Imagination isn’t always accompanied with exciting declarations of present or future settings. In actuality, imagination could be stationary in form whenever dealing with ideas and can hinder us from any possible exploitation by making the visual perception simply more beautiful, or even partially transform it. I often wondered why this passive guidance is so full of variety, just like convenient tools are located inside our uneasiness, therefore manifesting as an “object of thought” that can serve more than just abstract ideals. Time feels going by anytime this futuristic sense sways away from the daily routine and into a perception of genuine time loss. Perhaps it is the ordinary people’s standing that gently imprints a concept of freedom and social standing, inevitably associating a sense of passive limitation that needs to accompany such a journey. Certainly, the proactive requirement that comes along with such intermediate packaging consists of letting go of personal confrontations via constructing deviations of new ideas and using the natural course of events as a stand-by for an effective focus on progressing in a timely fashion. However, progressing through time might also mean dealing with ideas that are small or fast enough to leave no room for deviant fluxes of thoughts and therefore considered as a kind of instinct-based mannerism. Needless to say, in order to retain the “new idea” status, you also need impartiality infused with a new momentum and a potential for abstracting new kinds of information at every single step. For any imaginary setting, we could apply a general complex that holds some rules in maneuvering throughout a particular space-time orientation. The immediate responses of new and difficult concepts can occur by remembering well-known objects in a faint embedding, which makes up for the greater amount of data that one needs to hold. Ironically, by doing so one can experience a restrained formation of variety associated with more complex simulations or even “special effects” that associate such forms of interaction. One way to imagine it is by realizing that there is an extra-dimensional bridge that links these specific objects and their respective formats (which are usually very dear to us, like an old memory or an important daily moment). The immediate outcome is having the whole structure becoming extra-dimensional and as a result being able to carry itself through time and possibly space. If this is generally true, other irregular effect should also be present even in the structure of time itself. The pace of time can differ depending on what kind of multi-tasking you are interested in. Besides the pace of time, other options are also present and contribute to the projection of time into a specific and versatile space-tendency. When dealing with any irregularities, it is important to also incorporate basic formations attached to possible events. In prescribing this way of thinking, I like to pick up circular shapes that resonate with my processing skills, like a concentric group of circles (type 1 circle) or the frictionally inefficient circle made out of circles (type 2 circle). Besides that, the concept of freedom could be used as a form of relative bridge, but in this case I like to think of it as the gap between two concentric circles, where individuals cannot pass thru the first circle but can observe their freedom (gap) as a form of imagination. Furthermore, we should also be cautious of where this unfinished addition would “settle”, since in this case we’re interested in just visualization tools or perhaps special cases. The irregularities that I am fond of are the concept of a déjà vu and what I like to call a tunnel of thought that oblige some variety in thinking or feeling the same. The déjà vu is a super-coincidental process that makes the one experiencing it feel unworthy of such lucky feat. The beginning stages comprise of the small or fast thought-vectors that apparently gather together from inside the first circle and grow in “mass” until they reach the limit (perimeter of the first circle), where they get pulled back due to a gravity-like tendency (the one we experience daily but becomes quintessential to such situations). The associated thought-vectors refract and change their direction, making the person confused about the time period in which this duplication of sensation is coming from. Whereas the déjà vu is mainly oriented towards a relatively passive visual basis, the tunnel of thought is an empty déjà vu that incorporates a similar basis, but with a specific sense of direction and longevity. It is possible to increase the number of déjà vu experiences by keeping a composed way and treating it like something ordinary or superficial. However, you cannot increase the number of tunnels of thought because only one is needed for directionality purposes and timing coherence towards every déjà vu experience. This type of tunnel simply adds to the collection instead of faking the ideal, retaining the déjà vu experience as identical gates at the beginning and ending of it. Along these terms, one can also categorize ideas into weak or strong bonded ones. Even though strong bonds of ideas can have more meaning into them, the weak bonds are easier to follow up in some sort of audience-oriented conformism and a clearer path to be observed in the later periods of their development. If, for example, we imagine a dimensional car, a dimensional source similar to hand brakes can be the weak bonds whereas the dimensional source of the wheel can be the strong bonds. Similarly, when discussing about the origin, the conventional use of the origin and the respective axes can be a weak bond of such idea, whereas the origin that cannot be reached via a curve unless the concept of a full circle comes in can be considered a strong bond. Sometimes, their distinction is relative to the stress we associate to the meaning of our ideas (illuminations), especially when dealing with masses of origins of bonded ideas that serve to construct some later breakthrough (or when the application is very general as compared to their innovative purpose). The opposite trend as compared to the déjà vu construct occurs when considering age groups, where their focus comes from the big space towards the small space (type 1 circle). One such instinctive approach is to focus on the top-class of people and their respective traits as a representative of the age group at this moment, which is corrected by the future generations that observe a mainstream category as the one that fits with our time period. In this case, we are moving from the big concentric circle to the small one, which indicates a different approach of type 1 circle and a possible social behavior attached to it. This means the type 1 circle has “settled” and can be used to directly identify the irregularities. The first type of circle is now used for the instance of a déjà vu and the second type is used for the instance of a tunnel of thought. Moreover, we can add the influences (social and perceptual) to make freedom a bridge between the few perceptual attempts towards the déjà vu encounter and the much social influence that comes with it. In this case the perception of an individual and the corrected social attitude have no room for directional simulation but if we treat them as complements, each of them can give particular information or background about their respective counterpart.