Canon Photography Training Milnerton, Cape Town

Photography Training / Skills Development Milnerton, Cape Town and Cape Peninsula

Personalised Canon EOS / Canon EOS R Training for Different Learning Levels

Fast Shutter Speed / Action Photography Training Woodbridge Island, Cape Town

Vernon Chalmers Photography Approach

Vernon Canon Photography Training Cape Town / Cape Peninsula

"If you’re looking for Canon photography training in Milnerton, Cape Town, Vernon Chalmers Photography offers a variety of cost-effective courses tailored to different skill levels and interests. They provide one-on-one training sessions for Canon EOS DSLR and EOS R mirrorless cameras, covering topics such as:

• Introduction to Photography
• Bird and Flower Photography
• Macro and Close-Up Photography
• Landscape and Long Exposure Photography
• Canon Speedlite Flash Photography

Training sessions can be held at various locations, including Woodbridge Island and Kirstenbosch Botanical Gardens, or even in the comfort of your own home or garden. (Microsoft Copilot)

Canon EOS / EOS R Camera and Photography

Cost-Effective Private Canon EOS / EOS R Camera and Photography tutoring / training courses in Milnerton, Cape Town - or in the comfort of your home / garden anywhere in the Cape Peninsula.

Tailor-made (individual) learning programmes are prepared for specific Canon EOS / EOS R camera and photography requirements with the following objectives:

• Individual Needs / Gear analysis
• Canon EOS camera menus / settings
• Exposure settings and options
• Specific genre applications and skills development
• Practical shooting sessions (where applicable)
• Post-processing overview
• Ongoing support
  
  

Image Post-Processing / Workflow Overview
As part of my genre-specific photography training, I offer an introductory overview of post-processing workflows (if required) using Adobe Lightroom, Canon Digital Photo Professional (DPP) and Topaz Photo AI. This introductory module is tailored to each delegate’s JPG / RAW image requirements and provides a practical foundation for image refinement, image management, and creative expression - ensuring a seamless transition from capture to final output.

Canon Camera / Lens Requirements
Any Canon EOS / EOS R body / lens combination is suitable for most of the training sessions. During initial contact I will determine the learner's current skills, Canon EOS system and other learning / photographic requirements. Many Canon PowerShot camera models are also suitable for creative photography skills development.

Camera and Photgraphy Training Documentation
All Vernon Chalmers Photography Training delegates are issued with a folder with all relevant printed documentation  in terms of camera and personal photography requirements. Documents may be added (if required) to every follow-up session (should the delegate decide to have two or more sessions).

Cabbage White Butterfly Woodbridge Island - Canon EF 100-400mm Lens

Learning Photography from the comfort of your Own Cape Town Home / Garden More Information

Bird / Flower Photography Training Kirstenbosch National Botanical Garden More Information

Photography Private Training Classes Milnerton, Cape Town

• Introduction to Photography / Canon Cameras More
• Bird / Flower Photography Training Kirstenbosch More
• Birds in Flight / Bird Photography Training More
• Canon Speedlite Flash Photography Training More
• Macro / Close-Up Photography More
• Landscape / Long Exposure Photography More

Training / demonstrations are done on the client's own Canon EOS bodies attached to various Canon EF / other brand lenses covering wide-angle to zoom focal lengths.

Canon EOS System / Menu Setup and Training Cape Town

2025 Individual Photography Training Session Cost / Rates

From R850-00 per four hour session for Introductory Canon EOS / EOS R photography in Milnerton, Cape Town. Practical shooting sessions can be worked into the training. A typical training programme of three training sessions is R2 450-00.

From R900-00 per four hour session for developing . more advanced Canon EOS / EOS R photography in Milnerton, Cape Town. Practical shooting sessions can be worked into the training. A typical training programme of three training sessions is R2 600-00.

Three sessions of training to be up to 12 hours+ theory / settings training (inclusive: a three hours practical shoot around Woodbridge Island if required) and an Adobe Lightroom informal assessment / of images taken - irrespective of genre. 

Canon EOS Cameras / Lenses / Speedlite Flash Training
All Canon EOS cameras from the EOS 1100D to advanced AF training on the Canon EOS 80D to Canon EOS-1D X Mark III. All Canon EOS R Cameras. All Canon EF / EF-S / RF / RF-S and other Canon-compatible brand lenses. All Canon Speedlite flash units from Canon Speedlite 270EX to Canon Speedlite 600EX II-RT (including Macro Ring Lite flash models).

