Science 12

This is science 12, which means that we've run our double cycle course all except for the interval next week. And the interval next week will be the Bhagavad Gita. In the 2002 and three series, I will put the Bhagavad Gita as the interval for the history section and move the history interval book to the end of the cycle. The Ratna Guna Prajnaparamita Sutra, more properly, should be a transform at the end of a cycle rather than the Gita. I've used the Gita for years because of having to develop this education in the way in which a karmayogi. Would have had to work in traditional ancient times. I've had to develop it on the run. But the next cycle hopefully will be the last one that I will have to do. And so I want to. Put a closure on it that is a recursive transform rather than keeping it into the karmayoga field. The best karmayogi of the 20th century was Gandhi, and he was asked one time, if you're so interested in. Yoga, why are you always in these political phrase, why don't you go and meditate in a cave? And he said, without a hitch. He said, I carry my cave with me every day. The title of science 12 is A Harmony of Complementarities. But it's really about Einstein. It's about relativity rather than complementarities per se. And our key is our text here by Kip Thorne. Black holes and time warps. The subtitle is Einstein's Outrageous Legacy. The last time that Einstein made any kind of reference in a professional, world class, critical way of quantum physics was 1935, the last 20 years of his life. He wouldn't talk about it. And by the time a nice little book like this one came out, Albert Einstein and the Cosmic World Order in 1935, 35, ten years after Einstein died in 55, it was already famous that Einstein belonged to a past generation. He was a historical figure, only he was no longer a part of the current argumentative living scene of physics. But after another 35 years, it's quite interesting that Einstein is back again. He never really left, and part of the realization is that Einstein's legacy is indeed outrageous. It's unbelievable. And that's part of its difficulty. It is not believable. Einstein flies in the face of what is believable, not because it follows some kind of list of what we can believe in. But because Einstein really pushed into an area where belief cannot go. What operates there is not belief, but possibility of consciousness. And consciousness is quite extraordinarily different. As soon as consciousness becomes a viable dimension to our lives, our being, it modifies and changes the way in which four dimensional space time happens. And it's not so much the reductive uncertainty of Werner Heisenberg that interferes with the exact measurement of place and motion at the same time. That kind of uncertainty is actually a projection from a limited idea, which had haunted the 20th century right to its end, and has no place in the 21st century at all. Part of the difficulty is with language. Language, in order to be believable, must be mythic, because belief is a function of feeling toned experience that can be languaged and interiorized as meaning into certainty, as in ideas, as in notions, as in clarity of thought, and part of the difficulty that Einstein presented at the beginning of the 20th century. Einstein colored outside the lines of believability, specifically because he went into an area of specificity. He asked two very important problems to be interlocked and resolved. One of the great physicists who knew all of these people, he did his the book on Niels Bohr that we've been using. He also did a book on Einstein, Abraham Pais from the Rockefeller University, published by Oxford about 20 years ago. And the title is subtle is the Lord, The science and the Life of Albert Einstein. And on page 1819, Pius says Einstein's work before 1905 resulted in his interest in two central early 20th century problems, and though the subjects of part two of this book, the first problem was molecular reality, how can one prove or disprove that atoms and molecules are real things? The second problem the molecular basis of statistical physics. If atoms and molecules are our real things, how then does one express such macroscopic concepts as pressure, temperature, and entropy in terms of the motion of these submicroscopic particles. And all of this involves the ability of language. And this little book I have here, uh, published in 1972, quantum physics and ordinary language. It's a problem with language. And chapter six of this thin little book. It's all of including the index, 60 pages. You don't need many pages to say what this issue is. Chapter six Philosophy and complementarity. First sentence from the preceding exposition. It follows that not only physics, but natural science as a whole is basically dependent on ordinary language. The complementarity of quantum physics displays the fundamental interdependence of observation and description of natural phenomena, and the very objectivity of natural science relies directly on the differentiation of experiences into external and private phenomena afforded by ordinary language. Ordinary language doesn't ever do that. It structurally is specifically made not to do that. Ordinary language. Mythic language distinguishes very clearly all the time of inner and outer. It has to. It's a fundamental distinction. And a concomitant to that is the distinction between me and you. The individuality that operates as the carrier of experience. The protagonist whose adventures make the story. All of this is essential to mythic language. You cannot have any kind of certainty without the belief in the individuality. And this is a problem. It has been a problem for science, and it was a problem that Einstein, probably more than any figure of the last several hundred years, was successful at obviating. As long as you have a mythic language, you are going to be tied to nature in a referential way, which, in order to be believable, has to have in thought a logical form and must have an experience, a feeling, tone, circle of completeness. And in ritual it must come back to where it began. You have to be able to think A equals A, you have to be able to experience that this a and that A are. Let's use a chemical term or miscible at least. And you have to