Michelangelo

02 November 2013
3 Comments


Michelangelo di Lodovico Buonarroti Simoni (1475-1564) was an Italian sculptor, painter, architect, poet,
and engineer with unmatched influence on Western art. His versatility was such that he and fellow Italian
Leonardo da Vinci are considered the archetypes of the Renaissance. Considered the greatest living artist
then and of all time, several of his paintings, sculptures and architectural works are among the most
famous in existence. Production in every field during his long life was prodigious; by the volume of
surviving correspondence, sketches and reminiscences he is the best-documented artist of the sixteenth
century.

Q: Signore di Lodovico, da fa molto tempo che io non ho potuto usare l'italiano. (I haven't been able
to use Italian in a long time)
MA: We shall revert to your English; well done, your modern Latin.

Q: As with the many of our famous guests here, your life and work can be studied in detail and what
I'd like to ask are your views of art, society and the state of the world in your lifetime and what you
observe now.
MA: Avanti, to use one last word of Italian. (Go ahead)

Q: Thank you; art is what?
MA: I will say art is Heaven viewed through Earth. Movement through vehicles is flight or train or car
travel. The desire plus its manifestation. Art is the idea of Heaven viewed by humanity.

Q: Your forays into engineering, which I didn't know you made until reading the brief description,
were these related to art?
MA: Engineering is art as mathematics are communication. Yes.

Q: You called the Italian language, "modern Latin".
MA: Language is ever changing and growing, and when a word or term irritates you, this is evidence it
retains its dynamic growth and richness. The Latin considered classic and standard was irritating and
crude in its time to many, as are all versions of language to some speakers, at any moment.

Q: Which art did you prefer, painting, sculpture or something else?
MA: I liked them all, and did each as my mood shifted. Like your favorite food, it would soon be
otherwise if eaten exclusively. As I decided to create a work, I often chose the idea before the form, and
the form of its expression by what I had not done in some time.

Q: Was it your destiny to be a great artist?
MA: Yes, the lesson was to understand the pressure of performance and public attention. The counter
purpose, provide the works for benefit of humanity, at that time.

Q: Did you handle the pressure well?
MA: No; it seemed to be a great distraction even though I understood it was confirmation of purpose,
evidence of achievement. I would have preferred to be left largely alone. I learned great lessons in this.

Q: Such as?
MA: Examine a reaction felt, before you express it. Consider the good intention of the offering before a
selfish closure comes forth. The acceptance of goodwill returns it to the offerer.

Q: Can you speak to art on Earth today?
MA: Yes; there is a great volume of it, much not accepted as art. I mean graffiti and take satisfaction
the word of Italian is used for it; there is much other art easily shown and distributed. I lament the fiscal
nature yet recognize this aspect drives much activity on Earth and so is expected.

Q: What would you propose as solution to the money side of art?
MA: I would not; it is not my place. As long as artistic expression, enjoyment and commerce are
voluntary, it will find its level.

Q: Art speaks to our soul, it is often said and I concur, in my limited experience. Can you explain
this?
MA: Yes, and it speaks to your ideas. This unspoken aspect of art is beauty and sometimes threat.
Words disliked can be countered by words; a court proceeding as an example. Art disliked cannot be
countered by art. This would sound strange, however in my time, art was seen as influential and some
holders of influence wanted more. The power of expression as it appealed to religion is an example.

Q: What do you see in the world today, in the year 2013, that excites you?
MA: What awaits all of you; there comes now a time on Earth that has not passed through in many a
civilization, since before your Atlantis. The excitement this offers is not to be described. This excites.

Q: What suggestions for humanity do you have?
MA: Think of the expression of art; it is done by the artist for the artist. No crowds to listen or boo, or
to rise and applaud as might be done for a musician, singer or athlete, the art of the body's use. The artist
of my former styles or genres does sit for herself and himself. Reaction is not known, often unexpected.

Humanity should do what it likes absent reactions expected. I understand how nave this sounds against
the social training of humanity; it remains nevertheless true.

Q: Do you have any regrets of your life as Michelangelo?
MA: No.

Q: Have you reincarnated on Earth since the 16th century?
MA: Yes, several times.

Q: Were any of those lives related to your art?
MA: No.

Q: Can you tell us about your work now?
MA: Yes, I have left the immediate environment of Earth and go often to other planets and systems and
usually within the galaxy. I am fascinated with the development of art in civilizations throughout the
universe. The perusal of the art and then guesswork as to the many aspects of civilization the art might
represent is a game I love to play; I am not usually accurate, and that is a nice way to tell myself I guess
wrong more than right, but nevertheless I enjoy it immensely. I am no anthropologist by artistic
expression yet I love to attempt it.

Q: What purpose do you hope to achieve by doing this?
MA: Art created by dense beings is fascinating, one reason I chose to live as Michelangelo and gain
great experience in that realm. The pattern of ideas, thoughts, emotions and observance then their
expression in paintings, sculptures, drawings, moldings - I suggest you spell it "moulding" your good
friend Erik insists, as you know - and designs for all things you build, is a great reversal and retroactive
view.