Intaka Island Photography Canon EF 100-400mm f/4.5-5.6L IS II USM Lens

Advanced Canon EOS Autofocus Training (Canon EOS / EOS R)
For advanced Autofocus (AF) training have a look at the Birds in Flight Photography workshop options. Advanced AF training is available from the Canon EOS 7D Mark II / Canon EOS 5D Mark III / Canon EOS 5D Mark IV up to the Canon EOS 1-DX Mark II / III. Most Canon EOS R bodies (i.e. EOS R7, EOS R6, EOS R6 Mark II, EOS R5, EOS R5 Mark II, EOS R3, EOS R1) will have similar or more advanced Dual Pixel CMOS AF Systems. Contact me for more information about a specific Canon EOS / EOS R AF System.

Cape Town Photography Training Schedules / Availability
From Tuesdays - during the day / evening and / or over weekends.

Canon EOS / Close-Up Lens Accessories Training Cape Town

Core Canon Camera / Photography Learning Areas

• Overview & Specific Canon Camera / Lens Settings
• Exposure Settings for M / Av / Tv Modes
• Autofocus / Manual Focus Options
• General Photography / Lens Selection / Settings
• Transition from JPG to RAW (Reasons why)
• Landscape Photography / Settings / Filters
• Close-Up / Macro Photography / Settings
• Speedlite Flash / Flash Modes / Flash Settings
• Digital Image Management

Practical Photography / Application

• Inter-relationship of ISO / Aperture / Shutter Speed
• Aperture and Depth of Field demonstration
• Low light / Long Exposure demonstration
• Landscape sessions / Manual focusing
• Speedlite Flash application / technique
• Introduction to Post-Processing

Tailor-made Canon Camera / Photography training to be facilitated on specific requirements after a thorough needs-analysis with individual photographer / or small group.

• Typical Learning Areas Agenda
• General Photography Challenges / Fundamentals
• Exposure Overview (ISO / Aperture / Shutter Speed)
• Canon EOS 70D Menus / Settings (in relation to exposure)
• Camera / Lens Settings (in relation to application / genres)
• Lens Selection / Technique (in relation to application / genres)
• Introduction to Canon Flash / Low Light Photography
• Still Photography Only

Above Learning Areas are facilitated over two  three sessions of four hours+ each. Any additional practical photography sessions (if required) will be at an additional pro-rata cost.

Fireworks Display Photography with Canon EOS 6D : Cape Town

From Woodbridge Island : Canon EOS 6D / 16-35mm Lens

Existential Photo-Creativity : Slow Shutter Speed Abstract Application

Perched Pied Kingfisher : Canon EOS 7D Mark II / 400mm Lens

Long Exposure Photography: Canon EOS 700D / Wide-Angle Lens

Birds in Flight (Swift Tern) : Canon EOS 7D Mark II / 400mm lens

Persian Cat Portrait : Canon EOS 6D / 70-300mm f/4-5.6L IS USM Lens

Fashion Photography Canon Speedlite flash : Canon EOS 6D @ 70mm

Long Exposure Photography Canon EOS 6D : Milnerton

Close-Up & Macro Photography Cape Town : Canon EOS 6D

Panning / Slow Shutter Speed: Canon EOS 70D EF 70-300mm Lens

Long Exposure Photography Cape Town Canon EOS 6D @ f/16

Canon Photography Training Session at Spier Wine Farm

Canon Photography Training Courses Milnerton Woodbridge Island | Kirstenbosch Garden

Vernon Chalmers CI Theory as Creative Practice

Vernon Chalmers’ Conscious Intelligence (CI) Theory presents a sophisticated integration of consciousness studies, phenomenology, ecological perception, and creative practice.

