZE EVERYTHING WE EXPERIENCE, no matter what it is, arises as a result of a flow of energy. Without the movement a flow of energy provides there is nothing to observe. In any given situation we face, if we are mindful and aware and open to feeling we can discern and feel the flow of energy giving rise to the experience we have. This includes the thoughts, concepts, ideas, images or whatever we experience in our mind. This means two things relative to our creative imagination. 7 First, no matter what we experience in our creative imagination it is has a real part and an imaginary part. That is, what we experience in our imagination is real. However, we experience it in a reality other than Physical Creation. Or, it has attributes or characteristics that cannot be adequately expressed or manifested in Physical Creation as we currently experience Physical Creation. That does not mean that we cannot change Physical Creation to support what we experience in our creative imagination. Nor does it mean we cannot move to another reality and experience what we find in our creative imagination as reality. 7 In fact, this is what many do with the concepts of Heaven, the Kingdom of God, and Nirvana. We imagine a place that satisfies our deepest longing that cannot be filled in Physical Creation as we currently experience it and then seek that place or realm which will fulfill our longing. Whether or not the place currently exists as reality doesn’t matter. What matters is that we can experience it in our creative imagination. Because we can experience it in our creative imagination there exist a flow of energy which can give rise to what we desire. The question is, "Do we recreate Physical Creation to create what we desire here and now or do we leave Physical Creation and create what we seek in another realm of Creation?". Relative to what Heaven, the Kingdom of God and Nirvana represent, most chose to leave Physical Creation rather than contemplating how to change Physical Creation and/or the way they live to experience it here and now. 7 The second meaning to the fact that everything we experience arise from a flow of energy is that anything we experience in our creative imagination has two part. It has a real part and an imaginary part. The real part is the flow of energy that is giving rise to the experience we have and is what we feel in the experience. The imaginary part is our interpretation of the experience of that flow of energy through the illusion of mind and the experiences we have had that is used to characterize that energy we feel/experience. How our mind characterizes that energy may or many not be correct. It all depends on whether or not we have the experience to properly characterize what we experience.

THE KEY UNDERSTANDING TO OUR CREATIVE

IMAGINATION 06

3 KEY UNDERSTANDING

L3

CREATIVITY

Within our creative imagination we access the deep undercurrents of creation. The deep undercurrents of creation/Creation are what give rise to what we experience. Our fantasies are not so much fantasies as actually tapping into what is unfolding in the creation/Creation we experience. Our mind considers them fantasies only because, in one way or another, our characterization of the energy does not correspond to Physical Creation as we currently experience it. Science fiction tends to be the best example of something that lies in this realm. One reason why many discoveries reflect what is in earlier science fiction writings is because the science fiction writer tapped into the currents unfolding into Creation before they became physically manifested. The question is whether or not Physical Creation as it is can support the energy that is trying to manifest or do we need to recreate Physical Creation for that idea we access to become part of the reality we experience.Air travel is a good example of this concept.

People had dreamed of flying for centuries. But humanity need to first redefine what it means to be a human being and how a human being lives in Physical Creation to create the understanding and materials to support air travel. We need to remember our body and its environment is our truth manifested. Our body and its environment is what lies in our consciousness made manifest. Just as Buddha under the Boda tree kept touching the ground to remember what is real, we need to remember to look at what we feel. What we feel is what is real, not the interpretation of mind. For anything we experience in our creative imagination we need to remember to look at what we are feeling.What we feel does two things. One is it keeps us both present to what is so we do not become lost in the world of our creative imagination. The second, as discussed in the concept ofcomplex integration, is that what we feel is the key to bringing back anything we find in our creative imagination back into the world in which we find ourselves. Everything other than feeling is of the world of imagination and the illusion of mind and stays in the realm of the physically unmanifested.

23:59 IN OUR CREATIVITY

24 THE GIFT

THE GIFT IN OUR CREATIVE IMAGINATION

OUR CREATIVE IMAGINATION

07

4

19TH CENTURY

POCKET CHRONOGRAPH

08

POCKET CHORONOGRAPH WERE VERY POPULAR IN 19TH CENTURY

4 E

THERE ARE MANY MODERN DAY USES FOR THE CHRONOGRAPH, but the original use for this device, and also the reason it was invented, was to please King Louis XVIII in 1821. The King greatly enjoyed watching horse races, but wanted to know exactly how long each race lasted, so Nicolas Rieussec was hired to invent a contraption that would do the job. As a result, he created the first ever commercialized chronograph. 7 The first chronograph was invented by Louis Moinet in 1816, although it was Nicolas Rieussec who developed the first marketed chronograph and the term 'chronograph' dates all the way back to 1776 when a man named Jean-Moyes Pouzait came up with an idea for a device that could record the time of flight of projectiles. The term, Chronograph comes from the Greek word for "chronos" and "graph", which is translated to time and writing. Early versions of the chronograph are the only ones that actually used any "writing". They would write on the dial with a small pen attached to the index; the length of the pen mark would indicate how much time has elapsed. This vastly differs from the modern day chronograph, where the stopwatch feature is electronic or digital. This caused there to be a push to change the name to chronoscope. 7 In 1844 there was a breakthrough with the chronograph; unlike the constantly moving needle in the original chronograph, Adolphe Nicole’s updated ver- sion of the chronograph was the first to include the resetting feature, which now allowed successive measurements.

7 The automatic chronograph was invented in 1969 by the watch companies Heuer, Breitling, and Hamilton, and movement specialist Dubois Depraz, who were all in a partnership. They developed this technology secretly, in hopes that other companies would not see their efforts and beat them to the patent. It was in Geneva and in New York that this partnership shared the first automatic chronograph with the world on March 3, 1969. This first automatic chronographs were labeled "Chrono-matic". 7 Many people confuse chronograph with a chronometer, but in order to be labeled a chronometer the watch must be certified by the COSC, the official Swiss Chronometer testing institute. Many companies such as Rolex, Chrony, Swiss, Nautica, and Louis Moinet sell their own styles of chronographs.

While today most chronographs are in the form of wrist watches, in the early 19th century pocket chronographs were very popular.

1821 KING LOUIS VIII

ROLEX

CHRONOGRAPH The watch with hand that comes back

09

DAYTO

THE ROLEX COSMOGRAPH DAYTONA IS A MECHANICAL, SELF-WINDING CHRONOGRAPH. It is manufactured since the early 1960s and known as the archetype of a sport watch for racing drivers. There have been three series of the Cosmograph Daytona. The original series, produced in small quantities from circa 1963 to the later 1980s, has a four-digit model or reference number, for example the reference 6263. It featured a manual wind movement. This original series eventually became iconic[vague] but in very short supply in the early 1990s, which led to a second series to meet demand. The second series was introduced in 1988 and used a Zenith "El Primero" modified automatic winding movement, with a five digit model number This movement was originally manufactured and released in the 1969 and is still the highest VPH mass-produced movement on the market at 36,000 VPH. Rolex purchased these movements for the Daytona and then modified the movement from 36,000VPH to 28,800VPH and made a few other subtle changes. These later series Daytonas prior to in-house movements were produced from 1988 to 2000 and represent the time period where Rolex Daytonas really began cult status, due to its limited production, accuracy, reliability and supply as they were coming from Zenith. The third series, intrrduced in 2000, has a Rolex in-house made movement and a six-digit reference number, for example reference 116520.

