Science 3

Come today to a return in science three. We're returning to an ancient technique. It's one of looking not just to see, but looking to penetrate. There's a famous haiku by Basho. And the haiku reads in translation a hot summer's afternoon. Even the crickets. Sound penetrates the rocks. There's a name for this in almost every discursive language in India. In ancient times it was called Aparna Darshan. It translates as literally as steadfast wisdom of witnessing steadfast wisdom. Darshan is not just to see but to expose oneself, expose the seer to what is being seen so that they. Interpenetrate. Or to use a word that sometimes is used in poetry to come, to penetrate, to penetrate each other. In geology there is a concept of an Indo morphosis where the matrix when it receives some intrusion. The intrusion changes its mineral content just in the way that the matrix also, so that they become fused together, like there are quartzes that have a special mineral content that change the crystalline structure of regular quartz to that of a jewel, like a tourmaline or something like that. And those special crystalline structures like tourmaline have a quality called piezoelectric, so that if you would take those crystals and you would squeeze them, they would generate an electric field. This quality of changing by the structure. The sensitivity to the electromagnetic field is quite noticeable when you get into quantum mechanics. When you get into the structure of an atom, which is an electromagnetic structure, you squeeze an atom in just the right way. And it's analog to piezoelectricity will occur in the sense that that atom's electronic electromagnetic capacity will alter. It will. In the case of the atom, it will transmute. This is the ancient principle, of course, of alchemy, the transmutation of Elements, and that the old alchemical wisdom was that eventually the elements mount up to a maturation, and that gold is the most mature of all the metals, so that whatever metal that you're working with, it can transmute along a line that is not just a geometric line, but an alchemy. It was always seen as a link upon link making a chain. And in antiquity it was called, in fact, the Great Chain of Being or Homer's Golden Chain. And what it meant was that the discrete existentials that occur in this world have a common denominator, and that by virtue of that common denominator, each link is able to be related to the next link, in the sense that it is of a higher energy, that its hierarchy of energy is based on the continuity of the common denominator, and the fact that there is an operator that in genders the transform from level to level, from link to link, and that, for instance, applied to the planets. Each of the planets becomes in its link in its sphere, linked to the next planet and its sphere in such a way that one goes from the very quick to the very slow and that the slowest planetary link in classical antiquity, Saturn finally linked to the fixed stars that do not move. This whole quality of being able to see penetratively has been accentuated in the 20th century. To the extent that we are stunned by what we have now uncovered, what we have discovered, and we're looking at two such areas, one of them through Mary Leakey, the discovery of the evolutionary antecedents of man going back millions of years, and the other through Richard Feynman of The understanding that the mathematical application of transform operators to an integral path changes the way in which time space actually is able to form and make forms, and give rise to existentials, so that we have in this man and this woman the beginnings of a resensitizing ourselves in miniature time scale in just 12 lectures, 12 weeks, three months to something that has unfolded over the past 150 years massively, and has disclosed so much wonder that very few people in the world today are able to gain a sense of presence for the actuality because it is too. Startling and too wondrous. Too complex, too mysterious to behold. And what we're trying to do is to sensitize ourselves to being aware that we cannot look at this scale of complexity and depth with ordinary eyes. We have to look with those ancient wisdom eyes that allow for the seer and the seen to come penetrate together, so that out of that participation comes a new kind of space, a new kind of time, and also a new kind of consciousness. In the Chinese tradition. When painting was becoming able to be done in a grand way from its early beginnings in the early centuries, just before the Tang dynasty, after about 7 or 800 years, Chinese painting came in the Song dynasty to an enormous sophistication, and one of the great themes there was that man and nature, in a certain way, creates a landscape wherein there are mountains and rivers without end. That was literally the phrase Used in Southern Song landscape painting. The phrase mountains and rivers without end was like a normal aesthetic way of talking about art. It meant that though in nature there are mountains only where they are, and