"Vernon Chalmers’ Conscious Intelligence Photography (CI) Theory presents a unique synthesis of consciousness studies, phenomenology, and photographic practice. CI positions photography not merely as a technical craft or aesthetic pursuit but as an embodied mode of knowing—a dynamic interaction between awareness, perception, and intentional creativity. This essay examines Conscious Intelligence as a creative practice, analysing how CI reframes the photographic act as an event of conscious encounter, embodied presence, environmental attunement, and cognitive–emotional integration. Drawing upon phenomenology, cognitive science, and contemporary theories of embodied intelligence, the essay argues that CI functions simultaneously as epistemology, praxis, and creative philosophy. Through this framework, creative practice becomes a route to heightened perceptual sensitivity, self-understanding, and existential grounding. The result is a cohesive model of photography and creativity that aligns with both Chalmers’ philosophical orientation and his photographic specialisation—especially Birds-in-Flight (BIF) work as a high-cognition, high-attention embodiment of Conscious Intelligence.

Defining Conscious Intelligence (CI) Theory

Introduction

Vernon Chalmers’ Conscious Intelligence (CI) Theory has emerged as a distinctive philosophical and practical approach within contemporary photography. Rather than conceptualising intelligence as computational, purely cognitive, or disembodied, CI views intelligence as a lived and relational phenomenon—a mode of consciousness enacted through perception, embodiment, intuition, affect, and creative agency. For Chalmers, creativity and consciousness cannot be separated; they are mutually generative states that reveal themselves through practice. Photography becomes the ideal platform for this exploration because it requires the practitioner to negotiate between internal awareness and external perception in real time (Chalmers, 2023).

CI therefore bridges multiple domains: phenomenology, embodied cognition, ecological perception, meditative attentiveness, and creative insight. It synthesizes these into a holistic framework that empowers the photographer to operate with heightened awareness, intentionality, and creative freedom. This essay examines Conscious Intelligence specifically as creative practice: how CI informs the embodied, perceptual, and cognitive dimensions of photographic creativity, and how it enables a deeper ethical and existential relationship with the world. It argues that CI is not simply a theory of consciousness or a philosophy of photography but a lived method for cultivating creative presence and knowledge.

The Foundations of Conscious Intelligence

Chalmers’ CI Theory is built upon three fundamental premises:

• Consciousness is fundamentally relational - awareness emerges in dynamic interaction with the environment (Thompson, 2007).

• Intelligence is not solely rational, but embodied and perceptual, integrating sensory, emotional, and intuitive capacities (Varela et al., 1991).

• Creativity is a form of conscious activity, an expression of internal awareness shaped through external engagement (May, 1975).

In CI, these premises converge into a functional model of creative consciousness. Photography serves as the vehicle through which CI becomes visible: the photographer’s embodied engagement, perceptual attunement, and intuitive decision-making form a cohesive intelligence that transcends mechanical skill.

Chalmers (2025) argues that this intelligence is not something added to the photographer; rather, it is revealed through the process of creative engagement. This aligns with phenomenological accounts of perception in which consciousness and world co-constitute each other (Merleau-Ponty, 1962). CI therefore acts as a bridge between the photographer’s inner life and the external environment, allowing creativity to emerge as lived consciousness.

CI as Embodied Creative Perception

At the core of CI is the idea that perception is never passive. In Chalmers’ work—especially in Birds-in-Flight photography—perception requires active bodily participation: balance, coordination, reflexive timing, and sensory integration. The act of tracking a bird through the sky is not merely visual; it is deeply embodied. The practitioner becomes attuned to wind patterns, light behaviour, movement prediction, camera weight distribution, and their own breathing rhythm.

This aligns with theories of embodied cognition, which argue that cognition arises through bodily engagement with the world (Gallagher, 2005). In CI, perception is intelligence-in-action. The photographer does not “take” an image; they participate in its emergence. Creative perception thus becomes a reciprocal event between self and environment.

Moreover, perception in CI is infused with intentionality. The photographer consciously directs attention, shapes awareness, and monitors subtle perceptual cues. This intentional positioning of consciousness is a creative act, one that determines how the world is experienced and represented.

CI and Creative Attention

Attention is central to CI because creative practice depends on the quality, depth, and direction of awareness. Chalmers’ approach parallels contemporary cognitive theories that differentiate between narrow, task-focused attention and diffuse, open monitoring (Lutz et al., 2008). CI employs both forms:

• Focused attention is used in moments of capture, tracking, and technical precision.

• Open, receptive attention is used for environmental awareness, anticipation, and intuition.

These oscillations of attention allow the photographer to remain dynamically responsive. Creative intelligence emerges from the ability to shift between these modes fluidly. As Chalmers (2025) notes, “awareness is not static; it is a continuous negotiation between internal state and external circumstance.”

