The following excerpt from Alan Schneider’s book Doors in Disguise builds on his discussion of the Creation Diagram. This diagram, shown on the left of the page, includes the seven major chakras and the triad, diad, and monad. In this excerpt, he relates this diagram with conscious existence.
One of the interesting characteristics which can be noted about the symbols on the Creation Diagram is the fact that they all display what the biological sciences refer to as radial symmetry, that is, they all are uniformly constructed around a central point. And the symbols of the Diagram can be said to be harmonically balanced around a common axis. In theory, a radially symmetrical element can be rotated around the central symmetrical axis up to the rate at which the material of which it is composed can no longer remain intact against the resultant centrifugal forces as these increase with that rate. At this point of transition, the element fragments, usually by exploding apart.
The symbols of the Creation Diagram are ideal forms and therefore are not subject to physical destruction. Their “rate of rotation” is shown as “zero” in order to clearly reveal their esoteric form to the Seeker. But in the manifest condition of dense form in the physical plane of expression, all of the symbols are always acting in rotation. This movement is the vibration of consciousness which we experience as the world. Consciousness can be characterized as an interactive vibration of complex physical, spiritual, and mental forms. This is directly related to the combined rates and direction of rotation of the Creation Symbols. When we observe any phenomenon, whether simple or complex, we are always “registering” a global recognition of that phenomenon’s composite vibration, which is composed of the interaction of all the rates and directions of rotation of all of the Creation Symbols which are active in the phenomenon’s consciousness expression. We may or may not be aware of this perception, but it is nonetheless occurring, and the Seeker can make great progress by focusing on the world of events in this way. Additionally, I feel constrained to mention here again that everything is a form of consciousness originating in the Tetragrammaton, even a common pebble, a speck of dust, or an atom.
“We are all free to live in illusion, and we are all free to Seek the Truth.”
The following Idea Worth Spreading shared at a TEDx conference moved tears to my eyes. I find it meaningful, and I hope for anyone else who watches this, meaning can continue to flow from this shared experience. A little over a year ago, I experienced a concussion to a similar part of my brain as Jill Bolte Taylor, and I personally relate to some of the sensation and experiences in the aftermath of head trauma Taylor describes. She tells her personal story in a moving way, and it inspires me to continue to individuate and strengthen my own resolve and voice as well.
Also, this famous neuroscientist I first was exposed to a few years ago in a Cognitive Psychology course popped into my life again today. He’s kind of like Steve of Blues Clues, but with neuroscientific riddles.
I found my old lava lamp a few weeks ago. The fire-lit blue plasma ‘lava’ bubbles warp shape and gnash forms inside a cone, filled with clear malleable water/air like substance . The clear substance captures my intrigue: similar to describing water in a fishbowl, what the filler fluid is by description is elucidated by what the bubbles are not. The clear fluid lacks corporeal form, and put positively, is the present absence of the capricious lava as it heats and cools.
My thoughts cast a net before my feet, and if I cannot bring myself in the teetering moment of hubris to regain humility, I trip in my own trap. Falling is a torpedo, a whirlpool, a black hole astray from the light, and into the darkness. It is a pattern, this type of descent. Slipping is often set off through the making of a mistake: not for the first time, but for the nth time. Before the fall, the sway precedes the slip. The sway is where I lose a sense of I, and I am taken over despite myself, to spite myself. To flirt with temptation and sway towards the pattern is to set oneself up for a fight, for the pull of temptation towards that trigger, is a vice hungry for a device, and that grip is waiting with white knuckles and the forces of gravity and magnets.
Conversely, I have found that in the moments or flow of moments in which I am living my passion, I am participating in something greater. To practice one’s passion is to participate and honor universal compassion. This experience is the antithesis of vice finding device. A perfect pair, the hand fits into the glove snug as snug is, and the experience of touch and to be touched is muted and diluted just the same. The virtue of compassion and the vice of device are similar in that they can be defined against one another: a binary opposition, like the white fluid around the blue lava bubbles ascending and descending inside of the lamp.
Sometimes when I cannot sleep I watch the shadow play on my ceiling cast by the lava lamp beside me. It is astonishing how remarkably similar the lava shadows are to the caprice of free willed hands, not moving with grace and fluent rhythm, but rather, spastic and sporadic motion and agile jutting with and against the nature of its own movement, as if the shadows have intent or purpose unfolding in their dance.