there are rivers only where they are. In Daoist landscape art, there are mountains and rivers without end. That nature has ceased to be existential and now is continuous infinitely. And this infinite continuation of nature discovered in sung landscape painting had as its focus a different way of looking, of seeing, and one of the icons at that time was that the Tai Chi, the Taoist symbol, would be put on some kind of of fabric, some kind of a field, maybe painted with ink on rice paper, and that that large sheet of rice paper might be being looked at by three sages long, gray bearded hatted sages looking at the Tai chi symbol, not to see it as a sign, nor even to think about it as a symbol, but to expose themselves to its penetration so that they begin to participate in such a way that those figures, the resonance of those figures, was no longer man, but was the mountains and streams without end. And in fact, the greatest painting of the whole East Asian tradition, done amazingly in the Chinese style, but by a Japanese painter, was by a man named Sesshu, whose name means literally snowstorm. It means somebody who participates in the shunyata of nature. To the extent that he is a snowstorm in the world, he's a whiteout within the world. And he did a thing called the Long scroll. And it's many, many dozens of feet long and about 18in high. And he did it in one day. And what the long scroll was, was to show that this mountains and streams without end is the resonance of any real journey. Any time a human being becomes at one with nature, any journey that they undertake has its final resonance in the universe, and that we are at home in the cosmos, not so much as a content within a form, but that we are a constituent operator within a continuity of infinity, and that every action we take, every step, every gesture, is an exercise of this generative operator of transform that changes the geography from existentials to infinites. And it's exactly this kind of Daoist alchemy that was performed in mathematics and physics from about 1913 to, well, up to the present day. But its big transform came in 1948 with Richard Feynman, with the development of his particular genius. And you can get an 800 page book published in the year 2000. The Feynman integral and Feynman's Operational calculus. It's not that you have to master this, but to understand that for more than a half a century now, there have been capacities for people and exercises available to achieve a maturity where the existential limitations of nature have willingly come penetrated with the consciousness of man, and opened up a continuity of infinities for our possibility, and that we no longer live. We have not lived now for half a century, in any kind of situation that is limiting to us, and that the key for us is to understand that this transform is a gift to all of us, of worlds without end. It's like the old wisdom saw that once someone sees something new that begins, then to be a possibility for everyone else. And we have inherited this. The lecture today is called Vital Expression Arrays. And it means that instead of paying attention to the measurements in a ruled way within limiting form on isolated existentials, that the measurability has an infinity, both large and small, so that there's no ruler, and that the application can be done in such a variety of ways as to be uncatalogued in any finality, so that we have an infinite number of arrays to apply an infinite measurability, and that this act of doing in this way has been reciprocated by the cosmos, that we have been welcomed in this way, and that this kind of an energy field, when put back into a container, acts as if it were a gas that has been confined in a limited space. And as the forms constrict and limit it, you build pressure, you build tension. And one of the things that was transformed was history. And to put a limitation on our cosmos in terms of historical energies has for the last 30 years produced a situation of explosive gas, Forcing a reversion so that the world is now historically reverting back to medieval times, and that the United States domestically is reverting back to early 50s already. So there is such a thing as a time warp that goes along with a space warp that goes along with a foisting of false limitations upon a cosmic conscious energy. And so we're living now, at the end of 2001, in a severely regressed time warp where the world is involved in medieval things that were news a thousand years ago, and that the techniques being used to deal with it are at least 50 years old, and that this kind of regressiveness continues until it's opened up, so that an education like this is not meant to teach a subject, but to awaken the possibilities of learning how to learn in such a way that our own gifts are made available to us, that the presents that have been handed to us by the last, especially 150 years, open up in such a way that we can open those presents and learn that we don't have to struggle with knots, but that these presents are given in such a