This attentional fluidity is especially visible in high-speed genres such as BIF photography. Tracking a subject that is both unpredictable and fast-moving requires an attentional balance between conscious control and intuitive responsiveness. CI describes this interplay as “attentive embodiment,” where awareness becomes a kind of creative radar, constantly reading and adjusting to the environment.

CI and Intuition: The Unspoken Dimension of Creative Insight

While CI highlights attentional precision, it also emphasises intuition as a key component of creative intelligence. Intuition, in Chalmers’ framework, is a rapid, non-discursive form of knowing that emerges from embodied experience and perceptual familiarity. It is not irrational but pre-reflectively intelligent.

This connects strongly to Rollo May’s (1975) claim that creativity arises from the “encounter”—the moment when the creator meets the world with openness and courage. CI interprets intuition as the internalised pattern recognition and anticipatory responsiveness that allow photographers to make split-second decisions that cannot be fully articulated.

Intuition is especially critical in:

• Estimating subject movement

• Predicting environmental shifts

• Deciding optimal timing

• Choosing compositional structure spontaneously

• Feeling when “not to shoot” as part of aesthetic judgment

Conscious Intelligence thus positions intuition as sophisticated cognitive processing that operates below explicit awareness. It is a creative capacity formed through disciplined practice, embodied familiarity, and perceptual sensitivity.

CI and Embodied Ethics: Responsibility in Creative Practice

Creative practice in CI is inherently ethical because it involves an encounter with living subjects, ecosystems, and the natural world. Chalmers’ BIF photography is rooted in respect for wildlife, ecological sensitivity, and non-invasive observation. CI therefore integrates an ethical consciousness into creative decision-making.

This resonates with ecological consciousness frameworks (Abram, 1996), which argue that attentive perception fosters ethical responsiveness. In CI, the photographer is not a detached observer but a participant whose decisions affect the well-being of subjects and environments. Creative practice becomes a mindful negotiation of presence and responsibility.

Such ethics also extend to post-processing, representation, and creative honesty. Conscious Intelligence encourages transparency, restraint, and respect for the authenticity of the subject. The ethical dimension reinforces that creativity is never merely technical but always relational and value-laden.

CI as Creative Method: Practice as a Path of Conscious Development

One of CI’s most innovative claims is that creative practice is transformative. Photography, in this context, becomes a method for cultivating consciousness. Through repeated experiences of embodied attention, perceptual refinement, and intuitive action, the practitioner develops heightened awareness.

Chalmers (2025) often describes photography as a meditative practice—one that structures consciousness, stabilises attention, and elevates perceptual acuity. This aligns with research on contemplative arts, which shows that creative disciplines can alter awareness, emotional regulation, and cognitive flexibility (Austin, 2016).

Within CI, creative practice functions as a feedback loop:

• Perception stimulates awareness.

• Awareness improves creative decision-making.

• Creative experience deepens consciousness.

Thus, CI treats creativity not only as output (images) but as process—an ongoing refinement of one’s relationship to the world.

CI and the Creative Environment

CI emphasises that creativity is shaped not only by the mind and body but also by the environment. In Chalmers’ work, the environment is a dynamic partner in the creative process. Light, weather, season, landscape, bird behaviour, and atmospheric mood all co-produce the moment of capture.

This echoes ecological theories of perception by Gibson (1979), which argue that environments offer “affordances”—action possibilities perceived directly by the organism. In CI, the photographer is trained to recognise affordances that are both aesthetic and behavioural: opportunities for composition, movement, and expressive articulation.

The environment is not a backdrop; it is a participant. Creative intelligence therefore includes the ability to “read” environmental cues and respond with aesthetic and ethical consideration. Chalmers’ attunement to coastal ecosystems, morning light, and migratory behaviour illustrates how CI roots creative practice in place-based knowledge.

CI and Camera Embodiment

A defining feature of Chalmers’ theory is the idea of camera embodiment—the camera becomes an extension of perceptual and creative intelligence. This concept parallels Merleau-Ponty’s (1962) notion of “incorporation,” where tools become part of one’s bodily schema.

In practice, camera embodiment means:

• The photographer does not consciously “operate” the camera;

• Instead, the camera acts as an extension of the body’s intent.