be able to do something so that you can understand that here we are, we've done all this and we come back and we have this again, that we have made this circle, we have made this circuit, we have made this cycle and the wholeness of that is brought home, as it were, in the Euclidean figure of the circle. We've come full circle so that we know that this is how it is. We have an identity. And that identity can be expanded so that it's not just a equals a, but if A equals b and b equals c, then a equals c. All of this is ordinary language and none of it permits complementarity. None of it permits relativity. The very belief in a world where this is the only viable way of certainty never develops science. Science is never developed out of that. In fact, history is never developed out of that. In fact, art is never developed out of that because. Science, history and art develop out of vision, which is a transform of that natural cycle, that natural ecology. And just as the circle can still be whole, the natural ecology can come back around. Vision shows us, as Heraclitus once said, 2500 years ago, we actually never step in the same stream twice. That change is always a realistic concomitant to whatever action or observation or experience that we have of something in nature. Nature itself is always changing, and that change is not only a part of nature as a content that's put into it, but is a structural basis upon which existentials occur in the first place. Mental correlates to those existentials are objective in the second place, and that experience relating them together referentially, especially through feeling toned qualities of believability, are the third element in that. If you put it into anthropological terms, it sounds like a cliché ritual, myth and symbol always go together in terms of nature, in terms of our comportment to the natural. And this is how we live. This is how we make sense out of the world. This is how we have come a very long ways. But without the transcendence of a magical or a conscious or a visionary dimension. None of this is, to use an old Kantian term, is transcendental at all. When Einstein was a young man, he grew up in Munich. He was born in Ulm, not too far from Munich, and then grew up in Munich and eventually became a citizen of Switzerland in Zurich. And it's interesting to see that the transform from the boyhood of Einstein in Munich to the young manhood of Einstein in Zurich, where he did all his great early work, was never a simple transform from one thing to another. That kind of truncated simplicity is a transposition and not a transformation. In the mythic language, you can have transpositions, but you do not really have transformations. It's a very curious thing, and belief has at its deepest level of confidence that the transpositions all have a common denominator, so that though this appears to be different, it actually is related, and one supposes that. This then means that one would believe and understand relativity on the basis of a common denominator of transposition states, and this is not possible. It is not real. It is never real. So that persons who are learning science, or persons even who are doing history, and especially persons who are doing art, very subtly slide back regressively into a symbol, myth, ritual, comportment, ecology in order to make what they're doing believable to themselves and to others. It's a very pernicious habit. It's wonderful if you're going to live on a tribal level, but if you're going to have a civilization which is not tribal at all, a civilization which is not even a bunch of tribes piece together as a confederation. It's not even a bunch of confederations, of tribes placed together with an idea of a nation, of confederations, of tribes. All of that is just limited to an integral cycle and does not take the differential into its concern. What we've been learning in our education is a sensitivity to both to the way in which both of these modes not only come together, but occur together in a set. And that this set, this group of capacities, this paired double ecology Gives us a chance to come into a civilized realm, one that we're going to have to inhabit now, where it's not just a civilization of a planet, but a civilization of an entire star system. Quite a different thing. The old belief in identity as one of the fundamental assumptions of believability is fool's gold. It's actually a dupe. It's a deception. And one of the strongest ideas developed out of that, out of that deceptive quality of identity, is the notion of duality. In ancient times, it's called the, the Duad. The monad and the Duad. And then the triad. And that somehow all of this fits together as a geometry of ideas, of concepts, of notions that one can go back, interpret, experience, and relate it to the world of things, the exterior world of things, through the believability quotient of our experience, through the internal indexing of all this, by our ideas, and that somehow, if all of that is sewn together, then we have a football. And the analogy is not misplaced, because indeed, what you do have at that point, if you are successful at all of that, what you have is a football. You have an object that can be used in a game, but you do not have life and you most certainly don't have reality. Einstein. When he was a boy in Munich, he was required. He was born in 1879 and grew up in the 1880s in Munich. He was out of a family that was Jewish. Part of the schooling that you had was you had to have some religious education. They really didn't give Jewish education in the schools in Munich. So he got the religious education at home and the graduation diploma for that kind of education at that time was to have a bar mitzvah. Einstein never made it. He was never successful to get a bar mitzvah. He was also, at the very same time, never successful. He never graduated from high school. So he failed on both counts. He failed at home as a young Jewish boy trying to become a man, and he failed as a young school boy trying to graduate. He never did either. And in fact, his whole time in Munich could be considered a failure because he finally left without accomplishing anything. His family had moved to northern Italy, to Milano, and then to Pavia in the Veneto, and