The new six-digit Daytonas are certified, self-winding chronometers with chronograph functions.

Rolex was, and remains today, a sponsor of the Rolex 24 at Daytona race at the time, and named its chronograph watch after that famous race.

Although Rolex continues to manufacture a version of the "Daytona", the rarest versions of the Rolex Daytona are the first versions, those whose reference number contains four digits, for example the 6238, 6239, 6240, 6241, 6262, 6263 6264 and 6265 References, produced from 1961 to 1987. The 6238,

10

A

1960 FIRST MANUFACTURED IN EARLY

N

ROLEX

CHRONOGRAPH 6239, 6241 and 6262 References were the first versions, and were not "Oyster" versions, they did not have a screw down winding crown or screw down timing buttons. The movement used was a manual wind Valjoux cal. 72, named the Rolex Cal. 722. The 6263, 6264 and 6265 References were produced commencing 1970, were Oyster versions with screw down crown and screw down timing buttons. The movement used remained based on the manual wind Valjoux cal. 72, but with some refinements, and was called the Rolex Cal. 727. These Daytonas are very rare and very collectible. The movement has proven to be exceptionally reliable and accurate. In fact, the Cal. 727 was certified as a chronometer in some cases. The rarest Daytonas are those with the so-called "Paul Newman" dial.

Its distinguishing features are subtle and often unnoticeable to the untrained eye. First, a Paul Newman dial must be in a Reference 6239, 6241, 6262, 6263, 6264 or 6265 watch, installed by Rolex Geneva as original. All of these References had acrylic domed crystals.

That aside, the sub-dials (the dials that are the opposite or contrasting color of the main dial) of a Paul Newman dial have block markers instead of lines, will have crosshairs across each sub-dial meeting at centre (unlike the normal Daytona), and the seconds sub-dial placed at 9:00 is marked at 15, 30, 45 and 60, whereas a normal Daytona dial is marked at 20, 40 and 60. The dial may or may not have the word "Daytona" written on the dial above the hour sub-dial located at 6:00. The dial came in four color and layout combinations, and was installed as an option by Rolex on the Daytona line of watches in the Reference 6239, 6241, 6262, 6263, 6264 or 6265 watches. The watch has been out of production since the early 1970s, and Rolex is not able to supply any replacement version of it. It is said that Paul Newman wore this watch until his death in 2008, and had done so since 1972, the watch having been given to him by his wife, Joanne Woodward, when Newman took up automobile racing.

MECHANICAL SELF-WINDING CLOCK

72

PAUL NEWMAN

X

5 5

11

IT’S EMPTY YOU HAVE TO START IMAGINING

X

:

∞

180 ROLEX WATCH

I

6 6

14

PARTS OF A WATCH

QUARTZ There was no problem with the choice of a timing element. The quartz crystal is possibly thousands of times better for timing than the tuning fork, and quartz crystals had been around for many years. Only the type and the frequency of the crystal needed to be chosen. The difficulty was in the selection of the integrated circuit technology that would function at sufficiently low power.

A MOVEMENT in watchmaking is the mechanism that measures the passage of time and displays the current time (and possibly other information including date, month and day).

Movements may be entirely mechanical, entirely electronic (potentially with no moving parts), or they might be a blend of the two. Most watches intended mainly for timekeeping today have electronic movements, with mechanical hands on the watch face indicating the time.

A DISPLAY consist of the time in analog form, with a numbered dial upon which are mounted at least a rotating hour hand and a longer, rotating minute hand. Many watches also incorporate a third hand that shows the current second of the current minute. Watches powered by quartz usually have a second hand that snaps every second to the next marker. Watches powered by a mechanical movement appears to have a gliding second hand, although it is actually not gliding; the hand merely moves in smaller steps, typically 1/5 of a second, corresponding to the beat (half period) of the balance wheel. In some escapements (for example the duplex escapement), the hand advances every two beats (full period) of the balance wheel, typically 1/2 second in those watches, or even every four beats (two periods, 1 second), in the double duplex escapement. A truly gliding second hand is achieved with the tri-synchro regulator of Spring Drive watches. All of the hands are normally mechanical, physically rotating on the dial, although a few watches have been produced with "hands" that are simulated by a liquid-crystal display.

A CLOCK FACE or dial is the part of an analog clock (or watch) that displays the time through the use of a fixed-numbered dial or dials and moving hands. In its most basic form, recognized throughout the world, the periphery of the dial is numbered 1 through 12 indicating the hours in a 12-hour cycle, and a short hour hand makes two revolutions in a day. A longer minute hand makes one revolution every hour. The face may also include a seconds hand which makes one revolution per minute. The term is less commonly used for the time display on digital clocks and watches.

CLOCK HAND is the 24-hour analog dial, widely used in military and other organizations that use 24-hour time. This is similar to the 12-hour dial above, except it has hours numbered 1–24 around the outside, and the hour hand makes only one revolution per day. Some special-purpose clocks, such as timers and sporting event clocks, are designed for measuring periods less than one hour. Clocks can indicate the hour with Roman numerals or Hindu–Arabic numerals, or with non-numeric indicator marks. The two numbering systems have also been used in combination, with the prior indicating the hour and the later the minute. Longcase clocks (also known as grandfather clocks) typically use Roman numerals for the hours. Clocks using only Arabic numerals first began to appear in the mid-18th century. The periphery of a clock's face, where the numbers and other graduations appear, is often called the chapter ring.

A MAINSPRING is a spiral torsion spring of metal ribbon that is the power source in mechanical watches and some clocks. Winding the timepiece, by turning a knob or key, stores energy in the mainspring by twisting the spiral tighter.

The force of the mainspring then turns the clock's wheels as it unwinds, until the next winding is needed. The adjectives wind-up and spring-wound refer to mechanisms powered by mainsprings, which also include kitchen timers, music boxes, wind-up toys and clockwork radios.

15

1829

THE MOVEMENT OF WATCH

MOVEMENT IN HOROLOGY, A MOVEMENT IS THE INTERNAL MECHANISM OF A CLOCK OR WATCH, as opposed to the case, which encloses and protects the movement, and the face which displays the time. The term originated with mechanical timepieces, whose clockwork movements are made of many moving parts. It is less frequently applied to modern electronic or quartz timepieces, where the word module is often used instead. 7 In modern mass- produced clocks and watches, the same movement is often inserted into many different styles of case. When buying a quality pocketwatch from the mid-19th to the mid-20th century, for example, the customer would select movement and case individually. Mechanical movements get dirty and the lubricants dry up, so they must periodically be disassembled, cleaned, and lubricated. One source recommends servicing intervals of: 3–5 years for watches, 15–20 years for grandfather clocks, 10–15 years for wall or mantel clocks, 15–20 years for anniversary clocks, and 7 years for cuckoo clocks, with the longer intervals applying to antique timepieces.

