Science 11

This is science 11, and that means that we're coming to a what normally would be a closure, but actually for us is a transform. The title is from temples to observatories, and it's a major realization and recognition to see the phase form way in which temples became observatories. The first temples go back to Paleolithic cave art some 40,000 years ago. But the first observatories only go back about 10% of that time, about 4000 BC. You get the first beginnings of it, but it really isn't until about 4500 years ago that you find the first structures that could really be called the seeds of observatories. And it isn't until about 2000 BC, about 4000 years ago, that you get the first idea, the first structure, the first architecture of a really comprehensive observatory, integrating and bringing together a lot of different celestial phenomena in a detailed filigree, not only integrated together but differentially Presumed out so that those who are running it would have some scientific idea of the cosmos. The most powerful observatory was at the end of the megalithic period, and it was in southern England, and it was in a complex generally known as Avebury. Avebury was about 600 years later than Stonehenge. Stonehenge goes back to about 2600 BC. When we look at those kinds of megalithic observatories, we realized that the very early ones are similar to the pyramid structures or the temple structures in Egypt like Karnak or Deir El-bahri, across the Nile River from it, and Stonehenge and Karnak are all aligned to solstice sunrise, generally like at Karnak. It's the winter solstice sunrise, or at Stonehenge. It's the midsummer solstice sunrise, but at Avebury you find a complete integration so that the motions of the sun and the moon and the stars are brought together in a patterning and the observatory error for all of the motions of these complex phenomenons are 1 in 1000, or a 10th of 1%, which is as good as you can do without really highly calibrated instruments. The calibration of megalithic structures was worked out about 30 years ago, and the basic unit was called the megalithic yard, about 2.72ft and 1/40 of that, about 0.816in, was the megalithic inch, and the megalithic yard and the megalithic inch were fixed so that the construction of observational scientific installations at that time, 4000 years ago, were all based on this fixed measurement, which was then developed in set multiples, generally with the megalithic engine. The megalithic yard. The multiples were one, and then it went to two, and then two and a half, then three, three and a half. Four. And it's apparent from the construction, if one takes it, say to Avebury, that the development of the whole Pythagorean understanding of resonance and harmony was established. The Pythagorean triangle, the 345 right triangle was used with comprehension, and also for other Pythagorean right triangles all the way up to the nine, 40 and 41. If you have a triangle that has a 41 Hypotenuse and a 40 side. The vertical only need be a nine to make the Pythagorean right triangle work, and so you can go from a three, four, five all the way, keeping proportions through five modulations to a nine, 40, 41, and all five orders were used in megalithic observatories and structures, Avebury being the most sophisticated in southern England, not far from Stonehenge. What's difficult to appreciate is how long it took to go from a temple space that was sheltered within to an observatory space that was open without it is a major difference. It's the difference between having had 35,000 years of a psychoanalytic psychology, and then shifting from that to an open air dance theater. Psychology is a monumental turning about. It's an about face that happens essentially in the mind. The Greek word for that turning about within the mind. Metanoia meant that the direction of attention was reversed and turned into a 180 degree reversal plus a 90 degree reversal on top of that. So literally, you have the experience in a metanoia of turning something inside out. And as you turn it inside out, you reverse its order. And of course, if you look at the pupil of the human eye looking at an image, the eye sees that image upside down and it's righted in the brain, but also the image is seen outside and it's seen righted, reconstructed in the mind's eye. So that literally vision in the act of perception is structurally already a metanoia, always a metanoia. So that the ancient Pythagorean Plato understanding of metanoia is not an exception to nature, but is rather the perceptual rule of nature. When it gets sophisticated enough to have an eye and a brain to see images, so that the recognition that a wisdom procedure, like a mental transform is not an exception to the rule, but is the basic way in which reality happens in the first place. But for the mind to be able to be consonant in its working with perception and its working requires an interface beyond that of alignment. It requires an interface that includes alignments that undergo a transform and then reconstitute themselves. We would say as a gestalt, but it's better to use the term reconstitute themselves as a differentiated array of form, which is an array, rather than just simply alignment of existentials. Let me put it another way, because this is a very powerful and 4000 years ago, when it became operationally apparent, science became an indelible part of the way in which our species continued its maturation. Before that, the maturation of man was largely in terms of an internal realization. After that, there was a watershed threshold, and that realization was not enough. An internal realization was not enough that there was at least as much extended possibility of wisdom beyond a fully integrated realization in the mind as there was before it. So that the mind, instead of becoming, when it was realized, the end of the natural ecology of maturity, it became a middle point. It became a median. Beyond which, beyond its own maturity, was a further maturity of which it was now possible, but not as the choreographer of