then back to Milan eventually, and in 1895, Einstein just he left everything. He was a complete failure. He was a washout. He went to Italy for a while with his family. They said, well, you have to have a job. We'll send you to Zurich and you'll go to the technical school there. And he applied to the technical school and he failed the entrance exam. So there was Einstein. He was a complete and total Failure. And the only paradoxical oddity of Einstein's youth, and it is very much a paradox, is that he had a friend who was about ten years older than him, who smuggled in books on physics and math to him and got him interested in these things. And oddly enough, the man changed his name later in life. But his real name get this was Max Talmud. Yeah. He was a medical student, and he took the ten year old Einstein, and he bit him with the physics bug, with the math bug, with the whole wondering about, well, what is really going on. Now, we talked to a couple of weeks ago about Niels Bohr and his technique of suspending completely, seemingly all life processes, and he looked like he was just dead when he was thinking on a very deep level. It's like the ancient Paleolithic shaman who participates in the flow of nature so deeply that he's not there physically to himself. He's not there as an individual on the mythic level of feeling and experience at all. There's no feeling whatsoever. The feeling, if one could say, is a feeling of not being there, which is a curious, paradoxical way of speaking. And yet. A lot of profundity comes of being able to open yourself to the feeling of not being there. It's an extraordinary thing to use a play on words. You could call it being a resident temporarily of Shunyata ville. You're in nowhere. One of the great utopian novels, Erewhon by Samuel Butler. Butler was nowhere spelled backwards. If you reverse nowhere, you get Erewhon. And this is the ultimate utopian community rather than the Niels Bohr thing. What Einstein did to think was that he ruminated around in his library, in his papers, in his books. Here's a book of portraits of Einstein. Einstein a legacy. And I chose four portraits. Here's the young Einstein. And his bookcases are filled not with books so much, but with papers, sheaves of papers, sheaves of articles, of reports of stuff, and the young Einstein was always immersed rather than being like Bohr, going into nowhere. Einstein played in the welter of manuscripts and reports and pages. It was his sandbox, as it were. It wasn't that he read each report dutifully from beginning to end. That would be playing the mythic game. If you don't listen to the whole story, how do you know what the story is? Einstein jumped around all the time. He took bits and snatches because he was not doing a mythic language. He was doing a magic language, and a magic language operates not by images in a sequence leading to the end of the story, but it operates by a transform that constantly cuts at new angles so that you begin to get something that is not existentially confirmable, but you begin to get a structure that's very similar to a jewel, to an ultimate precious crystal. In order to bring the jewel out, you have to be able to cut it facet by facet, hundreds, maybe thousands of times. But the facets cannot be random. They must be according to the molecular structure of the material, so that the classic jewel, of course, was always the diamond. And so a diamond cutter is someone who learns to cut all of the facets of the existential natural form, to use his art to recut it and shape it so as to bring out the diamond. And of course, we've mentioned a couple of months ago, one of the really tremendous documents in human civilization is from China. We have it from China because it was actually written in China. It was translated into Chinese by Kumarajiva, who was a who was a blue eyed Chinese who lived about 1600 years ago. But the original was also written in China in central Sinkiang. And its title in Sanskrit is the Vajracchedika Sutra. It means the Diamond Cutter Sutra. And if you look at its structure, it builds in a very specific way. The cuts are all the based not on a progression of following images, but on a series of oblique angles that finally disclose not an existential, but disclose a gleam within the material that would not have been able to be seen before the jewel. The cut diamond is different from the raw diamond, the mineral, its carbon. Diamond is just carbon, but it is under such pressure. It is under such transform that instead of being soot, it becomes a diamond. And the cutter of the diamond must know that it is the release of the focus of light within the jewel that lights up all the facets causes the diamond to sparkle and the vajracchedika. The Diamond Cutter Sutra shows us that there's not only a cutting, not in sequence so much as to give a story, but a cutting in such a way that a gestalt builds to release the gleam of the jewel. And at the very center of the vajracchedika is the gleam of the insight that lights up the entire structure of the mind, and then the rest of the vajracchedika the other half is going back down in a symmetrical way from where you got to. So that symmetry of process is not a repetition. It's not a mirroring, But is presenting a deep paradox that together give you the jewel. Because if you cut only half of the jewel, and you get to the gleam and you don't cut the other half, it'll only gleam from a certain angle. You have to finish cutting the jewel so that symmetry becomes a deep operative. Part of the intelligence of 20th century physics, both in Bohr and in Einstein. The symmetry of brightness, so that the brightness not only makes a set of two halves, but the two halves become a unity which is not the two becoming one. That's a mythic way of talking, and it never happens that way at all. Einstein never went from Munich to Zurich. He went by a complicated process of being recut in Italy for about six months, and then emerged because it wasn't a transposition of form, it was a transformation of a man. But he initially couldn't express himself. His first 3 or 4 papers were absolutely almost substandard, except for the first one, the title of his first paper. His first little essay at trying to get some money from a grant was