I 7

7 16

O

I

O

AUTOMATIC - Used in most mechanical watches sold today, the mainspring is automatically wound by the natural motions of the wearer's wrist while it is being worn.

MANUAL - In this type the wearer must turn the crown periodically, often daily, in order to wind the mainspring, storing energy to run the watch until the next winding.

BRIDGE - In modern watch movements, the back plate is replaced with a series of plates or bars, called bridges. This makes servicing the movement easier, since individual bridges and the wheels they support can be removed and installed without disturbing the rest of the movement. The first bridge movements, in Swiss pocketwatches from around 1900, had three parallel bar bridges to support the three wheels of the going train. This style is called a three finger or Geneva movement.

3/4 PLATE - In the 18th century, to make move-

1I 1

ments thinner, part of the back plate was cut away to make room for the balance and balance cock.

FULL PLATE - In this design, used in the earliest pocketwatches until the 18th century, the back plate was also circular. All the parts of the watch were mounted between the two plates except the balance wheel, which was mounted on the outside of the back plate, held by a bracket called the balance cock.

17

AUTOMATIC WATCH

AN AUTOMATIC OR SELF-WINDING WATCH IS A MECHANICAL WATCH in which the mainspring is wound automatically as a result of natural motion of the wearer's arm, to provide energy to run the watch, making manual winding unnecessary. A mechanical watch which is neither self-winding nor electrically driven may be called a manual watch. Many of the mechanical watches sold today are self-winding. 7 A mechanical watch is powered by an internal spiral mainspring which turns the gears that move the hands. The spring loses energy as the watch runs, so in a manual watch movement the spring must be wound by turning a small knob on the case, the crown, to provide energy to run the watch.

Otherwise, once the watch loses its stored energy, it stops. 7 A self-winding watch movement has a mechanism which winds the mainspring. The watch contains an eccentric weight (the rotor), which turns on a pivot. The normal movements of the user's arm cause the rotor to pivot on its staff, which is attached to a ratcheted winding mechanism. The motion of the wearer's arm is thereby translated into circular motion of the rotor which, through a series of reverser and reducing gears, eventually winds the mainspring. Modern self-winding mechanisms have two ratchets and wind the mainspring during clockwise and anticlockwise rotor motions. 7 The fully wound mainspring in a typical watch can store enough energy reserve for roughly two days, allowing the watch to keep running through the night while stationary. In many cases automatic watches can also be wound manually by turning the crown, so the watch can be kept running when not worn, and in case the wearer's wrist motions are not sufficient to keep it wound automatically.

18

3I 3

8120

AUTOMATIC WATCHES

I

8 8

I

2 2

5 5

19

USING OUR CREATIVE

IMAGINATION WE USE OUR CREATIVE IMAGINATION BY PLAYING AND EXPERIMENTING WITH OPTIONS AND POSSIBILITIES. It is a place to think things out and/or prototype what we imagine before we try and manifest what we find. In this regard, rituals, ceremonies, metatheater, simulations, prototyping and the like are all techniques that allow us to stay in our creative imagination to play but to move into manifesting what we experience yet not fully commit ourselves to manifest what we imagine. These techniques allow us to "get a feel" for what is in our creative imagination may look like manifested in Physical Creation. 7 To bring what we find in our creative imagination into reality, we need to learn to do our own experiment and know our truth relative to what we find and access. Trying to live the truth of another will always cause us difficulties when we are trying to bring what we find in our creative imagination into manifestation. We have to become very honest with ourselves as to our intention and why we are doing what we do. 7 We need to remember, our creative imagination has characterized the energy we experience based on our truth and the intention we hold. It has accessed an energy based on our intention and then uses the experiences we have had in our life to characterize what we have accessed. Whether or not it has characterized what we have accessed accurately or not doesn’t matter. It has characterized what we access in the best way it can based on our past. To attempt to use another’s view, explanation, or whatever, compromises what we have accessed. This is why it is so important to honor what we find in some type of surrogate or real physical experience even if it is bizarre. 7 We can seek the advice of another and take their interpretation under advisement and there is nothing wrong with this. This is not the issue. The issue is whatever our mind characterizes, it is based on our personal experiences and what we truly believe.

It is not based on something we accept as truth because we are told we need to believe it. Our mind characterizes what we experience based on our truth and our experiences. This is why it is so important to knowour truth and what truly serves us for these our what our mind will use in its characterization of any energy we experience in our creative imagination. 7 What needs to be understood is our creative imagination is where the impossible becomes possible, the possible

‫׀‬

22

▲

‫׀‬

▲

‫׀‬

▲

‫׀‬

▲

‫׀‬

▲

IMAGIN ATION

300 OUR CREATI VE

THE KEY UNDERTANDING TO OUR CREATIVE IMAGINATION

probably, and the probable a certainty. What we experience in our creative imagination has an element of reality to it. No matter what we experience in our creative imagination, there is a flow of energy that we can tap into that will cause what we are experiencing in our creative imagination to become manifested as our reality. 7 When we are faced with something in our creative imagination which we consider as impossible it nevertheless has a real part and already exists. There is some energy giving rise to what we experience. The experience our mind currently possess is what is characterizing what we experience as impossible for what we are experiencing already exist energetically. The question is, "How do we properly character what we consider impossible to understand what we are really experiencing and we can manifest it?" Here we face one of three issues.

‫׀‬

▲

‫׀‬

▲

10» 10

LACK OF THE MINIMUM SET OF EXPERIENCE: One is our mind just does not have the minimum set of experience to properly character what we experience. Here, as we are free to experimentand gain the minimum set of experience we come to see how it is possible to make what we saw as impossible a reality. How long it takes depended on what type and kind of experiences we must obtain for our mind to understand what we need to do or how to live our life to make that impossible idea possible.

OUR REALITY IS INCAPABLE OF SUPPORTING WHAT WE FIND: The third issue we face is that Physical Creation is simply not a reality capable of expressing the energy we access into a manifestation. Nevertheless, there is a reality or multiple realities where the idea could be fully expressed and manifested. In this case, we may need to go to that reality to experience what we actually desire.

OUR CURRENT REALITY CANNOT SUPPORT WHAT WE FIND: The second issue we may face although what we find is impossible in our current Physical Creation does not mean it cannot be manifested physically. Here the issue we face is that Physical Creation as it currently exists in the human collective must somehow change to support the idea. We have all we need to understand how to manifest the idea but we do not have the environment or material in which to manifest what we see. Science fiction writers, inventor and the like are frequently faced with these issues. For example, The Turtle, the first submarine, or at least a form of the submarine, first used in battle to attack a ship was used in the American Revolutionary around 1775. A submarine, the Hunley, was again used to attach a ship in the American Civil in 1863. By World War One in 1914, the world and humanity had changed sufficiently changed such that the submarine become a formidable weapon of war.