Mechanical decisions—shutter speed, tracking, lens selection—become integrated into perceptual flow. This reduces cognitive load and enables more intuitive creativity.

Camera embodiment is crucial in CI because it allows consciousness to remain fluid, present, and adaptable. When technical operation becomes seamless, creative perception is liberated.

CI, Creativity, and Temporal Awareness

Creativity in CI is deeply temporal. Photography requires sensitivity to the present moment, yet also predictive awareness of the future (anticipating subject movement) and interpretive memory of the past (experience). CI treats time as multi-layered within creative action:

• Immediate present: sensory perception and decision-making

• Near-future prediction: anticipation and intuition

• Embodied memory: expertise informing intuition

This triadic temporal structure supports what cognitive scientists call “embodied time consciousness” (Damasio, 2010). For Chalmers, creative practice unfolds through micro-moments of perception where time dilates, focuses, and becomes creatively charged.

CI and Creative Freedom

Creative freedom in CI emerges from the integration of awareness, embodiment, intuition, and technique. It does not imply randomness or spontaneity without structure; instead, it reflects the photographer’s ability to act without inner conflict or cognitive interference. When consciousness, technique, and environment align, creativity becomes effortless.

This echoes Csikszentmihalyi’s (1990) concept of flow, though CI adds a more pronounced phenomenological and ethical grounding. In CI, freedom arises from responsible awareness and perceptual integrity. The photographer becomes free because they are fully present.

This state allows creativity to unfold with authenticity, fostering unique artistic voice and personal meaning.

CI as Reflective Creative Practice

Reflection is essential to CI. After the photographic moment, Chalmers emphasises reflective analysis to consolidate learning, refine awareness, and deepen creative understanding. This reflective layer transforms experience into knowledge.

Reflection involves:

• Reviewing sequences of images

• Considering perceptual decisions

• Analysing missed opportunities

• Understanding emotional and attentional states during shooting

This practice parallels Schön’s (1983) concept of “reflection-in-action,” vital to professional artistry. In CI, reflection helps integrate conscious and intuitive knowledge, strengthening creative intelligence over time.

CI and Expressive Meaning

Creative expression in CI is not limited to producing aesthetically pleasing images. Rather, CI frames expression as an encounter with meaning. Photography becomes a medium for articulating one’s internal state, perceptual experience, and philosophical orientation.

Meaning in CI is generated through:

• The photographer’s lived relationship with subjects

• Embodied presence in the environment

• Attentional and existential commitment

• Emotional resonance with the moment

This aligns with existential aesthetic theories (May, 1975), where creativity reveals authentic presence. In Chalmers’ work, images embody calmness, ecological sensitivity, and contemplative clarity. These expressive qualities emerge directly from CI’s philosophical foundations.

Disclaimer: Conscious Intelligence (CI) Theory

Conclusion

Vernon Chalmers’ Conscious Intelligence (CI) Theory presents a sophisticated integration of consciousness studies, phenomenology, ecological perception, and creative practice. CI reframes photography as an embodied, relational, and ethically grounded activity where perception, awareness, and expression intertwine. Through its focus on embodied attention, intuitive responsiveness, environmental attunement, and reflective learning, CI provides a comprehensive model for understanding creative intelligence as lived experience.

As creative practice, CI becomes a method for developing perceptual sensitivity, emotional presence, and existential clarity. It elevates photography beyond technical proficiency, proposing that creativity is an extension of consciousness—an act of engaging meaningfully with the world. CI thus stands as a distinctive contribution to creative theory, demonstrating how human intelligence, when consciously cultivated, transforms both practice and perception." (Source: ChatGPT 2025)

References

Abram, D. (1996). The spell of the sensuous: Perception and language in a more-than-human world. Pantheon.

Austin, J. H. (2016). Zen-brain reflections. MIT Press.

Chalmers, V. (2025). Conscious Intelligence and photographic practice.

Chalmers, V. (2025). Embodied awareness in Birds-in-Flight photography.

Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. Harper & Row.

Damasio, A. (2010). Self comes to mind: Constructing the conscious brain. Pantheon.

Gallagher, S. (2005). How the body shapes the mind. Oxford University Press.

Gibson, J. J. (1979). The ecological approach to visual perception. Houghton Mifflin.