the behavior of the aether in a magnetic field. The behavior of the infinite nothing context within the infinite spread of a magnetic field. He was enticed by this because Max Talmud had told him the stories about Michael Faraday. About how Faraday had risen from a street urchin, a lab sweeper for Humphrey Davies, and had become one of the first great physicists and common ordinary British guy, a bloke who used to lecture every Friday night to whoever wanted to come free because he knew he was just one of the people. He was one of the human beings that wander around, and that this is the way that you have to communicate, not to tell the stories. Einstein said it's a terrible thing to realize that sometimes all that you get are experts in horn rimmed glasses who destroy poetry. That's not it. Einstein understood that Faraday had come to realize A profound relationship between electricity and magnetism, and had set the stage, had set the table for another man to come and serve the meal. James Clerk Maxwell and that Max Talmud managed to get across, I'm sure. As a medical student, he didn't understand Maxwell's equations for electromagnetism, but he conveyed to the young Einstein that somebody did know and that there was more to know. One of the things that was in the way of Einstein before he got to being able to be a diamond cutter, not of ideas. He wanted to bring out not the jewel. That was the idea. He wanted to expose Himself to a complex activity of conscious visioning, which would bring out the art. Of physics, and that that art of physics would be expressed in the magical language of mathematics. That his talk was not going to be mythic stories, but was going to be the mathematical transforms of how an idea becomes released into that jewel like gleam of the superessential light. And it's no paradox at all to see that a few years later, what Einstein became interested in was light. He became interested in how does light become carried in the universe. What carries light? Okay, we have atoms. These guys are talking about atoms. We have electrons. Yes, they've been discovered. He was interested in the photon, the particle that became the carrier. Not just of light, but the carrier of energy. Which light really is. It isn't. That light is just a metaphor for energy. Light is energy, not as an identity. Oh, light is identical with energy. It's not that at all. It's that in the vision of consciousness, light occurs in such a way that it carries a transform for matter. It doesn't just transpose matter to a different place. It isn't just the ore and the water that looks like it's bent, because water changes the angle of light and therefore, well, the ore is transformed into that image of being bent. No, no, that's just a transposition. But that light, actually, and an n dimensional reality carries the transform of matter. And it became interesting to him because he found no one was able to think about this. And the later Einstein still now not just with sheaves and sheaves of paper, but now with very heavy books, classical books. And next to the bookcase, an old Jewish mystic. Which in even later years. You don't find the Jewish mystic anymore. The portrait is that of Gandhi, and the books are much more esoteric. They're not just beautiful Oxford Cambridge hardcover books which have replaced the sheaves and sheaves of of the loose paper reports, which in itself is already a complete upside down form of the way in which normal intelligence at this time in human history ran. The normal pattern was that the beautiful bound editions of classical authors were taken off the shelves and put up in the attic, and the professional journals displaced them. This is from the memories of Arnold Toynbee. He said when he was a boy, the library was full of beautiful leather bound books, and the longer that he lived, the more the leather bound books ended up in the attic, and the professional gray bound journals or the cream bound journals took over. And eventually even the bound volumes of the journals were out of date, so that they were just sheaves of reports. And now today, there are just faxes that you have to throw away. Two hours later, because it's out of date, usually it's the other way around. For Einstein, it went upside down and inside out. He went from the sheaves of the reports to the bound volumes from the university presses to finally the esoteric materials that if you look closely, there are his writings. And when he had a library of his writings and Gandhi on the wall, you had the classic ancient sage Einstein. And then towards the end of his life at Princeton, at the Institute of Advanced Studies, you find Einstein back again with his library. This quality of Einstein as a diamond cutter of understanding light as the carrier of transformed from matter, led him to understand a harmonic field that must obtain for this to happen. In order for this to happen, in order for the maths to work out. You cannot have time different from space. You can't have a time element and space elements that are distinct. The math doesn't show that at all. The vision doesn't ever show that. And when someone reminded him of the vision that Spinoza had about the universe of interpenetration, of form. Einstein recognized that yes, he understood. But as Spinoza was outclassed by the math of his own day, he was just unable to follow the math. Einstein could not in an academic sense. Einstein is very much like our friend that we used before, Richard Feynman. He never understood the academic math so well, but what he understood was mathematics is an art. He understood not how to think in math, terms of transposing experience. He thought directly as a mystic would, with conscious time space without making it a translational of transpositional. What if there was no correspondence or referentiality problem for Einstein because he was direct, there never would have been. A Vajracchedika sutra success without someone who could do the very same thing. And in China, the man's name was Huineng. Huineng was the last patriarch of the Zen lineage, because after Hünegg, he was called the sixth Patriarch. There were a series of 26 or 7 patriarchs in India, and there were six in China. But Huineng never empowered a seventh Patriarch. There was no