form that there are just bows, and that the presents are made to be opened and enjoyed. Let's come to Mary Leakey for a second. One of the presents that Mary Leakey delivers to us. How? A very ordinary English girl could have become one of the deepest com penetrable sages in world history. This is an extraordinary transformation, a flowering into such a vast maturity and a place in world civilization as to be almost unbelievable. And not only because she was able to do this herself, but she, in her way, brought out a capacity for maturity in her husband, Louis Leakey, that he would not have had by himself, and that her creativity in this regard extended not only to her and her husband, but extended also to her children. And to one of her children, in particular, Richard Leakey. Extended to Richard Leakey, his wife extended to her granddaughter, and that the women in the Leakey clan are to this day making discoveries of. That are adding to this tremendous gift even today. How Mary Leakey was able to do that is extraordinary. Her father was a painter, and her father would take trips to go and paint like artists have done for quite some time. And he took his family with them, and he took young Mary Leakey with him on one of these occasions in the south of France. They came across. An old. Cleric, the Abbé Bruyere, who was in charge. He was the first person who was making drawings of the Paleolithic cave drawings in southern France. And he managed to get the young Mary Leakey, whose name was Nichols at the time, this teenage young teenage British girl. Mary Nichols, he got her down into these caves, and what she was experiencing was beyond belief for her, because she had learned how to look artistically, to make sketches. But the old abbey was showing her that these are not ordinary works of art. These works of art are tens of thousands of years old, that they don't come from somebody who studied at the Beaux Art. They were made before there was even a France. They were made before there was even a Europe, and that the quality of seeing, of participation was one of letting one's time limitations go, so that the aesthetic that came out had a particular quality of flow to it. And it was so new at the time that there wasn't even a phrase for it. And it wasn't until about 4 or 5 years later that another Frenchman named Lucien Lévy-bruhl came out with the phrase participation mystique. There is a mystical participation in that kind of seeing, and that it involves not only the eye, but it involves the hand at the same time that the hand and the eye together. Coordinate the hand for the mind, the eye for the posture of the body, that the eye is not linked to the brain in the way in which the Greeks said it was. That's a Greek classical idea, an ideal new to them. Not at all a universal. For instance, the ancient Egyptian I did not see in the Greek way of form. It saw in terms of two third ratios, so that the whole Egyptian way of composing was through two third ratios, and not at all in terms of classical Greek forms. But Paleolithic art has obtained A way of seeing that is about 35,000 years older than the pyramids, so that the eye is not linked to the brain. The eye is linked to the body and what the body does with that eye in seeing art in a Paleolithic way, is that one is kinesthetically aware of your posture. You're not aware of what you're seeing with your mind. You're aware of looking with your body so that the body's posture, when it sees lines that resonantly collect together to make forms. The Paleolithic artist's body wanted to dance, that body posture Reformulated its way microsecond by microsecond, so that you had a morphing of the posture which led to the discovery of dance, so that Paleolithic art is related to dance ceremonies, and not at all to conceptions. Paleolithic art is not conceptual at all. It has nothing to do with the ideas of the sacred animals. Sorry, Joseph Campbell. It has everything to do with man learning to dance his cum penetration with nature for the first time. And because it was not he as a man, or she as a woman who was penetrating. There was no portrait at all of a human face, ever. You never see the human face in Paleolithic art. What you see is the way in which the animal realm and the man realm are on the same scale. You see dancers who have animal heads and animal tops with the skins tail dragging down, and you see what looks like a primitive shaman. But that whole idea of a shaman is an intellectual idea. It has nothing to do with the Paleolithic wisdom. The Paleolithic wizards were not thinkers, they were dancers. And so the dance resonance of the rhythms led to a Modulation of the voice, and instead of speaking in any kind of assigned way, any kind of a signaled way, language assumed the vibratory rhythm of the morphing gestures of the dance. And what was born out of that was song. Not songs of words, but songs as a singing voice modulated to the dance, which was not a dance of steps, but was a morphing of the body posture, a morphing of gesture, microsecond