integration, but as the pilot of exploration, so that the human mind had to undergo a radical adjustment. It was no longer sufficient to have a mythological imagery that was symbolically integrated in the mind, and that that was the way in which the universe worked. It became necessary to see that there was a whole other process of discovering the differential constellations of motion and of Gestalts and how they played through the threshold of the mind's cosmology. The mind's universe. As long as the mind was doing the integrating and integrating on the basis of images, on the basis of experience, thought, condensed feeling, which was a translation of sensation, and that the sensate world of existence through the process of feeling toned, languaged imagery was integrated in the mind by symbols, and that was how the universe was. And one realized that that entire ecology was not thrown away. It wasn't junked. It wasn't obviated. But it was put into a perspective where it was only half the story. It was only half the case. And that the other half of the case 4000 years ago was apparently an exploration going out into the unknown and not looking for further images, but looking for the constellations of transformed symbol imagery. And so what you had was an emphasis. All of a sudden, about 2000 BC, no longer on how the movement of the sun and the moon especially, and maybe a few of the stars like Venus or Mars or occasionally Jupiter, All usually planets are some of the bright stars like Sirius or Vega or Capella. It was no longer the integral correspondence of those celestial bodies coming to a realization of a symbolic order in our mind, but rather the mind had to learn to turn itself inside out all over again, and not only inside out, but to make that 90 degree transform. To see that, you must turn it on its head so that it stands again as it really, really is. Because what the mind has been seeing is always a transposition. And a turning of the world inside out, bringing it from out there in here. Whereas the mind can also go out and that images can not only come from within, but that images also can actually come in such a way that the without is a consciously dimensioned time space, so that you have two different kinds of images. You have an image which comes from the correlation of existence to symbol. You have an imagery which is mythological, but that there is another kind of imagery which has The opposite quality. It has a different spin on it, as it were. It is a correlation, not of an existential object to a symbol, but of a relational, proportioned, rational, ratioed rational proportional gestalt to the symbol, so that the symbol now is calibrated not only in terms of referent, but as calibrated as well in terms of resonance. And whereas the symbols that were calibrated in terms of referent needed to be geometrically aligned to be trued, you want those lines to be direct and straight, you want that geometry of thought to index the entire Ecology of the way in which realization and integration and nature works. But 4000 years ago, it was apparent that that's only one hand out of a pair of hands, and that it's with the two processes together paired together that you begin to get not a universe, but a cosmos as well. And that realization is only half the story. The other half of the story is remembrance. Memory. But it was so new, not only at the time, but for the next couple of thousand years. The differential conscious memory, not the imagination, but the memory, was used as if it were a surrogate imagination. And so memory was memorizing the order of images. And you find that classic art of memory in a Roman like Cicero. It's in a letter to a student of his named Herennium and the the treatise to Herennium to Herennius odd in Latin means two. So it's odd. Herennium. And that little treatise is the classic art of memory for the Romans, who were especially good at carrying bad habits over without transforms. The wonderful teacher of Cicero, Posidonius, was unable to get across to a majority of his Roman students The subtlety of the Pythagorean transforms, which the Greek mind by that time had more or less understood, but had understood in such a way that it had considered it an esoteric adjunct to man, and was generally only taught in a mystery situation that the normal Greek schooling was Aristotelian, which fit in with the Roman very nicely. And that's why, thousand years later, you had people very comfortable with Roman theology using Aristotelian forms of science, and all of that stayed in place unchallenged for many, many centuries. And why all of that was seen to be not only limited, but bogus in something called the Renaissance. Because alignment of the mind by geometric in a referential way, has no bearing whatsoever on the way in which resonance gestalts an unexplored and yet explorable boundless harmonic which emerges in constellation and does not make itself amenable to alignment, in particular, so that the difference in 4000 years ago was that instead of looking at the way in which this sun or this moon in certain alignments affected the pattern of life in terms of the mind's symbolic universe. There was a transformation where the universe was a limiting initial case of a burgeoning cosmos which went beyond the universe, and therefore there was such a thing as a as a super mind, or better, to use the term, because it connotates an imagery which is rather odd for us, a supra mind that there is such a thing as a mind beyond the mind, but that the mind beyond the mind had for its sense instead of the geometry of alignment. It had the harmonics of resonance, and it was interested in constellations rather than existentials, and shifted its emphasis from logic to aesthetics. That appreciation was more the guide for accuracy than logic. And so you had at that time a very peculiar development. And one of the one of the great examples of it at Avebury is that in order to appreciate the cosmos and its constellations in this enormous, unexplored resonance leading to a harmonic, that one