Seventh Patriarch because Kunig broadcast the entire harmonic permanently so that anybody, anywhere, at any time, ever, Who tuned in. They all of them were seventh patriarchs. He opened up the lineage to the cosmos and called his school. And I forget how to pronounce the Chinese. So I have to just give you the English translation. It was called the Southern School of Sudden Enlightenment. Now that it doesn't happen piece by piece and bit by bit, it happens because it's not a time bound phenomena, nor is it a space limited existential. It is not a moment. It is not a point. It's a presence. It is a totally different, not just a different animal. It's a spirit and not a spirit. It is spirit and that instead of having coordinates of time and space that come to 000, now you have an implosion of all of those belief systems. Totally. There is no such thing as A000 now. That vanishes as quickly as one can achieve it. The realization of that doesn't even last a nanosecond. Not even a femtosecond, not even an attosecond. It's called vanishing because its quality is more primordial than one, and when it's more primordial than one, is also more primordial than zero. We're going to take a break, and we'll come back to all this mysterious kind of talk. Let's come back to where we left off. And we didn't stop, but we had a pause that refreshes. The present is not a moment. In time. There's no moment that is present at all. If you look at the way in which primordial peoples anywhere on the planet. Participate with nature, because the whole design of how they live is to make sure that their rituals participate with the cycles of nature, and that their myths are the stories that express and bring forth the feeling toned sentience that this is how we do it. All of it is based on participation. The phrase that Lucien Lévy-bruhl used participation, mystique, participation in the mystery of nature, and that nature is ongoing and that it isn't. That nature begins and then has some development and some end. That apocalyptic genesis is an idea and doesn't really happen. I remember one time, about 30 years ago, trying to get all the creation myths together, and one of the most beautiful was the Inuit creation myth. The Eskimos and the Inuit people said, in the beginning all the world was slush. And then it froze. And then human beings could do stuff. So it's like shocking to realize there is no such thing as the present moment. So that the present in real time is not a moment, but rather presence. Anyone who has ever had a moment. Realizes that it isn't that that moment is there. It's not phenomenologically an atom of time. It's not a molecule of time. If you're interested in what you're doing, you lose yourself in the doing of it. You don't notice what time it is. What time is it on my watch? It's just the symbols of clouds. That's what time it is in the universe. So that the present, not being a moment conveys to the primordial men and women that you can't count time. Time is not countable. There are no moments of time that add up to a sum. But what does occur is that time modulates itself in an energy wave called a frequency, and that you can dance to, that you can choreograph your existential movements of life to get calibrated by the rhythm of life. A biorhythm if you like. The rhythm of the plants, the rhythm of the animals, the rhythm of the energies, the rhythm of the way in which the vision comes and allows itself to be modulated. Modulated in such a sense that it isn't distributed bit by bit, but that its distribution is an element that occurs throughout the entire rhythmic structure. One of the most primordial experiences on the planet was the way in which the African sense of ritual comportment was all based upon the intelligence of the multiple possibilities of rhythm, so that African philosophy didn't develop in ideas so much, but developed in the musical relationship of complex rhythmic ness. And one of the great renaissances in African philosophy, to put it that way, was the introduction from Indonesia of the xylophone. But 400 years ago. When the Chinese were had a navy in the 1400s, the Chinese had the largest navy in the world in the 1400s, and they used to make regular trading expeditions, not just down to Indonesia. They used to call that body of water. In fact, they still call it the China Sea, the South China Sea. But they used to go all the way to the coast of Africa. One of the great Chinese admirals who wrote a record of the last great Voyage, he took 60 ships that had several thousand people. And they went from the area around what is today Shanghai, through Indonesian, all the way to the African coast, to the East African coast and back. They introduced the xylophone into African music and it changed radically changed the way in which the complexity of African rhythms were able to be done so that primordial people understand that what occurs in nature is a rhythmic energy change that has a modulation, which, if we calibrate to whatever we do within that calibration, will be gifted with life, will be gifted with that energy, and that it isn't so much that one sees insightfully in thought, it's that one sense of feeling is modulated to what is real. One lives in the way in which life is real. And the American Indian way of talking about it is that one walks the good road. It isn't that the road is good. It's the way in which you walk creates the good road. And so it's that kind of a thing. You step in tune with the energy cycles of change. And Einstein was very much of that kind of a character. It was an extraordinary character. Who knows whether it was because he failed on so many academic levels originally, or social levels to fail to receive your bar mitzvah in the 1890s in Europe was like, what a stupid boy. To not be able to graduate from high school. What a stupid kid. And yet he carried with him a participation mystique that that odd character, Max Talmud. Infected him with the vision that mathematics was a kind of a language that could talk about the hidden relationalities that were in nature, but they were hidden from view. You you could not see them, but what you could see through the math was the way in which they all did not have so much a common denominator, but that they all modulated to