by microsecond, so that the dancing, singing Paleolithic artist got the transform operator of the way in which nature moved for the first time, that one no longer was within the animal realm that one had always been within. Yes, you could still be within it, but you had an added capacity of being able to change it because you were the operator. And this is the basis of magic and has nothing to do with hocus pocus, nothing to do with candles, nothing to do with any of that whatsoever. All of those are ideas that were generated within the last 6 or 7000 years. And they're they're completely extraneous to this. The young teenage Mary Nichols learned that from this wise old French cleric she learned to see in that way. And when she did, she saw that what he did was not to write monographs on the Paleolithic art, but that he made drawings of them in the same way that the drawings were made. He was able to use his hand to make the not the outlines of the animals. But if you look at his original publications, they are like impressionist lithographs. Only instead of using volumes of color, he used lines in the way in which an impressionist would use lines. He used the lines instead of there being Monet like colors of volumes. He used the outlines of arcs of red ochre or soot black, or occasionally some of the mineral gave out a kind of a reddish, or sometimes even a manganese will give you a kind of a purplish quality. And in this way, the teenage Mary Nichols got exposed to the participation mystique of Paleolithic art, and it changed her. It changed her in a way that she didn't know that she was changed, because this is how reality works. You don't know until later in retrospect that you already are different. And when she was 19 and she heard Louis Leakey speak for the first time about Africa, she heard him not in terms of his subject matter, but she heard him in that participation mystique, and it didn't make any difference that he was married and he had two children, and that he was ten years older, and that he was a distinguished lecturer coming from Africa. And she had never been there. It didn't make any difference at all. She was resonantly present with the way in which he danced his life. And he got it. Because you can't miss someone because they fit, not like a content into a form, but they are in the universe the way that you are, and you find that you literally fly together. In the ancient Central Asia, the whole thing about using falcons to hunt was not the single falcon of the European version of it, but always a pair because in nature, falcons hawks always hunt in pairs because it's the dovetailing of their perspectives that allow for the focus of the prey. Especially, she found that she was able to hunt like Louis Leakey. And what were they hunting? They're not hunting mice. They're not hunting rabbits. They're hunting what nourished them? They were hunting for evidences of their own kind in the most ancient times. And so they got together. And as soon as he took her to Africa in 1935, that Was it because she recognized that he was not a European at all, but he was an African. He was white, but he was an African. He spoke Kikuyu because before he could speak English, he was a member of the Kikuyu tribe before he even knew that he was English of English descent. And so when he took her there, he took her to Africa like a tribal person, bringing a long lost tribal member home. And the home that he took her to was an enormous ancient crater, like a lunar crater in Africa. Only had been there so many hundreds of millions of years that a lot of it was obliterated. And yet still you had to come down the edges of the rim to get to the vast floor. Naranga Goro crater and on the floor is the Serengeti Plain. And the first time that she saw it, she knew that she was home. And even after working for two thirds of a century in the field, she still felt that this was her home, that she wasn't at all English, that the Mary Nichols, who had born and was born in England, was like a mask that was a part of somebody else's dance, and that this was her facial painting, her body painting of her real dance of nature. And because they both shared that, they felt that together like two majestic, mystical hawks hunting together that they could find not only traces of man 40,000 years old, but that they could find traces of antecedents of man millions of years old. And so they agreed to hunt together in this particular corner of Africa, and to devote not their lives to it, but to come penetrate with the landscape together over however long it would take. Mountains and streams without end. And they succeeded. And it's one of the most amazing stories there is. Here's a book from 1870 by a very, very famous man, Sir John Lubbock. Sir John Lubbock at one time did a selection of great books of the world, and They were held like the criteria of the educated person. This book is by him the origin of civilization and the primitive condition of man. And they've got Stonehenge there, because at this time