had to expose oneself to a transcendental immersion, a kind of a participation in the mystery of nature only instead of in the mystery of nature, in the mystery of not the nature of the earth, but in the mystery of the differentiation of heaven. And so it became necessary that science directed itself outward to heaven rather than inward on the basis of earth. And that the old temple idea that it was a sacred space sequestered from the world, but it was sacred because it was a distillation of the world. It was selected in terms of being rare in the world, like a cave, like a Paleolithic cave, or the interior of a pyramid, the pyramid being The ultimate simplicity of the geometry of form out of nature to have a sacred within. And it was there that you put the mythological language in its integral, so that it led to one place of realization, the place, of course, being the the place of the body within the geometric space of the interior of the pyramid. The Greek word for it, the sarcophagus, which meant body eater, which meant not that the body in its mummification being preserved, but the understanding on a level of transform was that the sarcophagus, the body eater, meant that there was no mummy when it was successful that the tomb contained a sarcophagus, which, if the transformation was right, the tomb was empty. The sarcophagus was empty. There was no body. That instead of there being a body which was an integral realization of nature, there was no body, which was the sign that the threshold of transform had happened, and that the person was liberated, was released from the body to join the celestial constellations. To go not to a rebirth in the body, but to go outside the circle of rebirth into the fruitful fields of heaven. Now this was the threshold at which science became part of human civilization. Before that, you had a rare individuals. You had some probably very rare events, but after that it was not an integral part of civilization, but it added a furthering differential expansion of civilization. And what it differentially expanded was the spiritual person as an artist. So that the arts and sciences were always together as thresholds, major thresholds of resonance. And that's why you find When you find the idea of a medieval university, you find everything brought into an integral plan of logical theology. But when you find a Renaissance form of the university, the arts and the sciences are the blossoming and flowering of all of that activity brought through the integration into the differential realm of possibilities. So that you have two distinct human types. You have a human type like, say, a Saint John of the cross or a Teresa of Avila, who are master integrators of realization in the mind's universe. And then you have individuals like Cortez or Don Quixote who are masterful at adventuring in an increasingly large world. One is the mastery of the old world nature, Earth indexed by the mind. The other is the beginning of the exploration of an unbounded, heavenly quality that the earth is only a small part of it, and that the mind is not the arbiter as an index for it, but is the Mobile Explorer of New Worlds. And probably the first really comprehensive philosophic statement of it was the difference between the old way of the Byzantine integration on mythological terms and a limited geometric correspondence of celestial bodies with human types, brought over by one of the last Renaissance scholars who came to Italy, Gemistus Pletho came in the 1439 council at Florence, and brought with him the cream of the Byzantine understanding, from the Arabic, from the Greco Roman all the way back, that it's the mythological tapestry of the gods brought into the geometric correlation of astrology into one's life centered on the body, and that if you make all the correlations, all the reference fit, all the alignments centered, then at that center one would have soul, and it's the salvation of that that's only guaranteed by those who are able to handle the entire grand plan of how that works. Being the church, largely the empire of the mind brought to a focus on the body. All of this in contrast to someone like Marsilio Ficino, who understood deeper than the Byzantine scholars who brought that kind of old world thinking and realizing that what was being delivered here was radically different from that. And in his life, Ficino always paid beautiful attention to astrological correlations so as not to let anyone get completely alienated by the new thought coming in by the radical differentness of what was being developed and taught. But he always paired astrology with music so that music would give an undercurrent of resonance and harmony that would allow for someone who could not only see the images in their mind, but who could hear the music with new ears. And you find that a Renaissance music. After Ficino begins to look at the way in which a transformation of mythological imagery beyond the mind's symbolic realization into a development of a differential cosmos of possibility, and, of course, one of the one of the musical vehicles that was developed. One of the musical forms that was developed at the time in the Renaissance was the motet, and the motet was developed very quickly. There was a musical composer, a genius named Palestrina, and one of his ways of taking the motet out of the integral mythological, image based outlook into the resonant harmonic of constellations and Gestalts of open transform, was to write a series of 21 motets that linked together that express the the book, the Old Testament book, the Song of Solomon. And so Palestrina's motet set of the motets of the Song of Solomon was a way of showing the Solomonic wisdom, the Solomonic wisdom of the differential Installations of proportion that open out into the cosmos. And it comes about the time that there was a beginning sophistication to mathematics, so that one could understand how to navigate in terms of the celestial heavens and their constellations on the surface of a world that was larger than a flat empire could ever dream