‫׀‬ ▲ ‫׀ ׀ ׀ ׀ ▲ ׀ ׀ ׀ ׀ ׀▲ ׀ ׀ ׀ ׀ ׀▲ ׀ ׀ ׀ ׀׀▲ ׀ ׀ ׀ ׀ ׀‬ 23

180 ROLEX WATCH

24

I

11 11

THE KEY UNDERTAND ING TO OUR CREATIVE IMAGINATIO N

OUR CREATIVE

300

IMAG INAT ION

25

THE BOTTOM LINE

▲ ‫▲ ׀ ׀ ׀ ׀ ׀▲ ׀ ׀ ׀ ׀׀▲ ׀ ׀ ׀ ׀ ׀‬

THE BOTTOM LINE OF OUR CREATIVE IMAGINATION

3600

THE BOTTOM LINE

‫׀‬

26

▲

‫׀‬

▲

‫׀‬

▲

‫׀‬

▲

‫׀‬

▲

‫׀‬

▲

THE BOTTOM LINE OF OUR CREATIVE IMAGINATION

▲‫׀ ׀ ׀ ׀ ▲ ׀ ׀ ׀ ׀ ׀‬

▲

‫׀‬

12

C 12

‫׀‬

ALTHOUGH CREATIVITY IS ABOUT MANIFESTING WHAT WE WANT, when we want it, the way we want it, creativity is about bringing into existence that which is original and not previously experienced. Knowing what we want, in the way we want it is to recreate the past. It is not abut truly creating something. It is not about the new and never seen or experienced.. The creative imagination is where we begin our creative endeavor for it is here we can we can conceive of the new, the origin, the never seen and never experienced.

However, creation and bring that new and original into existence is about stepping out of mind and out of the past and outside our past thinking. Any thing that we desire that already exists is to recreate the past. Most what individuals call creating is recreation of the past in a new way.

27

300

OUR CREATIVE IMAGINATION

PRODUCTION NOTES OUR CREATIVE

IMAGINATION

‫׀‬

▲

‫׀‬

▲

‫׀‬

▲

‫׀‬

▲

▲ ‫׀ ׀ ׀ ׀ ▲ ׀ ׀ ׀ ׀ ׀▲ ׀ ׀ ׀ ׀ ׀▲ ׀ ׀ ׀ ׀׀▲ ׀ ׀ ׀ ׀ ׀‬

IMAGINATION Our creative imagination is the doorway to infinity

OUR CREATIVE IMAGINATION IS THE DOORWAY TO THE INFINITY of our being and the doorway to the exploration of our infinite nonconscious mind and the unseen realms of Creation. Our creative imagination is infinitely vast and can provide us a never ending journey of exploration and the potential to experience whatever we can conceive. It is limited o nly by our mind in primarily two ways. First it is limited by and the experiences it has had in mind’s ability to characterize what we an access in our imagination. The second way it is limited is by the limits and barriers we impose on ourselves. If we cannot find true freedom in our creative imagination, we will never find freedom in the life we live or in any realm of Creation. 7 Creative freedom is not about bringing everything we experience in our creative imagination into physical manifestation. Rather is about being able to be free to explore all options and use the concept of complex integration to find ways to move past what are otherwise insurmountable obstacles. 7 Our creative imagination is what allows us to access the infinite possibilities of cre- ation in any situation we face. It is where we can explore any and all possibilities. The question is, There are many modern day uses for the chronograph, but the "Are we free to explore all the original use for this device, and also the reason it was invented, was possibilities that are available to please King Louis XVIII in 1821. The King greatly enjoyed watching to us within our imagination?" horse races, but wanted to know exactly how long each race lasted, for this is where the constraints so Nicolas Rieussec was hired to invent a contraption that would do and limitation on our creative the job. As a result, he created the first ever commercialized chronospirit and creativity start. 7 Our graph. 7 The first chronograph was invented by Louis Moinet in 1816, creative imagination should be although it was Nicolas Rieussec who developed the first marketed a place of childlike play. We chronograph and the term 'chronograph' dates all the way back to should be free to innocently and 1776 when a man named Jean-Moyes Pouzait came up with an idea spontaneously discover and exfor a device that could record the time of flight of projectiles. The plore ourselves in any realm of term, Chronograph comes from the Greek word for "chronos" and reation in our creative imagina"graph", which is translated to time and writing. Early versions of the tion. If we cannot experience chronograph are the only ones that actually used any "writing". They spontaneous and the innocent would write on the dial with a small pen attached to the index; the childlike play in our creative length of the pen mark would indicate how much time has elapsed. imagination, we will never exThis vastly differs from the modern day chronograph, where the perience it in the world in which stopwatch feature is electronic or digital. This caused there to be a we find ourselves. This lack of push to change the name to chronoscope. 7 In 1844 there was a freedom within our creative breakthrough with the chronograph; unlike the constantly moving imagination will in turn keep us needle in the original chronograph, Adolphe Nicole’s updated version from entering the most creative of the chronograph was the first to include the re-setting feature, state of being. which now allowed successive measurements. 7 The automatic chronograph was invented in 1969 by the watch companies Heuer, Breitling, and Hamilton, and movement specialist Dubois Depraz, who were all in a partnership. They developed this technology secretly, in hopes that other companies would not see their efforts and beat them to the patent. It was in Geneva and in New York that this partnership shared the first automatic chronograph with the world on March 3, 1969. This first automatic chronographs were labeled 02 "Chrono-matic". 7 Many people confuse chronograph with a chronometer, but in order to be labeled a chronometer the watch must be certified by the COSC, the official Swiss Chronometer testing institute. Many companies such as Rolex, Chrony, Swiss, Nautica, and Louis Moinet sell their own styles of chronographs. While today most chronographs are in the form of wrist watches, in the early 19th century pocket chronographs were very popular.

From the paperline “Imagination”, I started to think of how far can I imagine? Turns out, there is no limit in imagination. A person can keep creating creations as long as he wants to. The only limit to imagination is the person using the imagination himtself. To potray the subject, I take an ordinary object, something small, but very useful, a watch.

Watch is a really complex mechanism all put into a two-inches rounded metal. By taking apart this watch, I will then able to get interesting objects, elements, typography, shapes, and color. Using all that I found from the watch, I can then create something totally different, abstract .

‫׀‬

OUR CREATIVE

1 OUR

1

CREATIVE

IMAGINATION

OUR CREATIVE IMAGINATIONIS THE DOORWAY TO INFINITY

R

THERE ARE MANY MODERN DAY USES FOR THE CHRONOGRAPH, but the original use for this device, and also the reason it was invented, was to please King Louis XVIII in 1821. The King greatly enjoyed watching horse races, but wanted to know exactly how long each race lasted, so Nicolas Rieussec was hired to invent a contraption that would do the job. As a result, he created the first ever commercialized chronograph. 7 The first chronograph was invented by Louis Moinet in 1816, although it was Nicolas Rieussec who developed the first marketed chronograph and the term 'chronograph' dates all the way back to 1776 when a man named Jean-Moyes Pouzait came up with an idea for a device that could record the time of flight of projectiles. The term, Chronograph comes from the Greek word for "chronos" and "graph", which is translated to time and writing. Early versions of the chronograph are the only ones that actually used any "writing". They would write on the dial with a small pen attached to the index; the length of the pen mark would indicate how much time has elapsed. This vastly differs from the modern day chronograph, where the stopwatch feature is electronic or digital. This caused there to be a push to change the name to chronoscope. 7 In 1844 there was a breakthrough with the chronograph; unlike the constantly moving needle in the original chronograph, Adolphe Nicole’s updated ver- sion of the chronograph was the first to include the resetting feature, which now allowed successive measurements.