in 1870, this is the fifth edition of 1889. But in 1870 man was considered to be developed and created in 4004 BC, which meant that something like Stonehenge is getting awfully close to Adam because it's very, very ancient. Stonehenge is about 2500 BC. They didn't know it was that age, but they guessed that it was is very, very ancient. By the time that this came out, 1891, by one of the great French savants of the of the time, the Marquis de Nadaillac. Manners and monuments of prehistoric peoples. And you find the frontispiece here has a fossil burial of a man. It's not really that ancient, but it gave the sense that one is going back. And he writes here 1891. Whatever antiquity may be attributed to the human race, whatever the initial date to which its first appearance may be relegated, this antiquity and antiquity is but slight. This date is but modern, if we compare it with the truly incalculable ages of which geology reveals the existence. At every turn we are arrested by the immensity of time, the immensity of space. And yet our knowledge is still confined to the mere outer rind of the earth. And science cannot as yet even guess at the secrets hidden beneath that rind, so that by 1891 it was apparent that the antiquity of geology was immense, and the reason for that lay with the single individual. His name was Sir Charles Lyell, and this is an edition of Lyell's Principles of Geology, which came out in 1853. Significantly, it has the stalactites and stalagmites of a Paleolithic art cave on the cover. This was the first time that anyone showed in a scientific, measured treatise that geology dealt with hundreds of millions of years, that there is no way that those rocks and those mountains and those Streams originated in 4004 BC. They are hundreds of millions of years old and of course lies within a few years, followed it up by a little book called The Antiquity of Man that, oddly enough, there seem to be indications that man is not a recent drop placed in this hundreds of millions of years old geology, but that fossil bones of man seem to go back much farther than what anybody had supposed. And yet the old conceptions held on. Here's a book published in 1900, Human Origins, and it still has. The beginning of this is the oldest. Records are from Egypt, so even by 1900, one is still thinking that the origins of man go back maybe to the beginnings of written records in Egypt, maybe a little bit before that, who knows? And yet, by 1914, when the first edition of this came out, Prehistoric Man and his story. The frontispiece is of a fossil hominid, not a hominid. Yet Pithecanthropus erectus, found in Java that was found with strata that seemed to be hundreds of thousands of years old. And it caused a tremendous shock at the time, because all of this seemed to indicate that there was a war between science and religion that had a few shots fired over the bow by people like Darwin or by people like Sir Charles Lyell. And yet, the follow up to these things was always for several generations to squelch the implications. This is all well and good for this subject matter, for the speculation of that science. It has nothing to do with us as believing religious people. All of that became challenged in the 1920s and 1930s, to such an extent that it was untenable to deny any longer. And so the response was not acceptance, but of anger and frustration and criticism. And one of the most major pair of figures in that was Mary and Louis Leakey. Let's take a break and we'll come back. So that primordial. Man in the sense that the eye indexes body posture and that body posture when it morphs, is a gesture in morphing motion, and it leads to dance so that dancing was a Paleolithic way of comprehending. So that for Paleolithic man, when a Paleolithic man or woman wanted to understand something, they would imitate the movements of whatever was acclimated to that situation, and they would learn that way. For the North American Indians who lived in the Great Plains, the major nutritive source was the buffalo. So that for the hunters, for the men who were responsible for getting the food, that basic nutrient, for them to assume the ability to kill for the tribe, for the people, was a tremendous responsibility. And so that the society of the Algonquin tribes, the Blackfoot, and so forth, in that swath of North America, that society, the its It's Kenai. The Horns Society meant the horns of the buffalo, and it meant also that they were able to make the motions of the buffalo and refine it to the horns, which was the killing aspect of the buffalo. And so when they hunted them, they brought that into play. Otherwise they reality of the tribe could not be sustained. Another society in the same Paleolithic society of the Algonquin Indians, the prairie chickens and the dances that go with the prairie chickens, with the big tail of the circle of the feathers, and it looks kind of stupid to see grown men dancing and imitating these prairie chickens, but it was a way of understanding that the ability to endure on the land