of spreading. That was an empire that encircled the entire globe of the earth. And so there was at the same time as Palestrina's great motet cycle, the Song of Solomon, put into 21 motets as a set. You had the development by an Elizabethan mathematician named John Dee of how to navigate ships on the entirety of the global ocean, and in 1571 wrote a magnificent scientific monograph of how you use the stars in their constellations to navigate on a globe, so that you would know where you are anywhere on the planet for the first time. And of course, that kind of differential cosmos led. A friend of John Dee's a composer. His name was Thomas Tallis. And when Elizabeth was Coronated queen. Tallis wrote a special motet for her coronation, which was at the time the Ultimate cosmic music. It was a motet in 40 parts, a septum. All this is so detailed mathematically and musically that the human ear cannot hear a 40 part motet, and it takes a long acquaintance, through analytical understanding of proportion and the differential constellation of notes and motifs and musical structures, so that you become differentiated enough cosmic enough, to be able to hear for the first time, a 40 part motet. On the first people to be able to hear 40 part motets produce people like Shakespeare. Because it was a consciousness that one goes beyond realization, and one goes beyond using memory as a surrogate of placement. And one uses memory in its original sense that a memory is a way of extending consciousness historically so that you learn before it happens, not in a predictive way, but in realizing what the fertile fields of possibility are, and to begin exploring many ways at once. One of the early protagonists of a man of Many Minds was Odysseus. Whereas one of the classic expressions of a man who has a singleness of mind was Achilles. Achilles in the Iliad leads to an ultimate tragedy, whereas Odysseus in the Odyssey leads to not just a homecoming, but of a reconstitution of a new kind of a kingdom. All of this has a great deal of influence for us, because we live at a time where science has become cosmic again, but it is so difficult to break out of the medieval regressions that have clung like old cement, that every social relation has this glue, every mental habit is gunked up. All of the psychology. All of the theology, all of the education processes are completely immersed in old petrified tree sap. And it would look beautiful were it just to be admired as an amber jungle. But it's us and everyone we know. Breaking out of that is not the issue, because breaking out of it would leave one in a nihilistic Samuel Beckett nowhere. The importance is transforming that so that it's pulled inside out and turned 90 degrees, so that it has a chance to do its stuff of being a complement to its equal. That emerges more and more and as the mind learns to give itself over to an exploring consciousness. Consciousness recuts the structure of the mind so that the mythology is no longer just a single mythology which you believe in, but becomes something like a comparative mythology where you understand that there are many different ways, many different beliefs, many different people. It doesn't obviate any belief, but it shows you it's not on the level of just toleration, but it shows you the variety of the ways in which an integral order can achieve realization. One becomes, as they say, a cosmopolitan. You become not a citizen of the kingdom where you grew up, and you will defend not only with your death, but their death. But it leads to appreciation of the variety of life for all. It's an opening of ways of life, and science and art are all about that. They're about life. Because as the differential consciousness has its burgeoning, the so-called past loses its amber concrete and becomes recut in such ways that it becomes like a jewel. And the recutting of it is possible because the entire integral ecology is based not on existentials that don't change, but is based really on nature, which is mysterious and always changes so that nature takes change because she knows this is her essential quality in the first place. She not only is able to find stability in the existentials and hold those in logical referent with mentals, but she is able to change those existentials and change those mentals, and that the alignments, instead of being just the geometry of straight lines, sometimes become the are the geometry of curved lines and only curved lines, but whole curved spaces and not only just curved spaces, but curved space and time. And that you find a cosmological cosmological scientist, a cosmologist like Einstein. Developing a mathematics of curved time and space. And when it first came out, not just the special theory in 1905, the general theory. Later on, there were many professors of physics at places like Cambridge and England who wrote beautiful monographs on how relativity just cannot possibly be, because logically the mind is always seeing absolute time and space. I'll bring next week a little monograph from Cambridge in 1921, Professor Alfred Robb. The absolute relations of time and space. And we can prove it because that's how our minds work. That's how this civilization is set up. That's how this world works. As long as one is limited to those kinds of correlations of mind and world and alignments, it all seems to be true. It is exactly that that realization dissolves, because it's only a special case of temporary alignment, and has nothing to do with truth. Let's take a break and we'll come back. One of the curious qualities of fudging transformation comes from accepting paradox in terms of a disjunctive polarity. And the mind seems unable to, on its own, dissuade itself of this bad habit. So that an education like this pays a lot of attention to the fact that. The way in which you hear and expect to hear language, which makes sense now and links together now in such a way that it goes somewhere that you come then to see where it went. If that expectation is disappointed, you don't come back. So I have to do that to some