Strangely, to watch the lava itself, rather than the shadows, makes me feel quite uneasy. As if I am seeing something that I should not be seeing. As if I walked in on a secret and instead of closing the door and moving along with a fleeting apology, I let my curiosity and fascination with that quixotic sensation get the best of me and I lay and stare with full moon eyes.
Digital signals are imprinted with a picture of their destination from the beginning of their journey towards their end. Carl Jung had the good fortune of opening his first private practice in part due to the word of mouth rumor of Jung’s wizardry, spread by a mentally ill local patient. He could not have known his life would lead the path it did, and the improvisational set his life apart from many others. Am I an analogue girl in a digital world?
Free will: intention, intensity and purpose from within accelerates mass into energy that propels gears; in essence, we put ourselves in motion, intentionally.
Predetermination: We are moving from forces within and beyond ourselves, accelerated or weighed down by gravity of emotions or environmental circumstance from electromagnetic jolts or pulls. In this way, we move in the rhythm of a schema and script unconsciously. Our bodies are battery like packets of energy, positive and negative and perhaps love guides us to find the opposite charged half that balances the capsule we were born into.
A number of terms are used to describe art that is loosely understood as “outside” of official culture. Definitions of these terms vary, and there are areas of overlap between them. The editors of Raw Vision, a leading journal in the field, suggest that “Whatever views we have about the value of controversy itself, it is important to sustain creative discussion by way of an agreed vocabulary”. Consequently they lament the use of “outsider artist” to refer to almost any untrained artist. “It is not enough to be untrained, clumsy or naïve. Outsider Art is virtually synonymous with Art Brut in both spirit and meaning, to that rarity of art produced by those who do not know its name.”
- Art Brut: literally translated from French means “raw art”; ‘Raw’ in that it has not been through the ‘cooking’ process: the art world of art schools, galleries, museums. Originally art by psychotic individuals who existed almost completely outside culture and society. Strictly speaking it refers only to the Collection de l’Art Brut.
- Folk art: Folk art originally suggested crafts and decorative skills associated with peasant communities in Europe – though presumably it could equally apply to any indigenous culture. It has broadened to include any product of practical craftsmanship and decorative skill – everything from chain-saw animals to hub-cap buildings. A key distinction between folk and outsider art is that folk art typically embodies traditional forms and social values, where outsider art stands in some marginal relationship to society’s mainstream.
- Intuitive art / Visionary art: Raw Vision Magazine’s preferred general terms for outsider art. It describes them as deliberate umbrella terms. However, Visionary Art unlike other definitions here can often refer to the subject matter of the works, which includes images of a spiritual or religious nature. Intuitive art is probably the most general term available. Intuit: The Center for Intuitive and Outsider Art based in Chicago operates a museum dedicated to the study and exhibition of intuitive and outsider art. The American Visionary Art Museum in Baltimore, Maryland is dedicated to the collection and display of visionary art.
- Marginal art/Art singulier: Essentially the same as Neue Invention; refers to artists on the margins of the art world.
- Naïve art: Another term commonly applied to untrained artists who aspire to “normal” artistic status, i.e. they have a much more conscious interaction with the mainstream art world than do outsider artists.
- Neuve Invention: Used to describe artists who, although marginal, have some interaction with mainstream culture. They may be doing art part-time for instance. The expression was coined by Dubuffet too; strictly speaking it refers only to a special part of the Collection de l’Art Brut.
- Visionary environments: Buildings and sculpture parks built by visionary artists – range from decorated houses, to large areas incorporating a large number of individual sculptures with a tightly associated theme. Examples include Watts Towersby Simon Rodia, Buddha Park and Sala Keoku by Bunleua Sulilat, and The Palais Ideal by Ferdinand Cheval.
I will soar: I have faith in the belief in myself to soar.
Between 3:00 p.m. and 8:30 p.m. yesterday I was sitting, waiting, wandering at airports and in airplanes.
The transitional move up the coast to Portland only took an afternoon. The transition took the entire afternoon. The transition smashed me like a sardine, packed between thousands of journeys and bags, time traveling on a jet-fueled conveyor belt through space. The transition was an insular experience, and until halfway through my second flight, I did not read a word or listen to music as I looked inside myself with compassion and processed the changes in attempt to iron out the sentimental wrinkles tensing my muscles, heart, chest and mind. Hard to concentrate.