in many ways is not limited to the buffalo, but also the prairie. Chicken is invaluable of learning how to be in that aspect. So that Paleolithic men and women learned from the animals, not by looking at them, but by moving like them. And that Paleolithic art is a kinesthetic initiation. And when you see the reproductions in photographs, it doesn't do the trick, then their photographs, then it's a photography seeing. Whereas the initiation in the caves was always something. Sometimes the Paleolithic art was a mile or more underground. There are no electric lights at all, no flashlights at all fire torches, but a difficulty because of going so far underground with torches, of keeping those torches going and not burning up the oxygen, not setting up the place, not smoking up the place, all kinds of problems associated with it. And if you've been in a cave where there's no source of natural light, if all the light is put out and you're in 100% total darkness, what immediately weighs on you is the immobility of the visual stimulus. And if you're dependent on that, a sense of claustrophobia will come immediately on a level of panic. If you are kinesthetically oriented, what comes is vast spaciousness. Exactly the opposite. But just as the Paleolithic sense of seeing was a body movement, a morphed gesturing that led to dance so that the eye was the index to the body, the hand was the index to the mind. The Paleolithic index to the mind was not seeing at all. But it was what the hands can do. And that this was in fact a taproot so ancient that it transcends the species. In fact, it transcends the whole hominid family of species and goes back to even more primordial. Beings. And this is where Louis Leakey came in. Louis Leakey was the first person. For a very long time who learned to make stone tools. He could make his own cutters. And he once in a demonstration, showed a crowd of Africans who couldn't do it, and a crowd of anthropologists who couldn't do it. And he took stones from the ground and a dead antelope, and he made his stone tools. He skinned and gutted and filleted the antelope in ten minutes. He learned to do it because he educated his hands. And when he did so, he was alert enough to be able to transpose and understand that his mind had expanded, not because of ideas that were visually based, but that his mind had expanded because of capacity to use tools which were made. And he always qualified. The statement man is not just a tool maker. Man is a tool maker in a set Repeatable way that he learned to make his tools in a ritual comportment, which was indexed by the feel of the activity and the feel of the material. So that he didn't look to see whether the tool was right. He knew that the tool was right if the exercise of making it had been gone through exactly, so that the Paleolithic sense of correctness was to make sure that you did it right, that the ritual comportment was right, and it had no bearing on whether you thought about it in a correct way or not was irrelevant. But it turns out that the body's wisdom in this way is directly resonant with the spirit. That the spiritual quality of someone, their conscious person, is very resonant with a body that is savvy in this way in the world. So that for Paleolithic men and women, it was very simple for them to understand that the circle of the body in this world and the circle of the spirit in the other world were consonant. And what broke that consonance was the development of the mind in unexpected ways. New ideas were the most jeopardizing experience in their lives Because new ideas changed radically, the way in which the ritual activity could be performed, and the tendency was to do variants of it. And the variants were always radicalizing and taking you out of the confidence and certainty of the body, which meant taking you out of the confidence and certainty of the spirit, so that the mind was always a jeopardizing realm that split this world and the next world from their consonants, and produced a dissonance so that the mind made dissonance happen. So Lucien Lévy-bruhl, in 1908, when he wrote his beautiful book about participation, mystique. It's in a book called How Natives Think that they don't think with their minds. They think with their doingness, and so their existential doingness was the thought, and not at all the mind. There was a famous book written about, I guess now, 50 years ago, in the not quite 50, 40 some years ago by Heinz Heinemann Jahn about African intelligence. And he said, you know, when an African wants to understand something, he uses the body's rhythmic ratio wing to understand and doesn't use the mind, doesn't use the European technique of having an idea and thinking it out, but moves with the body rhythmically in huge array of variations and understands that way. And so that African rhythms and not philosophical ideas, as well as the intelligence of the African is. And Louis Leakey had that he was more at home with African rhythmic comportment than he was with European ideation. But his rhythmic