extent. But. That language form cannot tell when it's lying. Because you can make up. A so-called rational destination, and tailor a story so that it moves from dot to dot and gets there. Any good ideology, any good doctrine, any good theology does this. And there are many. Part of the difficulty is to allow for language to go into a free fall. And that free fall is like a dissolve, which if you keep your attention and you allow that language free fall to occur out of the seeming chaos of that will come a new calibration not based on the old storyline, but allowing the articulate, unknown spacing of poetry. One of the great composers of the 20th century, the American Alan Hovhaness. Characteristically, many times in his compositions would put in a seeming chaos of instruments. The orchestra would be playing the piece, and where there would be a normal kind of a coda, or some kind of musical form that would bring everything to the expected closure he would allow for all the instruments that were playing the piece to just play freely, so that there was a cacophony. There was like a nightmare hurricane of just confused sound. And then out of that would be a tapering down to a single instrument that would pick up a new expressive cadence, not based on the old time signature, but now portioned out so that you could hear the resonance in terms of an open expectation. The great physicist Niels Bohr, when he realized the devastating possibilities of atomic energy being put into bombs in a population of people who didn't have the consciousness of the possibilities of a cosmos that has nuclear energy, of spent a lot of his later years writing about the necessity of having an open world. Not an open world in the sense of one international empire, but an open world in the sense that it was a world without prescribed boundaries, without expectation of any kind of political forms, not of just no kinds of political forms in particular, but no political forms whatsoever. That there is such a thing as our humanity coming into a maturity where we don't need politics. Even in one of the world's great science fiction writers, Nancy Kress, whose book one of whose book Beggars in Spain, one of her books we're using as one of our texts here at the end of science. And she puts little quotations in the beginnings of her books, and she has little quotations that sometimes amount to deep wisdom. In Beggars in Spain, where it appeared as a short novel of about 80 pages in a science fiction magazine in 1991. And then she saw that she had a hold of an incredible theme, the genetic modification of a few human beings. For instance, there were 20 people, 20 babies, who were genetically modified so that they would not need to sleep, so that they became a group called the sleepless, and that she explored this whole realization that if you genetically modify a physiological Logical system so it does not need to have sleep. It doesn't have the shutdown cycle that that also would have an effect. It would have a larger resonance in that one of the concomitants of not needing sleep is that you would also not need to die, and that it was discovered about two thirds of the way through the novel. Short novel, the novelette that when it was discovered that they also don't die, that they are immortal. It became too much for people, and they started to go against them, that these were like, you know, dangerous mutants. Why? Because they're going to be superior. They're going to be superior to us in every way. Not only do they not sleep, and therefore, when they're young, they can learn 24 hours a day all the time. They learn twice or three times as fast, just on an average. But when you begin to prorate that into effects, it turns out that they become ten, 20, 30 times smarter than most people. And to add to that, that they don't die. And so it concerns itself with the slow realization among the burgeoning population. By the time there are a couple thousand sleepless, they realize they have to excerpt themselves from an increasingly dangerous world and build up their own place called sanctuary. That's the police siren going after the sanctuary. 150 mile area in the Allegheny Mountains of southern New York State, where they take themselves. But as they go there themselves, they realize during the course of beggars in Spain that when they breed, when they further genetically modify that the next generation from them, they call them the super sleepless and the super sleepless do not like their parents because they consider their parents not only old fashioned in the normal human way, but they consider them obsolete because they are not super sleepless, they're just sleepless. And that these arrogant so-and-sos who considered themselves superior to people, to ordinary human beings, the super sleepless, say we are so smart that we can re-educate normal people so we don't. We are going to take power away from our parents, and so they build a new kind of form of sanctuary off the coast of Mexico on an island, but it's not an island that was ever there in nature. They use nanotechnology engineering, and they build the island up out of the Earth's crust so that they have literally remade their own place. It is a super sleepless, man made island. And then, of course, as the series goes on, she got more and more into the theme. She wrote a second one called Beggars and Choosers and the third, Beggars Ride the Beggars Trilogy. And finally sanctuary becomes something that's put in orbit, something also that's put on the moon so that they are literally excerpted more and more from the natural limitations. And yet, through all that, at the beginning in Beggars in Spain, each of the four books has a quotation from Abraham Lincoln, and you get the very first quotation with energy and sleepless vigilance. Go forward and give us victories. Lincoln wrote that to General Hooker in 1863. But she took it to be a quotation taken to its genetic engineering, its DNA modification gene, mod people. The second quotation from Lincoln in Beggars in Spain, and the whole idea