We compare ourselves amongst ourselves. Collectively, we perform culture, construct society, and chatter discourses that dialogue ideas concerning ideas. As individuals we are singular creations; however, it takes two to re-create one.
Within communities, we come to understand ourselves through our perception of those around us. Shift the belief or bias about a concrete and lackluster circumstance, or shift the circumstances to agree with a belief or bias: what is life but a capricious oscillation, phases of flexes and stasis, in a dance around a balancing point. The point? Similar to a flower that in essence exists as a rhizome before it appears as matter in the physical world, we exist before we are born and during our time in the world of shapes and forms we grow around obstacles of shade reaching towards the sun in a search for solutions to solutions, navigated by a compass rose directing a quest for questions. The hope is to find the outward thing which we basically are.
I find myself sitting in some unplaced moment behind my eyes. I remove myself because I perceive those around me as united and I am different. The barrier is a two-dimensional wall. I am removed; thus, I regain a locus of control through a reflexive defense mechanism. I remove myself.
Two truths hold simultaneously. We are all the same. I feel as though I am different. My sense of self situates like the dividing line between oil and water. We are one; I am.
I want to suround myself with people and environments that push and inspire me to be a higher me.
BeMused by Design Graphic Collection 2010©
We are all so interdependent today, we cannot escape the consequences of others actions. And interdependence is a law of nature, not of individuality.
We are all made of star dust. We are all fashioned from the same substance. We are not so separated or so individual as we once thought.
When the hypocrite becomes aware of their simultaneous truths and living contradictions, does the power vested in that knowledge position transform the hypocrite into an ingenuous being? Or is a hypocrite validated and realized just alright with settling with a puff instead of a gust when blowing out the birthday candles?
I don’t enjoy staying drunk because I don’t remember what triggered me to ponder the above inquiry, just a few moments ago. Regardless, tonight was fun, and by an large, I tend to experience holidays are 90% hype, 10% fun. Tonight way good. And blowing explosives up aside, I am forever indebted to the people who are serving the country in the military during a time of war. The courage and selflessness is beyond my comprehension. These are my peers. We are one generation. They are there so I am here, feeling as free as I allow myself to feel. Thank you.
Once again, the greater Portland Metro Area flocked to Downtown Portland to watch the fireworks show show under the Morrison Bridge by the Willamette River, and then go out to the bars (or take the stroller ride through the fountains and back to the mini van in the Smart Park.) What a neat commonality a national holiday is: celebrating identity based on current location and identification with one country brings together all of the divided persons in the United States. No matter the age, and no matter the language, we the people watch the fireworks display and we the people enjoy the festivities: both in our individual ways, and together.
The Rose Festival and the Blues Festival, volunteering at the central library and hikes in the national parks nested inside city boundaries, have brought me my camera (and good company, shoutout) into Downtown Portland quite frequently this summer. The above photographs I have taken, so are a scent of the city of roses.
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?
- from Gk. iatrikos “healing,” from iatros “physician, healer” (related to iatreun “treat medically,” and iasthai “heal, treat”); of uncertain origin, perhaps from iaomai “to cure,” related to iaino “heat, warm, cheer,” probably from a root meaning “enliven, animate.”
- 12c. shortening of O.E. ic, first person sing. nom. pronoun, from P.Gmc. *ekan (cf. O.Fris. ik, O.N. ek, Norw. eg, Dan. jeg, O.H.G. ih, Ger. ich, Goth. ik), from PIE *ego(m) (cf. Skt. aham, Hitt. uk, L. ego, Gk. ego, Rus. ja). Reduced to i by 1137 in northern England, it began to be capitalized mid-13c. to mark it as a distinct word and avoid misreading in handwritten manuscripts.
- The reason for writing I is … the orthographic habit in the middle ages of using a ‘long i’ (that is, j or I) whenever the letter was isolated or formed the last letter of a group; the numeral ‘one’ was written j or I (and three iij, etc.), just as much as the pronoun. [Otto Jespersen, “Growth and Structure of the English Language,” p.233]
- 1712, “form, shape” (earlier plasm, 1620), from L.L. plasma, from Gk. plasma “something molded or created,” from plassein “to mold,” originally “to spread thin,” from PIE *plath-yein, from base *pele- “flat, to spread” (see plane (1)). Sense of “liquid part of blood” is from 1845; that of “ionized gas” is 1928.
- 1848, from Ger. Protoplasma (1846), used by Ger. botanist Hugo von Mohl (1805-72), from Gk. proto- “first” + plasma “something molded” (see plasma). The word was in L.L., meaning “first created thing,” and may have existed in ecclesiastical Gk. in a different sense. It was used 1839 by Czech physiologist Johannes Evangelista Purkinje (1787-1869) to denote the gelatinous fluid found in living tissue. This word prevailed, though Ger. language purists preferred Urschleim “original mucus.”
- O.E. god “supreme being, deity,” from P.Gmc. *guthan (cf. Du. god, Ger. Gott, O.N. guð, Goth. guþ), from PIE *ghut- “that which is invoked” (cf. Skt. huta- “invoked,” an epithet of Indra), from root *gheu(e)- “to call, invoke.” But some trace it to PIE *ghu-to- “poured,” from root *gheu- “to pour, pour a libation” (source of Gk. khein “to pour,” khoane “funnel” and khymos “juice;” also in the phrase khute gaia “poured earth,” referring to a burial mound). “Given the Greek facts, the Germanic form may have referred in the first instance to the spirit immanent in a burial mound” [Watkins]. Cf. also Zeus. Not related to good. Originally neut. in Gmc., the gender shifted to masc. after the coming of Christianity. O.E. god was probably closer in sense to L. numen. A better word to translate deus might have been P.Gmc. *ansuz, but this was only used of the highest deities in the Gmc. religion, and not of foreign gods, and it was never used of the Christian God. It survives in English mainly in the personal names beginning in Os-.
- I want my lawyer, my tailor, my servants, even my wife to believe in God, because it means that I shall be cheated and robbed and cuckolded less often. … If God did not exist, it would be necessary to invent him. [Voltaire]
- 1550, from L., lit. “voice” (see voice). Especially in vox populi (1550) “the voice of the people” (the full maxim is Vox populi vox Dei “the voice of the people is the voice of God”).
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.