comportment went even deeper than Paleolithic. Society. He tuned himself progressively to penetrate. We talked this morning about staying with something calm, penetration, so that not only do you penetrate an area, but an area penetrates you at the same time. Remember the haiku by Basho in the late afternoon? Even the crickets song penetrates the rocks. So Leakey and his wife Mary, the two hunting falcons that had come together on Paleolithic level, learned together to come penetrate with a landscape which they chose. A delimited landscape in northern Tanzania and western Kenya at Olduvai Gorge in the Naraggara crater. And they tuned themselves progressively to that landscape and allowed that landscape to take them from the already archaic level of Paleolithic intelligence, which they had, and slowly let it sink into the landscapes, that they could go back not just tens of thousands of years, but they could go back millions of years. This is a tremendous achievement. No human beings have ever done that before them. They were the first. They were the Adam and Eve of allowing themselves to be absorbed by the landscape, deep enough to let geologic strata occur to them as the pages of the book which they could read. But they didn't read the book with their mind. They read the book with their bodies, with the rhythmic motion of their bodies, and they weren't out in the field together because it wasn't that kind of shared hunting. Lewis stayed in camp and she went out into the landscape searching. She went out hunting the game because she was better at it than him, even though he was the white African. She was the Palaeolithic hunter because it isn't about gender at all. It's about capacity to do something. And she could hunt better than him for what they were looking for. And that is rocks that were changed in such a way that they showed the hand of man, or the hand of hominids, or the hand of pre hominids. And at the same time, looking for a correlation of those kinds of rocks with the remains of fossilized skeletal beings similar to us. In 1959, when she finally found what was called at the time, Zinjanthropus. She rushed into camp. Louis was sick, he was asleep, and she kept saying over and over again I found him, I found him. I found him and she woke him up. And he was. He was ecstatic beyond belief. What she had found were just a few little pebble like qualities of bone, which were recognizable to her as teeth and bits of bone that she recognized as jaw bone matrix, and at the same time, bits of rock that had been modified. And they went back and over some long period of many, many months, they dug out all these little fragments and chips and scraps, and they put together a skull of a being millions of years old, which was an ancestor of ours. And that that Skull fragmentation happened in the matrix of a bunch of stone tools, which Louis Leakey himself could make. And so they knew they had him. They had a fossil ancestor of ours on geologic scale of antiquity, surrounded by tools he had made. That was the first time that anyone had ever brought that not only to a focus, not just a focus as an idea, but brought it to a focus in their way that they could live that. And this was what was important about Mary and Louis Leakey. That their lives, their very lives, showed the intelligence of that conscious space, time realization in the way in which they did things. So that the two sons that they had, Philip and Jonathan, who were more discursive. One of them ended up running safaris and the other was dealing with something else. But the son who didn't pay attention consciously, who didn't pay attention to what they were doing. Ideation was the one that got the resonance, Richard, because he didn't learn it through his mind. He refused. He didn't want to hear about this stuff, but his body got it so that when he began to mature, he began to exemplify an inherited capacity to meld with a landscape and to know where that landscape was focusing for what you were wanting to do. And because he was. Grown up with looking for fossils, he one time was flying in a plane over a lake is called Lake Rudolf. Then it's called Lake Turkana. Now. And he saw a spit of sand land going out into it. And on the point of. That is where he finally put a world famous camp called Koobi Fora. He saw from the plane that that's where millions of years ago, ancient man. Would have been. And it turned out that that was right. And out of that experience came this wonderful monograph published in 1993. Later on, the great skeleton, not only the skull, but also the skeleton of a hunter from about 1.9 million years ago. And in chapter three, just listen to the language used. You can understand that science is not just an ideational triumph of the mind. It is a cosmic refinement of the being, and that the deepest consonance is of the spirit and the body together. When someone is conscious, they can dance to the real. The chapter is entitled Micro Stratigraphy and Paleoenvironments. And then it says the geologic setting of the