of beggars was the issue of what is our social responsibility? And one of the characters says, well, if you ran across a beggar in Spain, wouldn't you give them a dollar? If you ran across a hundred beggars in Spain, would you give each one a dollar? What if you ran across a million beggars in Spain? And so the whole idea is that you have to temper your relational humanity to what you can sustain. And of course, the sleepless more and more realize that there are so pressed by the unusual situations that they don't really feel like giving to any of the beggars, that other people. Beggars really have a threatening quality to them. And yet all the way at the end of the third of the trilogy, after the denouement of all these beautiful quotations, the second Lincoln quotation, a nation may be said to consist of its territories, its people and its laws. The territory is the only part which is of certain durability. By the end of the third novel. After 125 years of the complications that ensue out of this. The final little epilogue of the third novel of the trilogy, dated November 21st, 30, 21, 28, with a quotation from Homer's Iliad all strangers and beggars are from Zeus, and a gift, though small, is precious. Jackson waited beside the ugly bulk of a destroyed building, his equipment well back in the shadows. The usual procedure. The building had been foam cast, which meant it couldn't burn, but everything else had been done to it. Smashing. Ramming. Looting. Maybe even shelling old destruction starting to be covered by the mutated form of kudzu kudzu vine covering the rest of Saint Louis. Possibly the ugliest place Jackson had ever been in the last seven years. He'd seen a lot of ugly places. Theresia and Dirk had finished their readying. What they're readying is, is they're mutants a hundred plus years down the line, and they have the ability to assume a persona that anything that they imagine and if they set themselves their gene modified nanotechnology fortified bodies will assume that character and make it real. Any quality that they want to imagine. And as they in this case, they're imagining that they're beggar children that have come to this building to ask for warm clothes. And so these super mutants are playing at a game, which is necessary because they're really cold and they really have become beggars. The super have become beggars. Therese and Dirk had finished their readying and started their walk forward. Dirk, eight years old now and new to readying, clung tightly to his mother's hand. Lizzie, of course, had not needed to be ready. She had never contracted the inhibition virus, but she was guiding Dirk, who over the past year had made tremendous progress in sustaining another persona. He called this one Tree boy. Dirk had learned readying with the adaptability of the young, apparently still present under the panicky inhibition artificially hardwired into his amygdala. Tree boy created by imagination. But Neurochemically real was braver and freer than Dirk was, and Jackson Jackson had the brain scans to prove it. Teresa led the way, dressed in the most ragged of all three in pathetic rags. Teresa, whose fair hair grown out from baldness, was the most matted of the three. Teresa with the emptiest hands, for whom this was harder than for any one else, and thought she was finally happy. The three beggars approached the semi whole building where the infected tribe camped. All the livers, of course, had fled inside. Teresa, Lizzie and Dirk squatted in front of the closed door and began to beg. Warm clothing please. Oh, please give us some warm clothing if you can spare it. The nights are so cold they would stay there. Jackson knew for days, if necessary. This time he didn't think they would be. The beggars had a child with them. All the inhibited in and out of the enclaves were more likely to open to women and children. The order of the Spiritual brain. Jackson hated the name, but it had been Therese's choice had 3000 members across the country, not counting affiliated doctors and corporate sponsors, but only 28% were male. Still, the number was growing. The order was growing almost as fast as the inhibition was spreading. Still, the major pharmaceutical companies. Kelvin Kastner I think she means Kevin Costner, Lilly Genetech neuro pharm, neuro pharm with a pH. Pharmacology. Neuropharmacology. Silverstone. Martin. Were close to a reverser. They might have been closer still if the inhibition plague had been easier to transmit. When you go into genetic engineering, of course, if you even seen the old fashioned science fiction film Blade Runner based on Philip K Dick's Do Androids Dream of Electric Sheep, that when you modify an organic system neurochemically pharmacologically, that you change its ability to fend off disease as well, and all kinds of very interesting. Even computers get viruses. And so when you become supra human, pharmacologically, you open yourself up to super plagues because they mutate to keep parity with the organic level at which life occurs. It happens to be a universal law. Even in atomic structure. Electrons occupy their orbital energy places in pairs. They can even occupy the same time space if they have different spins. It's a peculiar quality. And Nancy Kress brings it out. She writing in the 1990s, trying to find a way to express that it's not just a brave new world that's a little odd and becomes enormously scary, but it's enormously odd, and it's so peculiar because we adjust to it as if it were expected that, well, I guess we're going to have to face this too. That our ability to morph, our acceptance is so stretched now by the early 21st century that we can readily believe that, if not us, at least our children are going to have to deal with this. And this is probably it. And she looks like such a pleasant, matronly lady. You could hardly imagine that she would have this wild imagination. I remember one time having a conversation with Marion Zimmer Bradley, with her gray hair in a nice bun and her pink hand-knit little sweater, and she looked like everyone's