All of the above are simultaneously true. When I finally did open the New York Times, I read the paper in a record time (for me), inhaling the source like water on a dry sponge in under an hour. There was an op-ed debate and letters to the editor that stuck a cord in me. There had been an earlier article on ‘Mediocrity in the Military Academies.’ The people’s response was touching. Midshipmen received support from all angles, and in their own way, the responses asserted the qualities that these young men and volunteers strive to serve their country in a time of war: loyalty, honor, ethical discipline, selflessness, and serving others.
Another Op-Ed article was a comparative analysis finding the common thread through world religious traditions. The uniting piece between and amongst them all: compassion for others like compassion for self.
An article in the Science Times section traced the genetic origins of corn, a crop that only exists today as a domesticated plant. Red eyed male Tree Frogs are the first vertebrae discovered to use vibrations as a signal to other males as an aggressive statement of territoriality. A bacteria has been found to cause snow and rain.
The world is fascinating. and my curiosity and thirst to absorb all that I can surges through me. Every morning, my resolution to myself is to repeat the mantra upon waking as a way to connect with the qualities and selfless compassion as true fuel and nourishment through this journey–
I will soar: I have faith in the belief in myself to soar.
A Synthesis of Research and Reading:
kheper-i kheper kheperu kheper-kuy m kheperu n Khepri kheper m sep tepy…
“[when] I became, the becoming became, I have become the becoming [the form] of Khepri who came into being on the First Time…
…when I became, the transformations became, all the metamorphoses coming to pass after I had become.”
-translated Lucy Lamy, Egyptian Mysteries, p.14
- In hieroglyphic writing kheperrepresents not only the sacred scarab “but also all the metamorphoses or transformations of which it is the symbol, as wll as the idea of becoming, in general. The word kheperthus means “to become” in all possible verbal forms, while Khepriis the entity embodied in the sun as it rises in the morning, when darkness becomes light.” Lucy Lamy, Egyptian Mysteries, p.14 (Art and Imagination series, Thames and Hudson, 1981)
When all is said and done, the final Synthesis for this particular universe in general (and for this website in particular) is one of love.
Unconditional, Unlimited, Universally-Connected Love.
Here we have a basic spiritual cosmology consisting of physical reality; intermediate or psychic reality; spiritual and Divine reality; and Absolute Reality or Godhead or Source. (see also the Three Tier Model, which is identical to the above except that it does not include Spirit/Infinite as a sperate hypostasis). As Professor Smith points out, each of these levels of reality can be studied separately:
“The marvels of the terrestrial plane are being unveiled at an astonishing rate by the physical sciences. The intermediate realm adds life and consciousness: biology helps to understand the former, and for light on the latter we turn to the durable findings of phenomenology, depth psychology, and parapsychology, as well as aspects of shamanism and folk religion. The theologies of the great traditions describe God’s knowable nature (the celestial plane) from a variety of cultural angles, and the literature of mysticism carries the mind as far as it can journey into God’s absolute and infinite depths” [ Beyond the Post-Modern Mind, p.45].
In this all-embracing gradational metaphysic, we have a way of looking at the world totally different to the conventional Materialistic or Dualistic stance. Borrowing a popular Theosophical term, I use the word “Esoteric” to indicate this alternative way of perceiving things.
Multiple Exposure of Besheret (BeMused graphic design with LiveBrush and Picasa)and Heads by Pavel Filonov. Together, Space, Soul, Universal Flowering.
The first recorded reference to a world egg occurs in an Egyptian papyrus of the New Kingdom Petosiris:
0 Egg of the water, source of the earth, product of the Eight, great in heaven and great, in the underworld, dweller in the thicket, chief of the Isle of the Lake of the Two Knives, I came forth with thee from the water; I came forth with thee from thy rest.
Egyptologists have not decided to whom this text refers. Probably it is Thoth, the god of the moon, who appeared in the form of an ibis, and who is described variously in different legends both as having hatched the world egg at Hermopolis, and as having emerged from the egg himself . Petosiris, the priest of Hermopolis, records that:
“Part of the Egg was buried in this place, and here were found all beings who came forth from the Egg.“
Various Egyptian deities are associated with the egg. An allusion to the Sun God Rah reads:
“0 Rah in his egg, who beams in his disk, rises above his horizon, shapes himself with his own metalmgT he sun itself is “The solar eye, an egg to which is given life among them.”