Nariokotome hominid site provides important clues to the environment in which this being and the being of course, doesn't have a name. It just has a scientific designation. K n m w t 15,000. The environment in which KNM WT 15,000 lived, and evaluation of the micro stratigraphy of the site itself. That means the stratigraphy refined scientifically so that it isn't just in geologic ages, but that that has over the decades become refined so that one can read almost not just book by book and page by page, but line by line, and even in some cases, word by word, that one can now read the microscopic foliation of geological strata. So that one can understand where you are here in terms of the enormity of a continental landscape, supplemented with data from related exposures throughout the Turkana Basin allows a reconstruction of the ancient geography of the burial site. But no one in the world had it more than Mary Leakey. She became a cigar smoking shaman of the First Order. She used to go out with her pack of Dalmatians, and several years after Louis died, he died in late 72. She was out immersed in the landscape, and she came across one of the greatest discoveries of all time. She recognized that what had begun to be exposed were footprints in what was some of the oldest geological strata in that part of Africa that was available. And it turned out to be footprints of a of family of hominids who lived 3.6 million years ago, who were walking across the landscape when some volcanic activity was going on, and the volcanic ash covered their footprints about 23m of shared footprints. And she found them and she found the footprints. And it was immediately apparent to her, not just from the ideas that she knew, but she felt it right away that this was a family, that the little one was holding the mother's hand, and that the three of them were walking upright. 3.6 million years ago, it was a family unit that were fleeing dire volcanic death, threatening together. It meant that they had a family unit, that there was such a thing as a society long before hominids even appeared on the scene, so that the values of our society are not just rooted in good ideas, they're rooted in the geology of the goddamn planet, and that our maturity is to go back and reclaim that vista instead of the rust surface that education has been giving us for the last several thousand years. We don't need to have surface paint. We need to have the reality of blossoming out of the universe in which we occur. There's a famous Ode to Solomon, written by a member of the Jewish community in Alexandria about 40 A.D. 40 CE. The 13th ode of Solomon. And it reads in paraphrase. When you see yourself and you have wiped the paint from your face so that the features you knew no longer are there, then that recognition is a being ready to dance before the Lord. We're going to stop here and we'll come back. I just wanted to show you what happens. Eventually you get things like the Cambridge Encyclopedia of Human Evolution or Human Evolution, a core textbook out of books that at one time talked about man in these 1870 terms. It's a difficult. Realization that these are not powerful ideas. To consider them powerful ideas is to play a sucker's game with a superficial pseudo box canyon. An education that deals with it in that way is not worthy of it at all, and leads to a break of incommensurability with the very life in which one is living. It leads literally to endemic schizophrenia. The only education that really works in this way is the one that we are trying to reintroduce. And next week we'll take a look at the way in which Richard Feynman almost similar time scale to the Leakeys found a way to express the new physics in a completely personal way that has since been adopted as the vocabulary for the expression of how arrays of vital cosmic activity really take place and include us. The Dao is a zero in nature, but when it occurs in consciousness occurs as infinities, and one of the difficulties in using a differential form of mathematics is that the common denominator of everything is infinities, and one of the problems was how do you have any kind of quantization, which is necessary for science in the face of the fact that infinities keep occurring almost all the time, and the way in which they were finally dealt with is very much the way in which the zeros of Tao, or the emptiness, the shunyata of wisdom, was handled integrally. And it turns out that you can use zeros and infinity very easily to any specificity that one is likely to ever require, provided that the sets and groups maintain symmetries which are scaled in such a way that they can open to expansions without collapsing into premature synthesis and without leading into dualities of mutually exclusive doublings. The myth of Narcissus says, do not gauge yourself by falling in love with your own image. Your mirror reflection is a dichotomy to you. You fall in love with the mirror image of you, and you end up being like Cinderella's mother. I guess it's Snow White's mother. Thanks.