grandmother. And she had written about 40 or 50 of the wildest science fiction novels you could imagine. And you didn't know that until grandma opened her mouth. And you realize that she was maybe 200 IQ points beyond what you were, and she'd already explored all those things that you only knew the beginnings of. But Nancy Kress is a very interesting character, and she's talking about a very famous black woman, science fiction writer, Octavia Butler. She's talking about one of Octavia Butler's books, Parables The Parable of the talents. And she says, it was a wonderful book. It proves exactly the opposite. Despite a previous novel of hers, Earthseed, taking place, and despite people looking at change differently, by the end of the book, the human nature of conflict between mother and daughter, between brother and sister is unchanged. And I would argue that her characters and the way their individual destinies work out prove that human nature doesn't change. And I don't think it does, except over long evolutionary periods, because a lot of it is genetically determined. An individual can change his behavior if he wants to, but a statistically large enough group can't. And then she says, if anything can change human nature, though, it might be genetic engineering. And then she goes on in that way. It's interesting because even a great world class science fiction writer doesn't know the wisdom tradition at all, and doesn't realize that 4000 years ago, men and women were already Radically recalibrating everything. And this is one of the great lacks, is that education has been so remiss because not only can an individual change their behavior, an individual can change who they are in one lifetime. One can be many different people, and not just neurological, pharmacological, enforced by genetic engineering, but actually recut the past. The past is not frozen. Time never petrifies time is always change and it's Sequentiality mathematically can run backwards just as logically as it runs forwards. But it also can be put into a free fall, where time becomes suspended in such a way that all the elements are there, seemingly in a chaos together, seemingly in a cacophony together. And all it takes is a lessening of the instrumentation of the orchestra, so that one allows either for silence to occur, or for a single instrument to take up a new, transformed rhythm, and the entire orchestra will play that piece in a new way, in a new mode. And out of it comes something which 4000 years ago, so impressed men and women that they let go of. Let's speak of Egypt for a second. They let go of the entire ensemble of their civilization, and they said of it, this was an old kingdom which we are no longer a part of. They built pyramids, but they put mummies in those pyramids. We're not going to build pyramids anymore. And you find a change in Egypt about that time. It's an interesting because within 500 years of that, you had something that you never, ever would have seen in Egypt. You had a female pharaoh, Hatshepsut. And Hatshepsut was such an interesting kind of a figure. Physiologically, if you would look at her, there were moments where when the light hit her with her pharonic outfit on and her roundish sort of face and her peculiar eyes would catch the sun in just the right way, she would look like a cat. She would look like a cat woman. And she reversed inside out and turned upside down the entire ecology of the expected relationality. She had a daughter who had a male tutor, and she had a sculpture made of the male tutor holding the daughter in such a way that it was a male Madonna. Before there were Madonna figures codified, held the little child, the daughter of Hatshepsut, in such a way that the entire volume of the knees of his instructive knee, the knee of listening, became a solid volume sculpturally, out of which just the upper torso of the daughter was there. And you could see that in this relationship it was like almost 3500 years before Henry Moore sculpture. And then you find in Henry Moore that same kind of two sharing a common mass which does not bulk, but it allows then for a different kind of penetration so that when you bring them apart. It isn't that there are two anymore, but it's like a tuning fork that the sculpture that develops out of that is keyed to harmonics and resonances and no longer to geometry. Just like Cézanne saw. You don't have to paint Mont Sainte-victoire geometrically. You can use a crystalline lattice eye perception, and you can paint it in such a way that it's, quote, Cubist without being ist. And that you can see in a Cezanne way with such a penetration that you can do it with just pure color and don't need form at all. And Matisse did that, and yet you can find that kind of Matisse constellation of harmonics of color beyond geometry. If you look at the cave paintings in China from Dunhuang, done 1500 years ago. And you find the free fall of the Bodhisattva's with their clothing swirls and the Matisse like Fauve like dabs of primordial colors. Clay said it happens to work easier for people who are not really refined. If you use primary colors, if you use red and yellow and blue with a little green, and if you don't use mixed colors, if you use just the dabs of primary colors in this kind of a way, the untrained eye can get used to seeing the gestalts without forcing upon it the habitual forms. It's an extraordinary thing. One of the great transformations that came 2000 BC was the realization that temples focus internally and make a sacred space that comes to an altar, whereas an observatory is a sacred space that turns that entire process inside out, so that the altar is the array of the heavens themselves, all the stars, and that one learns to see not the altar stone, but literally learns to see the Milky Way. And that that Milky Way. In Homer he calls that Oceanus. The true ocean is not that water that's so wide. The sea's broad back, Homer says, but the great river that encircles the entire world and flows on that Milky Way. There was an Italian sailor who became a great