7 The automatic chronograph was invented in 1969 by the watch companies Heuer, Breitling, and Hamilton, and movement specialist Dubois Depraz, who were all in a partnership. They developed this technology secretly, in hopes that other companies would not see their efforts and beat them to the patent. It was in Geneva and in New York that this partnership shared the first automatic chronograph with the world on March 3, 1969. This first automatic chronographs were labeled "Chrono-matic". 7 Many people confuse chronograph with a chronometer, but in order to be labeled a chronometer the watch must be certified by the COSC, the official Swiss Chronometer testing institute. Many companies such as Rolex, Chrony, Swiss, Nautica, and Louis Moinet sell their own styles of chronographs.

While today most chronographs are in the form of wrist watches, in the early 19th century pocket chronographs were very popular.

‫׀‬

▲

‫׀‬

IMAGINATION

▲

‫׀‬

▲

‫׀‬

IMAGINATION

▲ ‫׀ ׀ ׀ ׀ ▲ ׀ ׀ ׀ ׀ ׀▲ ׀ ׀ ׀ ׀ ׀▲ ׀ ׀ ׀ ׀׀▲ ׀ ׀ ׀ ׀ ׀‬ 04

05

DAYTO

THE ROLEX COSMOGRAPH DAYTONA IS A MECHANICAL, SELF-WINDING CHRONOGRAPH. It is manufactured since the early 1960s and known as the archetype of a sport watch for racing drivers. There have been three series of the Cosmograph Daytona. The original series, produced in small quantities from circa 1963 to the later 1980s, has a four-digit model or reference number, for example the reference 6263. It featured a manual wind movement. This original series eventually became iconic[vague] but in very short supply in the early 1990s, which led to a second series to meet demand. The second series was introduced in 1988 and used a Zenith "El Primero" modified automatic winding movement, with a five digit model number This movement was originally manufactured and released in the 1969 and is still the highest VPH mass-produced movement on the market at 36,000 VPH. Rolex purchased these movements for the Daytona and then modified the movement from 36,000VPH to 28,800VPH and made a few other subtle changes. These later series Daytonas prior to in-house movements were produced from 1988 to 2000 and represent the time period where Rolex Daytonas really began cult status, due to its limited production, accuracy, reliability and supply as they were coming from Zenith. The third series, intrrduced in 2000, has a Rolex in-house made movement and a six-digit reference number, for example reference 116520.

The new six-digit Daytonas are certified, self-winding chronometers with chronograph functions.

Rolex was, and remains today, a sponsor of the Rolex 24 at Daytona race at the time, and named its chronograph watch after that famous race.

Although Rolex continues to manufacture a version of the "Daytona", the rarest versions of the Rolex Daytona are the first versions, those whose reference number contains four digits, for example the 6238, 6239, 6240, 6241, 6262, 6263 6264 and 6265 References, produced from 1961 to 1987. The 6238,

10

N

A

1960 FIRST MANUFACTURED IN EARLY

06

CHRONOGRAPH

YOU HAVE TO START IMAGINING

6239, 6241 and 6262 References were the first versions, and were not "Oyster" versions, they did not have a screw down winding crown or screw down timing buttons. The movement used was a manual wind Valjoux cal. 72, named the Rolex Cal. 722. The 6263, 6264 and 6265 References were produced commencing 1970, were Oyster versions with screw down crown and screw down timing buttons. The movement used remained based on the manual wind Valjoux cal. 72, but with some refinements, and was called the Rolex Cal. 727. These Daytonas are very rare and very collectible. The movement has proven to be exceptionally reliable and accurate. In fact, the Cal. 727 was certified as a chronometer in some cases. The rarest Daytonas are those with the so-called "Paul Newman" dial.

Its distinguishing features are subtle and often unnoticeable to the untrained eye. First, a Paul Newman dial must be in a Reference 6239, 6241, 6262, 6263, 6264 or 6265 watch, installed by Rolex Geneva as original. All of these References had acrylic domed crystals.

That aside, the sub-dials (the dials that are the opposite or contrasting color of the main dial) of a Paul Newman dial have block markers instead of lines, will have crosshairs across each sub-dial meeting at centre (unlike the normal Daytona), and the seconds sub-dial placed at 9:00 is marked at 15, 30, 45 and 60, whereas a normal Daytona dial is marked at 20, 40 and 60. The dial may or may not have the word "Daytona" written on the dial above the hour sub-dial located at 6:00. The dial came in four color and layout combinations, and was installed as an option by Rolex on the Daytona line of watches in the Reference 6239, 6241, 6262, 6263, 6264 or 6265 watches. The watch has been out of production since the early 1970s, and Rolex is not able to supply any replacement version of it. It is said that Paul Newman wore this watch until his death in 2008, and had done so since 1972, the watch having been given to him by his wife, Joanne Woodward, when Newman took up automobile racing.

72

PAUL NEWMAN

X

5 5

11

ROLEX

1821 CHRONOGRAPH KING LOUIS VIII

The watch with hand that comes back

08

09

07

IT’S EMPTY

ROLEX

MECHANICAL SELF-WINDING CLOCK

24

3

THE KEY UNDERSTANDING TO OUR CREATIVE

∞

X

▲

OUR CREATIVE IMAGINATION

:

‫׀‬

4

23:59 THE GIFT

300

4 E

Within our creative imagination we access the deep undercurrents of creation. The deep undercurrents of creation/Creation are what give rise to what we experience. Our fantasies are not so much fantasies as actually tapping into what is unfolding in the creation/Creation we experience. Our mind considers them fantasies only because, in one way or another, our characterization of the energy does not correspond to Physical Creation as we currently experience it. Science fiction tends to be the best example of something that lies in this realm. One reason why many discoveries reflect what is in earlier science fiction writings is because the science fiction writer tapped into the currents unfolding into Creation before they became physically manifested. The question is whether or not Physical Creation as it is can support the energy that is trying to manifest or do we need to recreate Physical Creation for that idea we access to become part of the reality we experience.Air travel is a good example of this concept.