the way in which energy reads itself out in the universe, and that the major carrier of that energy in the universe is light. Again, it's no wonder that by the early 1920s, Einstein, with his great work on relativity, brought the photon into view as the carrier particle for that universal energy light, and that the concomitant of that was the realization in depth that space time are a fabric of curvature, and that one of the difficulties is the old idea of identity, which was carried over because some thing that occurs at a moment in time in a three dimensional locus of space, that this moment and this locus, if they were together as a seamless continuity of the curved fabric of space time, and that it's only the intensity of the curvature that makes matter matter, were it not that intense, that energy would be light. By the early 1920s, Einstein was extraordinarily alert as a kind of an intellectual shaman who spoke mathematical mystery language. He got interested in the problem of the mind as a mirror. For sure. The same threshold of crisis faced the sixth patriarch of Chinese Buddhism when it. When it came time for the Fifth Patriarch to hand over the lineage in those days was in terms of traditional Buddhism, what was handed over was the bull and the rope. And if you were given the bowl and the robe, it meant that you were the the new patriarch, the new head. The head of Mahayana Buddhism and Matsu, the fifth Patriarch. When it came time to hand over his bowl and his robe, made it incumbent on everyone in this monastery in South China to write a poem, a short poem, because Matsu, very learned in wisdom and understood that a poem is a magical language, it has a transform which is not possible to have if you're sewn into mythic language stories, and that to be a patriarch of Zen Buddhism, it means that you have to be able to take yourself out of storylines completely. It also, by the way, means you have to be able to take yourself out of being a storyteller as well. By that time, it was very refined and the head monk wrote a verse, a quatrain, a pair of couplets, a pair of pairs. Because it was the ancient Sanskrit form of the paired sloka, ancient Hebrew mystical poetry always had the paired lines as well. The second line modifies the first, and if you bring in a pair of paired lines like that, there has to be a parallel between the first and third line and the second and fourth line. And if you have two parallels like that, it means that the quatrain together makes a square, so that the imagery, instead of being along a line, becomes a geometric form of a square. What Einstein saw, just like the six patriarchs saw before he became the sixth Patriarch, he saw that the square is a mental form that is only provisional, as long as the mind insists on believing in it, and that what was inside the square is not differentiable from what is outside the square, that the square is just a frame that is temporarily presented against the background of a seamlessness, and that, yes, you could see the square in terms of the image. You could see the square in terms of the idea, but in consciousness there is no square there. There is only the unbounded background which is seamless. And the seamlessness of it discloses itself not in the forms that come out, but in the processes that occur there, because the forms are always going to be geometrized, they're always going to be delimited. They're always going to be subject to identity. They're always going to be subject to the kind of ideational clarity, the mythological certainty of the story. And forms are always like that until they're recut into jewels, and when they're cut into jewels, they no longer are just there existentially, but they're differentially diffractive of all the facets that one has put into it, they prism. And instead of getting light bouncing off an object, you get the rainbow effect of the array of possibility. The sixth Patriarch becoming the sixth patriarch. He was just he was a kitchen boy. He was about 15. The head monk had written a beautiful Zen quatrain of how the mind is such a refined mirror, that if you could polish the last bit of dust from it, it would reflect actuality perfectly. When he posted that poem, and everybody in the monastery knew he was going to be the next patriarch. I mean, look at that suit. And the kitchen boy who a nig came out and he saw it and he scribbled underneath it. He said, the mind is not limited to being a mirror. So where is there a place for dust to collect in the first place? Somebody saw the scrawl, woke up the master, Matsu came out his nightwear, Read it said. Who did this sent for? They found out it was the kitchen boy, and he brought Queen Inhyeon, who was about 4:00 in the morning, and he gave him the robe and the bowl, and he said, you better clear out because they'll kill you, because they'll be jealous. They will never understand that a teenage boy is real over the academic credentials of the head monk, who's been there for all these years and discipline, and can write the beautiful quatrains and everything. But who didn't know? There's no mirror. That dust collecting is an artifact of the illusion that there is a mirror. Einstein's very much like winning the mature Einstein. And he was mature by the time he got into his 20s. He just leapt into the not the possession of his intelligence, but the expression of his consciousness. When you see the photographs of Einstein just at random. It's not an old man walking away. It is a spiritual being who is immersed, not in the participation of just the mystery of nature, but in the magical language expressiveness of that into a cosmos. And Einstein, extraordinary, understood that there is an observation, as long as you talk about mirror ness, that if you think of symmetry in terms of mirror Images. One of the basic problems that eventually you will get to, and there's a whole series of letters on the problem. It's a series of letters from 1929 to 1932, 39 letters between one of the world's greatest mathematicians, La Cartan and Albert Einstein, republished here by Princeton University Press Mathematical Press. The letters are all on letters on absolute parallelism. Is there such a thing in reality as absolute parallelism? If the mind is a mirror and is