scholar, and he said Homer loved celebrating divinity in the open air and not inside buildings. He liked the Amphitheatrical distances of the landscape become completely conscious, where it doesn't need to integrally focus in a building that then focuses further in an altar, and that all the lines are correlated by doctrine. That man can do that if he wishes and can have his rituals and ceremonies and ideas, and they can all align and can appreciate that, but at the same time can appreciate walking out of that entire ensemble completely and not missing a beat in being sacred that there is such a thing, then, as the art that integrates and brings a temple to its altar. Focus. There is such a thing as an altar turning into a prism that turns the temple inside out, and it becomes like an observatory of the cosmos, completely different. A different kind of architecture. An architecture, then, that leads outward through resonance. And it's this kind of architecture. Somebody once called it frozen music, and that's like an academics understanding. Because if you walk through a building which is prismatic cosmically like that, the speed of walking indexes the resonance occurrence, and you become in tune with the musical scale of the building. And probably the greatest building made in that particular mode is the Marin County Civic Center by Frank Lloyd Wright. And if you look at photos of it, it looks nice, has its entrance, has its interest, has its capacities. But only when you begin to walk through the building at about two miles an hour does the musical composition come alive. And every aspect of it has its articulation, not just visually in terms of the 30 degree angle, which is one of the composing elements in it, and the color scheme, which is the use of tints rather than shades of color, so that everything has a pastoral, a pastel, a kind of a natural, a sense that the building itself is a landscape, is a composition, like a natural landscape that's refined into a park. This is a musical building architecture. That's a park of this composition of a person walking through an architectural building scape. And as you do, you compose yourself and your walking the building. And every time you walk through it, you make a different piece. And everyone who walks through it plays a different composition, and the cosmos is the incredible array of endless buildings that are available as long as people keep walking through it. That's a sophistication beyond what any temple has offered. This is an education that goes about 200 years beyond that kind of level. But it takes a while to let that language form mature, because it has to mature through not only all the integrals, but allow for it to spread its arrays and go through at least several dimensions of seeing objectivity in terms of spectrums of possibility. So that an architecture like that becomes a way in which time ceases to be integral and becomes differential, and architectural time in a differentiated form generates a field which entertains a conscious space time where personal histories can be lived, not just a personal history, which is some individual egotistically limited scenario which you yourself do, but you reveal to yourself the indefinite quality of changes that you are capable of expressing Pressing and returning to and remembering and exploring and developing new all at the same time, so that such a person becomes kaleidoscopic and their personal histories become without bound. Literally, world without end. And a community of people like that has a completely different quality of civilization. Instead of the city being a limitation, that old civitas that the Roman Empire put and said of all the cities that ever will be, Rome is the eternal city, will always be, there will always be Rome. And before that, the city that claimed that 2000 BC was Babylon. And they said, there will always be a Babylon. And of course, you see in the New Testament, Peter, Saint Peter writing from Babylon. And everyone thinks, well, this is like Rome, right? The new Babylon is Rome. It would fit in terms of a mythological, symbolic integral. But actually, historically, it was a section of what later became Cairo. It was a fortress that was called Babylon there on the Nile River. And he was writing from there, and he was writing not about the old Babylon, but about the old Egyptian Empire fortress that the Romans had assumed because he was writing about the Caesar line, because Egypt was the personal possession of the Caesars. And so it has a deeper historical resonance than one could ever imagine, even though the old mythological association would make some sense and in a metaphorical way would have a lot of meaning. And theologians and the Christian religion for 2000 years have developed that kind of associative imagery. Geometric meaning of symbolic perspective, and have taken it as far as it can go, which is to a circle which begins to repeat itself. And because the repetition is rather devastating, it tends to slide back along the arc of the circle in a regression and not repeat itself forward, but repeat itself by progressive falling back. And this, of course, is happening at the current moment. Whereas that entire ensemble, that entire episode Is extraneous because there is a possibility of a cosmos developing. So that you understand how difficult it is to appreciate when a transform becomes scientific to the point of penetration. Like Nancy Kress and most of the science fiction writers point out, it's very difficult to bring vision into a traditional life. It's rare to bring art into a traditional life. It's almost impossible to bring science. We tend to slip into a Frankenstein. What if, Vis a vis anything that is more than the average, because the conviction is that the statistical average community of people cannot change. Even Nancy Kress believes that rights from that. This is not true at all. Our line of life has morphed so radically in the last 4 billion years that you could hardly recognize that you were minerals at one time, exclusively. More next week.