People had dreamed of flying for centuries. But humanity need to first redefine what it means to be a human being and how a human being lives in Physical Creation to create the understanding and materials to support air travel. We need to remember our body and its environment is our truth manifested. Our body and its environment is what lies in our consciousness made manifest. Just as Buddha under the Boda tree kept touching the ground to remember what is real, we need to remember to look at what we feel. What we feel is what is real, not the interpretation of mind. For anything we experience in our creative imagination we need to remember to look at what we are feeling.What we feel does two things. One is it keeps us both present to what is so we do not become lost in the world of our creative imagination. The second, as discussed in the concept ofcomplex integration, is that what we feel is the key to bringing back anything we find in our creative imagination back into the world in which we find ourselves. Everything other than feeling is of the world of imagination and the illusion of mind and stays in the realm of the physically unmanifested.

19TH CENTURY

OUR CREATIVE

L3

CREATIVITY

POCKET CHRONOGRAPH

THE KEY UNDERTANDING TO OUR CREATIVE IMAGINATION

KEY UNDERSTANDING

IN OUR CREATIVITY

THE GIFT IN OUR CREATIVE

IMAGINATION RELATIVE TO THE CREATIVITY PERSPECTIVE AND HOLD OUR CREATIVITY SACRED, OUR CREATIVE IMAGINATION IS OUR GREATEST GIFT. It is here we can literally experience the expansion of our consciousness into the infinity of our being and experience what it feels like to be that expansion. Here we can experience the free and unfettered blossoming of our creative spiritto feel it and know what it feels like to have our creativity blossom and be in the fullness of being. 7 It is here we can imagine that which does not exist manifested in physical form. It is here we create the seed condition which can be brought back to plant within our psyche to grow into an experience of whatever we desire. 7 We need to understand, mind only knows the past and what it has experienced. To do what mind wants and/or thinks is to recreate the past to one degree or another through ourattachments to the past. Only in listening to the heart to feel the flow of energy do we breakfree of the past to create the new and unseen. 7 It is our creative imagination that contains the ability for mind to step beyond itself into theunseen world to explore options and pursue paths that mind would not otherwise take. Mind can see what is possible based on what it has experienced and it can explore the possibility within its creative imagination. But it must give itself permission to step out of it own imposed limits and barrier in the freedom of play to spontaneously and innocently discover and explore what is possible. 7 If we can thinks of it, it is possible for everything we experience in our creative imagination has a real part and an imaginary part. However, it may not be possible to manifest here and now in Physical Creation given the constraints of the time and place in which we find ourselves. But that not mean we cannot explore the options within our creative imagination to create it. We may find that there is a way within our creative ability and creative power to create it to make the impossible possible, the possible probable, and the probable a certainty.

POCKET CHORONOGRAPH WERE VERY POPULAR IN 19TH CENTURY

THE KEY UNDERSTANDING ABOUT OUR CREATIVE IMAGINATION IS TO REALIZE EVERYTHING WE EXPERIENCE, no matter what it is, arises as a result of a flow of energy. Without the movement a flow of energy provides there is nothing to observe. In any given situation we face, if we are mindful and aware and open to feeling we can discern and feel the flow of energy giving rise to the experience we have. This includes the thoughts, concepts, ideas, images or whatever we experience in our mind. This means two things relative to our creative imagination. 7 First, no matter what we experience in our creative imagination it is has a real part and an imaginary part. That is, what we experience in our imagination is real. However, we experience it in a reality other than Physical Creation. Or, it has attributes or characteristics that cannot be adequately expressed or manifested in Physical Creation as we currently experience Physical Creation. That does not mean that we cannot change Physical Creation to support what we experience in our creative imagination. Nor does it mean we cannot move to another reality and experience what we find in our creative imagination as reality. 7 In fact, this is what many do with the concepts of Heaven, the Kingdom of God, and Nirvana. We imagine a place that satisfies our deepest longing that cannot be filled in Physical Creation as we currently experience it and then seek that place or realm which will fulfill our longing. Whether or not the place currently exists as reality doesn’t matter. What matters is that we can experience it in our creative imagination. Because we can experience it in our creative imagination there exist a flow of energy which can give rise to what we desire. The question is, "Do we recreate Physical Creation to create what we desire here and now or do we leave Physical Creation and create what we seek in another realm of Creation?". Relative to what Heaven, the Kingdom of God and Nirvana represent, most chose to leave Physical Creation rather than contemplating how to change Physical Creation and/or the way they live to experience it here and now. 7 The second meaning to the fact that everything we experience arise from a flow of energy is that anything we experience in our creative imagination has two part. It has a real part and an imaginary part. The real part is the flow of energy that is giving rise to the experience we have and is what we feel in the experience. The imaginary part is our interpretation of the experience of that flow of energy through the illusion of mind and the experiences we have had that is used to characterize that energy we feel/experience. How our mind characterizes that energy may or many not be correct. It all depends on whether or not we have the experience to properly characterize what we experience.

CREATIVE

IMAGINATION

THE GIFT IN OUR CREATIVE IMAGINATION

KEY

2

400

IMAGINATION

03

01

2o

OUR CREATIVE

COLOR: Blk:#00000 Red:# ED1C24 Peach:# E16750 TYPEFACE: BODY: Din - Lig 7.5 Din - Med 8 HEADLINES: Din - Med 60 Din - Reg 30 SUB-HEADS: Clarendon - Rom 12

1829

THE MOVEMENT OF WATCH

180

O

ROLEX WATCH

6 6

OF A WATCH

QUARTZ There was no problem with the choice

A CLOCK FACE or dial is the part of an analog

of a timing element. The quartz crystal is possibly thousands of times better for timing than the tuning fork, and quartz crystals had been around for many years. Only the type and the frequency of the crystal needed to be chosen. The difficulty was in the selection of the integrated circuit technology that would function at sufficiently low power.

clock (or watch) that displays the time through the use of a fixed-numbered dial or dials and moving hands. In its most basic form, recognized throughout the world, the periphery of the dial is numbered 1 through 12 indicating the hours in a 12-hour cycle, and a short hour hand makes two revolutions in a day. A longer minute hand makes one revolution every hour. The face may also include a seconds hand which makes one revolution per minute. The term is less commonly used for the time display on digital clocks and watches.

A MOVEMENT in watchmaking is the mechanism that measures the passage of time and displays the current time (and possibly other information including date, month and day).

Movements may be entirely mechanical, entirely electronic (potentially with no moving parts), or they might be a blend of the two. Most watches intended mainly for timekeeping today have electronic movements, with mechanical hands on the watch face indicating the time.

A DISPLAY consist of the time in analog form, with a numbered dial upon which are mounted at least a rotating hour hand and a longer, rotating minute hand. Many watches also incorporate a third hand that shows the current second of the current minute. Watches powered by quartz usually have a second hand that snaps every second to the next marker. Watches powered by a mechanical movement appears to have a gliding second hand, although it is actually not gliding; the hand merely moves in smaller steps, typically 1/5 of a second, corresponding to the beat (half period) of the balance wheel. In some escapements (for example the duplex escapement), the hand advances every two beats (full period) of the balance wheel, typically 1/2 second in those watches, or even every four beats (two periods, 1 second), in the double duplex escapement. A truly gliding second hand is achieved with the tri-synchro regulator of Spring Drive watches. All of the hands are normally mechanical, physically rotating on the dial, although a few watches have been produced with "hands" that are simulated by a liquid-crystal display.