the index of truth and reality in the universe, then absolute parallelism must occur. It must exist. If there is no mirror function, then absolute parallelism is an epiphenomenon. It's a function of the way in which the mind is diagramming and experiences being choreographed by a ritual comportment of actions that are ultimately deceptive. Now, one of the things that comes out of these letters between Cartan and Einstein is that the insight on absolute parallelism as an epiphenomenon, as a function of geometric rather than actuality rather than reality, is that the way in which this material was able to be folded into the differential geometry developed by a man? We've talked about named Reimann. Reimann geometry. Differential geometry not the geometry of Euclid, but the differential geometry that. Transformed Western science, and by 1932, it was apparent not only is there not a moment in time. There is no point in space that has coordinates zero, zero, zero, and in the same way, one has to then go back with consciousness all the way back and review the history of mathematics, review the history of geometry. Review the whole way in which the mind has educated itself for all these thousands of years, and review patiently, not with an eye toward something or just a hand toward something, but by coordinating the hand with experiment, the eye with thought, and the person doing it with a kind of a spiritual consciousness of diamond jewel like participation. And what comes out of it is that instead of there being a moment which is undulating time into its atomic structure of moments, there is only presence. And that the presence immediately dimensions space time totally, completely. So that there is a quality of understanding which Einstein by by this time was masterful in. Because space time is a curved fabric seamlessly. Time never occurs outside of space. Space doesn't occur outside of time. Space time is always a matrix of at least four coordinates, and so you have to work with this set with this group of dimensions all the time, conscious of the fact that you can't granulate it. One of Wallace Stevens great poems, The Idea of Order at Key West, talks about the metal heroes that time granulates the false artists who killed the gods by making them pudgy pink like Watteau and Fragonard. To think that Athena or Aphrodite are pudgy pink goddesses in chiffon or bright polished armor is stupid. Aphrodite occurs every time that there is a smile that's real, and Athena, every time there is a gaze that balances the eyes to the vanishing horizon. And if someone doesn't know that, they don't know the feminine at all. I have no idea. It's not about figures of shape. It's about presence, which is shareable and goes into a mode of participation called presencing. And that presencing is not just a gerund of something that's there and then is put into action, it's that the dimensional Multiplicity becomes of the countable wall off the scales where one can make a calibration. And so you come into the realm where instead of counting what something is, or doing a fudge on that, computing the statistical probability of what it is, one comes to understand that your participation with this increases the array of possibility for change, to include everything that you are doing, everything that you are experiencing, and most especially everything that you are thinking, and that the distribution of the consciousness of that makes it instant everywhere. If we come to one of Cartan's classic books, Why was he writing to Einstein? Because he could write a book like The Theory of Spinors. This was written finally in 1937 and reprinted by Dover. It's still in print because it's still exact. Still readable. Spinors. La Cartan in spinors sets the stage for Roger Penrose's twistor theory that is, revolutionizing the way in which mathematics talks is able to talk about n dimensional reality. At the beginning of the 21st century, if you come to chapter one of Cartan's, the theory of spinors, what is a spinor? Spinor is a geometric form that can be rotated. You cannot look at a jewel and just see it straight on with one angle. The sparkle in the jewel is there when you begin moving it. Rotating it. It's like a sculpture. Work of art. If you just stand in one spot to look at a sculpture, you're not getting it. You have to move around it. You have to make a multiplicity, a differential array of not just angles of vision, but to remember that you're cutting new angles at every microsecond. On that art discloses itself as a jewel form. You can't just look at a Kandinsky painting and stand there and look at it as if it were a block of cement. You can't even look at a block of cement. You have to touch it. There's lots of kinds of cement. Is it. Is it cheap? Guadalajara cement was at Portland Cement and different forms. So much more. Differential forms. And when you're looking at the universe, it occurs to someone like an Einstein or Huineng that one is looking at a jewel matrix. It isn't just one jewel, but it's an unbounded jewel matrix. One of the later ways in China of describing it using a different form, not a metaphor, but using a different form that conveys a sense of infinite array. It was called the flower scripture, the great flower scripture, the Avatamsaka Sutra, the largest Buddhist sutra. It's about 8 or 900 pages, and it goes on and on and on and on. Not to repeat, but to create the pedaling effect of a peony. For the Chinese, the peony rather than the lotus. In India was always the the flower of emergence out of impossibility as the lotus comes up through the mud. The peony is the first flower that comes up in the spring, and it comes up through the frozen ground, and it penetrates ground that is so frozen that you cannot break it with a shovel or a pick. That ground is frozen. And yet the delicate peony shoot comes right up through that. It's the first green that shows in the brown dead of winter. Usually peonies begin coming up in late January, and if you're in North China and you look at the brown landscape that's been there, everything has died and been dead for months. Not just snow, but a kind of an odd color. North China has a fine yellowish soot dust called loess that blows in off the Inner Mongolian deserts, and it mixes