What is the force that suddenly makes a composer in Korea hit on the same kind of music as his colleagues in London, Paris, New York or Berlin? What is the reason for the sudden dominance in painting of surrealism or abstraction? Where do these recognizable limited impulses come from?

Because the new kind of music or painting is 'in demand' and modern? Why is something suddenly in demand and modern? The waltz was once modern and fashionable in the western world, though it did not animate Hindus and Indians. Did it not penetrate into the layers of consciousness in which a common feeling is programmed?

In spite of the existing gaps in the chain of evidence, I take it as accepted fact that the human brain can register finer and more sensitive oscillations than the most delicate apparatus. No measuring apparatus has ever recorded 'love'. But since brilliant scientists have also been smitten by it, they cannot deny that love exists. The conversion of elements is fully accepted in physics and chemistry. Are other principles meant to be valid for the human brain?

Professor George Ungar [24] of Baylor Medicine College, Houston, Texas, has proved by thousands of animal experiments that brain cells are activated by electrical impulses and form a new matter — memory molecules. He says: 'whether we like it or not, we must take as our starting point today the fact that in the long run our brain is a storehouse for millions of memory molecules and also an apparatus for "playing" them'.

Thought molecules in the brain are circuits by which programmed knowledge can be summoned up.

They are material. Once made to oscillate, they influence the micro-parts of the antimaterial world.

Emotions cause the same effect in the brain, as the physicist achieves in his syncroton (accelerator for imparting high energies to elementary particles) by electron volts. Each of us carries such energy converters inside him in the form of hate, love, joy, sadness, sympathy, envy. In the normal states emotions release normal reactions. The trance, a state reached by suggestive or hypnotic means, raises paranormal faculties to a higher power. That much is proved, even if the forces that bring it about have not yet been confirmed.

The English physicist and chemist, Sir William Crookes, who was already well known, experimented in his laboratory with the medium Daniel Douglas Home. Sir William believed that there was a force which made contact with the body by unknown means. During the experiments the medium D.D.

Home - lifted by invisible forces - rose several feet above the ground. Sir William wrote: This fantastic event ... did not take place once or twice in bad light, but was repeated hundreds of times in every conceivable condition .... Once Home even floated out of one window at a height of 70 feet and floated in through another. Such distinguished gentlemen as Lord Dunravei Lord Lindsay and Captain Wynne, who were eye-witnesses were prepared to confirm this fact on oath [25].

A similar event took place in 1938 before 300 spectators with the English medium Colin Evans as protagonist. This levitation (*) was photographed at various stages. People have speculated and will continue to speculate about the nature of the forces which cause these phenomena. I should not like to put any chips down on a roulette wheel which spurts out this kind of energy: there are too many possibilities and too few chances of winning. Isn't it enough to know that the forces are there and can be recorded and proved? The mere fact of their existence is quite enough to give us a good idea why figures in visions float in the air and seem to be weightless. Was a statue from Lourdes seen in a garden at Beauraing a case of levitation? Were not similar objects levitated by means of psychokinetic phenomena at other sites where visions were seen? Such open questions should be included in presentday research programmes.

Let us stick to the premises. Extraterrestrial beings visited other solar systems, too, and left behind scions in their image on suitable planets. Some groups of their descendants have an advantage over us.

They tamed, developed and trained the 'beast brain' earlier than we did. (As they were visited by the alien astronauts before us in time, they could have an advantage over us of several millennia, owing to time displacement.)

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[*] The floating of the human body in the air, attributed solely to saints, fakirs and mediums. In psychokinesis the levitation of objects is also known.

---- These ultra mature intelligences are transmitting energetic thought impulses intended to stimulate and extend consciousness in us their brothers and sisters of the same origin. I am firmly convinced that this also explains the failure of all temporal and ecclesiastical dictators to restrict human consciousness and direct it in one particular direction for any length of time.

I am prepared for the question: why did the super-intelligent extraterrestrials leave no apparatus with which they could establish communications with those left behind simply by pressing a button?

Well, astronauts do not normally take heavy apparatus with them on long journeys, unless they are necessary for the navigation, steering etc. of the spaceship. But in this case, they would have to cram in hundreds of transmitting and receiving sets, because they were playing a game of creating intelligence at many many places in the cosmos. With all their technical abilities, they obviously did not consider us as their exclusive masterpiece, the unique crown of their creation.

The next question, then, is why did they not build communication centres themselves? But the 'second'

in the world process at which they made us intelligent 'in their image' by mutation, found us hominids unprepared. A vast technological infrastructure would have been needed for such a complicated undertaking as the building of interstellar communication centres - factories that could print integrated circuits and produce chemical semi-conductors, etc. None of that existed at hour '0' of the birth of our intelligence.

Even on the hypothetical assumption that the alien visitors had brought a suitable transmitting and receiving station with them, they could scarcely have deposited it on the planet earth, which was faced with earthquakes, floods and wars -after all, they weren't stupid! The passage of time alone, together with climatic changes, would have destroyed it. The cables and apparatuses the American astronauts left on the moon have already disintegrated, even though the moon has no atmosphere. The extremes of heat and cold alone were enough to do the damage.

The extraterrestrial visitors had made no mistakes in their planning! They knew that all mechanically produced and radiated transmissions were tied to the speed of light - they knew that electromagnetic waves could not reach the receiving sets over vast interstellar distances. So what was the point of a lot of senseless and useless machinery?

The visions of genuine visionaries advance mankind along the path of its development with giant strides. It is always surprising to find out the fields in which the advances are made: the spectrum of their potentialities is broad. In this connection I think it is important to realize that every brain is able to receive visions in so far as it is trained and ready to receive definite impulses through specific fixed points in the environment which influences it - in other words if it is open to communication with extraterrestrial fields of energy.

When I say that all persons trained along egocentric paths are predisposed to visions, there are the

(rare) extraordinary cases where the extraterrestrial beings find the 'receivers of the millennium', the geniuses, whose brains seem to be waiting for the impulses with their grey cells vibrating. Leonardo da Vinci was one of these 'receivers of the millennium'! Born 1452, died 1519, he is generally known as a painter, architect and sculptor. Few people know that he was equally gifted as a natural scientist and technician. Da Vinci scholars have made fantastic discoveries about him in the last few years. As a painter he marked the zenith of the classical style; but as a scientist his works belong to our own age.