IN HOROLOGY, A MOVEMENT IS THE INTERNAL MECHANISM OF A CLOCK OR WATCH, as opposed to the case, which encloses and protects the movement, and the face which displays the time. The term originated with mechanical timepieces, whose clockwork movements are made of many moving parts. It is less frequently applied to modern electronic or quartz timepieces, where the word module is often used instead. 7 In modern mass- produced clocks and watches, the same movement is often inserted into many different styles of case. When buying a quality pocketwatch from the mid-19th to the mid-20th century, for example, the customer would select movement and case individually. Mechanical movements get dirty and the lubricants dry up, so they must periodically be disassembled, cleaned, and lubricated. One source recommends servicing intervals of: 3–5 years for watches, 15–20 years for grandfather clocks, 10–15 years for wall or mantel clocks, 15–20 years for anniversary clocks, and 7 years for cuckoo clocks, with the longer intervals applying to antique timepieces.

CLOCK HAND is the 24-hour analog dial, widely used in military and other organizations that use 24-hour time. This is similar to the 12-hour dial above, except it has hours numbered 1–24 around the outside, and the hour hand makes only one revolution per day. Some special-purpose clocks, such as timers and sporting event clocks, are designed for measuring periods less than one hour. Clocks can indicate the hour with Roman numerals or Hindu–Arabic numerals, or with non-numeric indicator marks. The two numbering systems have also been used in combination, with the prior indicating the hour and the later the minute. Longcase clocks (also known as grandfather clocks) typically use Roman numerals for the hours. Clocks using only Arabic numerals first began to appear in the mid-18th century. The periphery of a clock's face, where the numbers and other graduations appear, is often called the chapter ring.

AUTOMATIC - Used in most mechanical watches sold today, the mainspring is automatically wound by the natural motions of the wearer's wrist while it is being worn.

MANUAL - In this type the wearer must turn the crown periodically, often daily, in order to wind the mainspring, storing energy to run the watch until the next winding.

I

A MAINSPRING is a spiral torsion spring of

BRIDGE - In modern watch movements, the back plate is replaced with a series of plates or bars, called bridges. This makes servicing the movement easier, since individual bridges and the wheels they support can be removed and installed without disturbing the rest of the movement. The first bridge movements, in Swiss pocketwatches from around 1900, had three parallel bar bridges to support the three wheels of the going train. This style is called a three finger or Geneva movement.

7

metal ribbon that is the power source in mechanical watches and some clocks. Winding the timepiece, by turning a knob or key, stores energy in the mainspring by twisting the spiral tighter.

The force of the mainspring then turns the clock's wheels as it unwinds, until the next winding is needed. The adjectives wind-up and spring-wound refer to mechanisms powered by mainsprings, which also include kitchen timers, music boxes, wind-up toys and clockwork radios.

14

O

MOVEMENT

I

I

PARTS

7

15

8120

3/4 PLATE - In the 18th century, to make movements thinner, part of the back plate was cut away to make room for the balance and balance cock.

1I

FULL PLATE - In this design, used in the earliest pocketwatches until the 18th century, the back plate was also circular. All the parts of the watch were mounted between the two plates except the balance wheel, which was mounted on the outside of the back plate, held by a bracket called the balance cock.

1

AUTOMATIC WATCHES 17

I

2 2

5 5

9 …

IMAGINE AND IT’S REAL

8

10

USING OUR CREATIVE

IMAGINATION WE USE OUR CREATIVE IMAGINATION BY PLAYING AND EXPERIMENTING WITH OPTIONS AND POSSIBILITIES. It is a place to think things out and/or prototype what we imagine before we try and manifest what we find. In this regard, rituals, ceremonies, metatheater, simulations, prototyping and the like are all techniques that allow us to stay in our creative imagination to play but to move into manifesting what we experience yet not fully commit ourselves to manifest what we imagine. These techniques allow us to "get a feel" for what is in our creative imagination may look like manifested in Physical Creation. 7 To bring what we find in our creative imagination into reality, we need to learn to do our own experiment and know our truth relative to what we find and access. Trying to live the truth of another will always cause us difficulties when we are trying to bring what we find in our creative imagination into manifestation. We have to become very honest with ourselves as to our intention and why we are doing what we do. 7 We need to remember, our creative imagination has characterized the energy we experience based on our truth and the intention we hold. It has accessed an energy based on our intention and then uses the experiences we have had in our life to characterize what we have accessed. Whether or not it has characterized what we have accessed accurately or not doesn’t matter. It has characterized what we access in the best way it can based on our past. To attempt to use another’s view, explanation, or whatever, compromises what we have accessed. This is why it is so important to honor what we find in some type of surrogate or real physical experience even if it is bizarre. 7 We can seek the advice of another and take their interpretation under advisement and there is nothing wrong with this. This is not the issue. The issue is whatever our mind characterizes, it is based on our personal experiences and what we truly believe.

It is not based on something we accept as truth because we are told we need to believe it. Our mind characterizes what we experience based on our truth and our experiences. This is why it is so important to knowour truth and what truly serves us for these our what our mind will use in its characterization of any energy we experience in our creative imagination. 7 What needs to be understood is our creative imagination is where the impossible becomes possible, the possible

I

8

18

10»

9

‫׀‬

▲

‫׀‬

▲

‫׀‬

▲

probably, and the probable a certainty. What we experience in our creative imagination has an element of reality to it. No matter what we experience in our creative imagination, there is a flow of energy that we can tap into that will cause what we are experiencing in our creative imagination to become manifested as our reality. 7 When we are faced with something in our creative imagination which we consider as impossible it nevertheless has a real part and already exists. There is some energy giving rise to what we experience. The experience our mind currently possess is what is characterizing what we experience as impossible for what we are experiencing already exist energetically. The question is, "How do we properly character what we consider impossible to understand what we are really experiencing and we can manifest it?" Here we face one of three issues.

‫׀‬

▲

‫׀‬

LACK OF THE MINIMUM SET OF EXPERIENCE: One is our mind just does not have the minimum set of experience to properly character what we experience. Here, as we are free to experimentand gain the minimum set of experience we come to see how it is possible to make what we saw as impossible a reality. How long it takes depended on what type and kind of experiences we must obtain for our mind to understand what we need to do or how to live our life to make that impossible idea possible.

OUR REALITY IS INCAPABLE OF SUPPORTING WHAT WE FIND: The third issue we face is that Physical Creation is simply not a reality capable of expressing the energy we access into a manifestation. Nevertheless, there is a reality or multiple realities where the idea could be fully expressed and manifested. In this case, we may need to go to that reality to experience what we actually desire.