Once the pattern is established and identified, it becomes possible to create in reverse. Can the
disassembly of a painting provide a clue to the message source? I would suggest a beautiful building, as
its construction is simple to see in reverse. Its purpose as shelter is easily achieved without much artistic
expression, so each piece and part of that expression, the decoration of this building, can be linked to a
desire and emotion for it. The source of these emotions are a look into the mind of the creators. This is
fascinating.

Q: Can we not look into the thoughts of all souls in Heaven?
MA: No, only thoughts chosen to be revealed. The human concept of privacy and concealment is
interesting and this fits my intense enjoyment and desire to observe and analyze art throughout the
universe.

Human thought is restricted to, by and away from other humans unless the emotional energy of the
thought is acknowledged and accepted. Mind reading, emotional impressions and feelings are a clue. In
Heaven, in your true home, little desire exists to shelter or close off; the emotions attached do not exist.
Shame, guilt, embarrassment, regret, vanity, fear and lust, to name but a few, do not exist and so thoughts
and ideas that might relate to any of these are human and kept closed by you. Human desire to control
observance of bodily functions, where many animals do not, is a small example.

The large part of thoughts humans conceal relate to human values, and emotions. In your true home,
nearly all of what a human might want to keep unknown is an open book and not a care is given by
observer or thinker.

The thoughts in your true home that are indeed kept from general knowledge are your goals, progress,
setbacks and plans to return ever closer to God. To the source of all, to which we are permanently
connected, of which we are a part. These steps are intensely personal, to each soul. Their revelation is
seen as boasting, ranking, an iteration of classification, social strata and class. These ideas are abhorrent
to the soul, who loathes the idea progress would be compared.

I find the investigation into art as indicator of a soul's plans and life to come ever closer to God an
enormously entertaining and enjoyable endeavor, a real clue into progress and development.

Q: Do you meet with individual souls?
MA: Yes, often and many are willing to share with me these personal, closed thoughts in great detail
once my observance is understood, my objective explained.

Q: Don't many souls do this? Sounds like snooping and busybody poking one's nose where
it doesn't belong.
MA: No, this is not common, Most souls understand the aspect of boasting, the display of awards, the
notion of rank and concept of superior and its necessary counter-class of inferior, as distracting and not
necessary. No benefit to the one comes from the comparison of progress with the many.

Earth and other dense being concepts of snooping or poking in the unwelcome nose, mean no more than
criticism, belittlement and self-rejection by the snoop. These have little place in Heaven.

I display my progress willingly, to just one soul, and this great trust creates.

Q: What expressions of art give the more interesting insights into a soul's desire for progress?
MA: Architecture! The edifices are ever more meaningful as indicators, the larger they are, in relation
to the dimensions of the environment. They are a prominent display of art for all who use, pass by or
simply wish to observe. Music is equally fascinating but with technology, it has become like architecture,
on Earth. Before music could be recorded, it required a written pattern and even this did not guarantee a
similar expression each time. Imagine buildings where gargoyles, parapets, balustrades and transoms, to
name just a few details, changed a little each time it was approached? So the recording of music ensures
its faithful re-creation each time.

Q: Besides art and the interesting things you have mentioned, what observance and general advice
do you have for humanity today?
MA: Ignore bad news. I understand this is difficult, yet imagine an incident unreported anywhere; I
refer to yesterday in your city of Los Angeles in the USA, in the airport. Pretend no news were ever
offered of the killing; investigators would not be contacted and no publication given. Would this
intentional ignorance change the event? Not the one already occurring yet its publication, its
dissemination serves the purpose of example and this teaches. All images and ideas have this effect; when
and how did any of you learn to fear the sharp tip of a knife?

So I suggest attention be de-emphasized away from the undesirable; less will occur. No compulsion or
pressure should there be; freedom to speak of it must be maintained. Voluntarily, humans must choose
attention upon the positive. The sequence of time event arrangement Earth provides is so great a blessing
in this way, as an opportunity to teach positive reinforcement. It is but for humanity to do it; investigate
generosity, report on kindness, speak of goodness, smile and photograph beauty and turn away from all
that represents hurt, injury and damage. Where these things occur, manage them as necessary and be done
with the thoughts of things you cannot control, if they are unpleasant or negative. If not directly affected
by a negative thing, ignore it. Voluntarily.

Q: Signore Michelangelo, stato un piacere! (It's been a pleasure)
MA: It was an honor; go paint on in your beautiful lives, the brushes of happiness you all possess!

Comments
Veronica 11/02/2013 10:58am
Thank you Patrick, thank you Michelangelo. Really wonderful information and delivered in such depth.
How wonderful to know art is throughout the universe and our heavenly life is about growth, progress
and moving nearer to God too. I especially appreciate the advice to ignore bad news. I'll do it! voluntarily,
of course.
Vi ringrazio molto


Ahmed 11/02/2013 5:27pm
I really enjoyed this interview and his description of a soul's journey to reach God, thank you.

lori 11/08/2013 5:59am
Bravo! Best advice yet! Even if our small areas are just our own f b pages every little ripple continues and
does make a difference