THE VERTICAL LINE AND THE HORIZONTAL LINE

The cross is one of the simplest geometric figures : one vertical and one horizontal which are in right angle. The horizontal direction is one of ostentation, the dispersion like the water that spreads on a surface. The vertical is that of unification, like the fire that is thrown towards the sky.

The horizontal line is that of matter, the vertical the spirit. These two directions are complementaries. The symbol of the cross invites us to continue doing the work on the subject, taking the vertical direction to return to spirit.

We have to understand the need to enlist the two principles that accompany us continuosly to develop and carry out any objective. The emitter principle that you want to express from a conception of linked ideas through the receiving principle what does of channel to absorb the messages that it captures and must know how to decipher to boost the relevant resorts that give practical precision in the surrounding environment.

We can not set aside one of the principles, because there is no movement at that time. The task is harmonize constantly the function of each one, active and passive, male and female to generate the base that serves as endorsement where to carry out the successive plans that allow us to move from one abstraction to concretion.

The vertical line is hierarchical, indicates the need of respect not only in relationships, but in resources which offers the universe so that from the highest ones going down to the matter to shape our pretensions.

The horizontal line are the established contacts, the dependence we have of nature and other people to cover demands, and in these needs lies the efforts that we make. The evolution, the improvement, it will depend on the appropriate lace with the environment and the established links.

Vertical and horizontal, time and space, combined with the objective of a movement that gives sense to existence with one purpose. Each one of us must find out its specific function in the place it occupies with the characteristics that have. Link the two lines so that our presence in this plan accomplish the objective for which we are precisely here.

QUESTION OF PROPORTIONS

Everything is a question of proportions. ¿ Based on what ? to a context, a singularity, some needs, some objectives. The application of such proportions it will be based on criteria that may be ideal or not, where everything is a matter of experimenting and seeing results.

When someone says I am happy or sad what determines it ? To what facts, sensations ? Which marks the fact of seeing or feeling like that ? What happens between being content or displeased ? What I like or not. What do you like ? What you see, hear, listen ? What makes it nice ? Some sensations. Do these sensatons come from ? Someone fall good or bad. What is the balance in one sense or another ? What he says, what he does, how he says it, how he does it ? Of all people we have known how many have impacted us strongly ? How many have we found interesting ? How many have we found sympathetic or unfriendly ? How many have we had an easy or difficult link ? How many have we learned ? Of all of them in what proportion have we enjoyed the transmitted ?

We are measuring a lot or little depending on multiple parameters taking into account the idyosincrasy itself, which implies the formation of a code of values, which can be diametrically opposed by someone else.

In the subjectivity of what surrounds us, observed from a limited vision, we tend to exaggerate or dispise, raise or reduce, often with a partial view. We believe that we are in disposition to make equable verdicts seeing only small fractions impregnated with preconceived  ideas and sensationallism.

The desire to experience vivid apotheosis they are latent in us, and at the time of truth, the routine, the boring repeatability, the low quality relationships, the mediocrity prevailing in everything, submerges us in a disappointment that we are unable to transform because we don´t know how to do it. And that´s when trivial facts we give them a category of fantastics, because our level does not give form more, and the middle range we raise them to excellence to not collapse in the bleak panorama that accompanies us daily.