300

WATCH

AN AUTOMATIC OR SELF-WINDING WATCH IS A MECHANICAL WATCH in which the mainspring is wound automatically as a result of natural motion of the wearer's arm, to provide energy to run the watch, making manual winding unnecessary. A mechanical watch which is neither self-winding nor electrically driven may be called a manual watch. Many of the mechanical watches sold today are self-winding. 7 A mechanical watch is powered by an internal spiral mainspring which turns the gears that move the hands. The spring loses energy as the watch runs, so in a manual watch movement the spring must be wound by turning a small knob on the case, the crown, to provide energy to run the watch.

Otherwise, once the watch loses its stored energy, it stops. 7 A self-winding watch movement has a mechanism which winds the mainspring. The watch contains an eccentric weight (the rotor), which turns on a pivot. The normal movements of the user's arm cause the rotor to pivot on its staff, which is attached to a ratcheted winding mechanism. The motion of the wearer's arm is thereby translated into circular motion of the rotor which, through a series of reverser and reducing gears, eventually winds the mainspring. Modern self-winding mechanisms have two ratchets and wind the mainspring during clockwise and anticlockwise rotor motions. 7 The fully wound mainspring in a typical watch can store enough energy reserve for roughly two days, allowing the watch to keep running through the night while stationary. In many cases automatic watches can also be wound manually by turning the crown, so the watch can be kept running when not worn, and in case the wearer's wrist motions are not sufficient to keep it wound automatically.

16

▲

IMAGINATION

3

OUR CREATIVE

3I

THE KEY UNDERTANDING TO OUR CREATIVE IMAGINATION

AUTOMATIC

‫׀‬

▲

‫׀‬

▲

OUR CURRENT REALITY CANNOT SUPPORT WHAT WE FIND: The second issue we may face although what we find is impossible in our current Physical Creation does not mean it cannot be manifested physically. Here the issue we face is that Physical Creation as it currently exists in the human collective must somehow change to support the idea. We have all we need to understand how to manifest the idea but we do not have the environment or material in which to manifest what we see. Science fiction writers, inventor and the like are frequently faced with these issues. For example, The Turtle, the first submarine, or at least a form of the submarine, first used in battle to attack a ship was used in the American Revolutionary around 1775. A submarine, the Hunley, was again used to attach a ship in the American Civil in 1863. By World War One in 1914, the world and humanity had changed sufficiently changed such that the submarine become a formidable weapon of war.

‫׀‬ ▲ ‫׀ ׀ ׀ ׀ ▲ ׀ ׀ ׀ ׀ ׀▲ ׀ ׀ ׀ ׀ ׀▲ ׀ ׀ ׀ ׀׀▲ ׀ ׀ ׀ ׀ ׀‬

▲ ‫׀ ׀ ׀ ׀ ▲ ׀ ׀ ׀ ׀ ׀▲ ׀ ׀ ׀ ׀ ׀▲ ׀ ׀ ׀ ׀׀▲ ׀ ׀ ׀ ׀ ׀‬ 19 22

180 ROLEX WATCH

I

11 11

THE BOTTOM LINE ▲ ‫׀ ׀ ׀ ׀ ▲ ׀ ׀ ׀ ׀ ׀▲ ׀ ׀ ׀ ׀ ׀▲ ׀ ׀ ׀ ׀׀▲ ׀ ׀ ׀ ׀ ׀‬

THE KEY UNDERTANDING TO OUR CREATIVE IMAGINATION

OUR CREATIVE

300

ALTHOUGH CREATIVITY IS ABOUT MANIFESTING WHAT WE WANT, when we want it, the way we want it, creativity is about bringing into existence that which is original and not previously experienced. Knowing what we want, in the way we want it is to recreate the past. It is not abut truly creating something. It is not about the new and never seen or experienced.. The creative imagination is where we begin our creative endeavor for it is here we can we can conceive of the new, the origin, the never seen and never experienced.

However, creation and bring that new and original into existence is about stepping out of mind and out of the past and outside our past thinking. Any thing that we desire that already exists is to recreate the past. Most what individuals call creating is recreation of the past in a new way.

IMAGINATION

24

25

THE BOTTOM LINE OF OUR CREATIVE IMAGINATION

3600

THE BOTTOM LINE

‫׀‬

▲

‫׀‬

▲

‫׀‬

▲

‫׀‬

▲

‫׀‬

▲

‫׀‬

▲

‫׀‬

▲

‫׀‬

12

C 12

COLOR: Blk:#00000 Red:# ED1C24 Peach:# E16750 TYPEFACE: BODY: Din - Lig 7.5 Din - Med 8 HEADLINES: Din - Med 60 Din - Reg 30 SUB-HEADS: Clarendon - Rom 12

23

21

THE BOTTOM LINE OF OUR CREATIVE IMAGINATION

20

26

27

PRODUCT LIST REINCARNATION® MATTE - 60% Post-Consumer waste, Highest PCW matte coated, Acid free and archival.

REINCARNATION® SILK - 60% Post-Consumer waste, Highest PCW silk coated, Triple Coated, Acid free ad archival, New Finish!

REINCARNATION® GLOSS - 60% Post-Consumer waste, Highest PCW silk coated, Triple Coated, Acid free ad archival, New Finish!

SAKURA® - 50% Post-Consumer waste, 100% (De-inked) Recycled, Acid free and archival, The only 100% recycled coated paper on the market, Processed chlorine free.

IMAGINATION® - 100% Post-Consumer waste, Preium uncoated, Processed chlorine free, Acid free ad archival, New Finish!

PIONEER® - 100% Post-Consumer waste, Processed chlorine free, Acid free ad archival, First 100% PCW trade book paper on the market (2001)

COLOPHON TYPOGRAPHY 38/45.6 DIN Black with 16/19.2 DIN Black for headings, 10/12 Clarendon Bold for sub-headings and DIN Light 7.5/9.5 with DIN Bold 7.5/9.5 for body copy.

DESIGNER Stanley Santoso ILLUSTRATIONS Stanley Santoso PRINT Printed on Epson Double Sided Premium Presentation Paper Matte Four Stars Using Epson Photo 1400 six-color printer and number 79 Epson Ink (Cyan, Light Cyan, Magenta, Light Magenta, Yellow, and Black)

24 HOURS Limitless Imagination is the doorway to infinity The Rolex Cosmograph Daytona is a mechanical, self-winding chronograph. It is manufactured since the early 1960s and known as the archetype of a sport watch for racing drivers. There have been three series of the Cosmograph Daytona. The original series, produced in small quantities from circa 1963 to the later 1980s, has a four-digit model or reference number, for example the reference 6263. It featured a manual wind movement. This original series eventually became iconic[vague] but in very short supply in the early 1990s, which led to a second series to meet demand. The second series was introduced in 1988 and used a Zenith "El Primero" modified automatic winding movement, with a five digit model number This movement was originally manufactured and released in the 1969 and is still the highest VPH mass-produced movement on the market at 36,000 VPH. Rolex purchased these movements for the Daytona and then modified the movement from 36,000VPH to 28,800VPH and made a few other subtle changes. Thes

IMAGINATION, NEW LEAF PAPER Contact New Leaf Paper at 888.989.5323 or info@ newleafpaper.com Š 2012 New Leaf Paper. All right reserved