Elsewhere we find:
It was made against those of your retinue, on account of the wish of the spirits that are there, for not letting the breaths be inhaled except by the Great and August God who is in his egg. I come to thee and I am at thy service.
This ancient idea of a primeval egg which hatched the sun god occurs frequently; the sun myth took various forms in Egyptian thought. In one representation the sun is an egg, laid daily by the celestial goose Seb, the god of the earth. From this egg was born the Phoenix, symbol of the sun.12 Thus, in The Book of the Dead, the deceased says:
Hail, thou god Tem, grant unto me the sweet breath which dwelleth in thy nostrils. I am the Egg which is in the Great Cackler, and I watch and guard that mighty thing which hath come into being, wherewith the god Seb hath opened the earth.
Khnum, a god of creation, whose name signifies “The Moulder,” formed the world egg, as though from a lump of clay on his potter’s wheel. In ancient drawings we also find Ptah of Memphis seated on his throne. The Chandogya Upanishad describes the original act of creation as the breaking of an egg in two pieces : The Sun is Brahma-this is the teaching. A further explanation thereof (is as follows).
In the beginning this world was merely non-being. It was existent. It developed. It turned into an egg. It lay for the period of a year. It was split asunder. One of the two egg-shell parts became silver, one gold. That which was of silver is this earth. That which was of gold is the sky . . . Now what was born therefrom is yonder sun. When it was born shouts and hurrahs; all beings and all desires rose up toward it . . . He who, knowing it thus, reverences the sun ashrahma.
In Hindu mythology hirazyagmbha, the golden world egg, appears in a bewildering variety of forms, according to different traditions:
The restless, darting fish, at fall of evening,
Seeks where he may his refuge in the waters,
His nest the egg-born seeks, their stall the cattle;
Each in his place, the god divides the creatures.
These lines refer to the sun. The Rig Veda describes eight sky divinities. One of these, the Aditya Surya, was born from an egg: Eight sons there are of Aditi, Who from her body were produced. With seven she approached the gods. But the egg-born she cast away. Surya driving his chariot, drawn by red horses, across the sky each day represents the sun god, like Apollo in the Greek pantheon.
Again in the Rig Veda Prajapati, the original male, fertilizes the primeval waters, the original female, transforming them into the golden egg. Inside sits Brahma, the Golden Person, where he remains for a thousand years, floating in the waters of creation, his miraculous power shining through the seven shells of the egg, infusing it with a golden radiance. Within the egg with Brahma are the continents, oceans, mountains, planets, divisions of the universe, gods, demons, and humanity. According to the Lazus of Mana Brahma, the original substance, propagated himself:
He, having willed to produce various beings from his own divine substance, first with a thought created the waters, and placed in them a productive seed. The seed became an egg bright as gold, blazing like the luminary with a thousand beams; and in that egg he was born himself in the form of Brahma, the great forefather of all spirits . . . In that egg the great power sat inactive a whole year of the Creator, at the close of which, by his thought alone, he caused the egg to divide itself. And from its two divisions he framed the heaven above and the earth beneath. In the midst he placed the subtil ether, the eight regions, and the permanent receptacle of waters.
Aristophanes in The Birds writes:
There was Chaos at first, and Darkness, and Night,
And Tartarus vasty and dismal;
But the Earth was not there, nor the Sky, nor the Air,
Till at length in the bosom abysmal
Of Darkness an egg, from the whirlwind conceived,
Was laid by the sable plumed Night.
And out of-that egg, as the seasons revolved,
Sprang Love, the entrancing, the bright,
Love brilliant and bold with his pinions of gold,
Like a whirlwind, refulgent and sparkling.
- S: (n) penetration, insight (clear or deep perception of a situation)
- S: (n) insight, perceptiveness, perceptivity (a feeling of understanding)
- S: (n) insight, brainstorm, brainwave (the clear (and often sudden) understanding of a complex situation)
- S: (n) insight, sixth sense (grasping the inner nature of things intuitively)