Lutz, A., Slagter, H., Dunne, J., & Davidson, R. (2008). Attention regulation and monitoring in meditation. Trends in Cognitive Sciences, 12(4), 163–169.

May, R. (1975). The courage to create. W. W. Norton.

Merleau-Ponty, M. (1962). Phenomenology of perception (C. Smith, Trans.). Routledge.

Schön, D. (1983). The reflective practitioner: How professionals think in action. Basic Books.

Thompson, E. (2007). Mind in life: Biology, phenomenology, and the sciences of mind. Harvard University Press.

Varela, F. J., Thompson, E., & Rosch, E. (1991). The embodied mind: Cognitive science and human experience. MIT Press.

Defining Conscious Intelligence (CI) Theory

Conscious Intelligence Theory: Positioned as an Integrated Function. Seeing Beyond the Lens.

Positioning: Conscious Intelligence (CI) Theory

Vernon Chalmers' Conscious Intelligence Photography Theory is positioned as an integrated function of perception, cognition, emotion, and reflective awareness. It is a meta-cognitive system that enables a practitioner to synthesize sensory input, aesthetic judgment, and emotional intuition in real-time. In the context of photography, it views the creation of an image as a conscious, existential act of "aware seeing" rather than a mere mechanical reproduction.

Key aspects of this theory include:

• Primacy of Consciousness: The photographer's subjective state and conscious participation directly shape the final image, challenging the traditional "objectivist" stance that reality can be captured without interpretation.

• Intentionality and Meaning-Making: Drawing on phenomenology, the theory emphasizes that meaning emerges from the photographer's intentional engagement with the scene, which involves framing, inclusion/exclusion of elements, and emotional preservation.

• Embodied Presence: The theory highlights the importance of the photographer's full immersion in the moment of observation (presence), similar to mindfulness, to achieve a heightened sensitivity to light, form, and rhythm.

• Distinction from AI: A prominent aspect of the theory is its comparison with Artificial Intelligence (AI). While AI processes information algorithmically, CI is rooted in self-aware, subjective experience (qualia) and ethical engagement, which the theory argues AI lacks.

Defining Conscious Intelligence (CI) Theory

Conscious Intelligence Theory posits that intelligence is not merely the capacity to process information or solve problems, but the dynamic integration of awareness, intentionality, and adaptive reasoning.

It emphasizes that true intelligence arises when cognitive processes are guided by conscious awareness, enabling entities - whether biological or synthetic  - to:

• Perceive context meaningfully rather than simply react to stimuli

• Reflect on internal states and external conditions to adjust behavior

• Act with intentionality, aligning decisions with goals, values, or self‑defined purposes

• Evolve adaptively, learning not only from data but from the conscious experience of interaction itself

In this Conscious Intelligence framework:

• Intelligence is inseparable from consciousness - awareness provides the scaffolding for coherence, creativity, and ethical decision‑making

• Intelligence supplies the mechanisms for execution and adaptation

• Together, they constitute a unified model of “conscious intelligence” that transcends mechanical computation and advances toward self‑directed, contextually aware cognition

Photography as a Living Metaphor

Photography has always been more than the mechanical act of pressing a shutter. It is a dialogue between awareness and intention, a dance of perception and decision. Conscious Intelligence Theory builds on this truth: intelligence is not simply the ability to process information, but the integration of awareness, intentionality, and adaptive reasoning.

For the Photographer, Conscious Intelligence means:

• Perceiving context meaningfully: noticing how light bends across a subject, how shadows shape emotion, how a fleeting gesture tells a story.

• Reflecting on internal states and external conditions: adjusting creative choices in response to mood, environment, or technical constraints.

• Acting with intentionality: aligning each frame with aesthetic vision, narrative purpose, or ethical responsibility.

• Evolving adaptively: learning not only from technical data but from the lived experience of seeing, framing, and capturing.

Beyond Mechanical Capture

In this way, photography becomes a living metaphor for conscious intelligence. Awareness provides the scaffolding for creativity and ethical representation, while intelligence supplies the mechanisms for technical execution and refinement. Together, they move image‑making beyond mechanical capture toward self‑directed, contextually aware artistry.

Conscious Intelligence Theory reminds us that every photograph is more than pixels or exposure values  - it is a conscious act of intelligence, a moment where awareness and intention converge to create meaning. 

Disclaimer: Conscious Intelligence (CI) Theory