with the dirt in the town, and it becomes a kind of a smushed yellowish grey gunk. So that the world is really dead. It looks like a ghost realm. And out of that comes the peony. The blossom emerges from this delicate shoot that's so strong it can come through that ground. So the Chinese, the peony, and the Avatamsaka Sutra is 800 pages. Because these are how many petals can be unfurled. And it's not that it stops there with 800 pages, but when you get immersed into the differential aspect of it, it isn't a story that has a beginning or an end. It's an occurrence of continuity that is always happening, like nature. It's always generating. It has petals without end. It is a flowering. And that that we can participate with that discloses to us our reality. We're not a mirror of things. We are a participation in an array of possibility unbounded. And that's how we are. Cartan in the theory of spinors. Chapter one Euclidean space. Section one definition about vectors. Why are vectors so important? Vectors are lines of dynamic. They're lines of force. You can't do anything in the universe without an action. And the action is always the application of force so that it has a purposeful focus, that a vector is the way in which movement in energy actuates the stuff of the universe to do something. How does it read points in n dimensions, however many dimensions you want to talk about? Algebraic points in n dimensional Euclidean space may be defined as sets of n numbers, and then there is a parentheses. The n numbers are x sub one, x sub 2... ellipsis all the way to x sub n. However many you want to have, and that that line, that line of points that collect together as Numbers of points of Euclidean space. The whole set, the whole collection of them. The aggregate is the square of the distance from a point x to the origin that whatever line this is, however long it is, however many points there are that aggregate to make this line from wherever the line is drawn to that point x all the way back to where the line begins. And the assumption here is that the origin point is always 000. The three dimensions of space, that there is a point at 000 which tacks down that end of the line, and that the point x that you're talking about, that's the other end of the line, and that the line connects these two points. That is a mythic Image that is never true, even in the mind on thought, let alone in the cosmos. In differential consciousness is never true at all. It is a subsection of an assumed case with such a list of presuppositions, when you really spell it out that you wonder that anyone could have ever believed it. Um, I think that women have understood more than the men. There's such a thing as somebody giving you a line, and that you have to look at who's telling you, rather than listen to the line, rather than look at the line. And if this is assumed, then we have, as Cartan says, in Euclidean geometry, we have the fundamental form. And the form is that this expression. The equation for how these points aggregate to make this line with this beginning 000 at this point x that this expression also represents. Notice the term. It represents the scalar square or the square of the length of the vector. Notice all the talk here about scales and scalar and counting and squares and the relationship that's correlated. Then a couple of lines later he talks about how in math one has to be very careful because there can be imaginary mathematical scenarios instead of calling them just imaginary, even though they use x with a subscript I for imaginary. They call those cases those supposition imaginary cases complex and that they're distinguishable from something real. And eventually he will go on to show that if in that set, that aggregate of points, any one of those points is not real, then the entire set is complex, but unreal as well. So that the entire framework of this mathematical intelligence collapses. If you understand that 000 is not a point, it's a presence. Now, Euclid, being a very sophisticated Alexandrian Pythagorean 300 years ago. Never, ever assumed that there was such a thing as a point. The very first statement in Euclid's geometry. Go to book one, sentence number one. A point is a locus of no dimension. And when that point of no dimension moves, its movement describes a line. It is the movement of no dimension that creates a dynamic which can be followed, and that that's the line. And you would say, well, that means that there's nothing there. That doesn't mean that at all. It means that in the mythic stories that you tell yourself, it should be hidden. But there are ways to disclose the hidden. No one has seen an electron. No one has seen a kaon or a meson or many of the other subatomic particles, but their tracks can be seen in a bubble chamber. In fact, almost everything can be disclosed, even down to the such hidden things as just slightly condensed vacuum, the Higgs boson that whenever any energy has its frequency in such a way that the time space begins to show a little bit of the arc, a little bit of the curvature, of its dynamic, of its motion, energy has registered phenomenally, as well as in this kind of numinous way, and that it is a huge leap of illogic to think that one is looking at phenomenon objectively. As long as you're not conscious of this entire entourage. Now, the title of today's lecture was A Harmony of Complementarities. And this is the point. This is the punchline. There is no such thing beyond a mental imagination of a reconciliation of opposites into a harmony. The stuff of harmonics. You have to put quotation marks. The stuff of harmonics are not things in opposition at all. So the whole psychological orientation to that kind of thinking is illusion completely. And to believe it is to be caught in regressive mythology to the nth degree, and to act upon it is like being dumber than a drunk ant. That's pretty dumb. A harmonic has to do with resonances that are in keyed groups, tuned sets, calibrated arrays so that scales scalars, possibility differentials. All of this has to do with music. Whereas composing by counting the notes is like painting by the dots. What you get all the time is a bogus not even a very good. What if you just get something bogus? And the fact that we live in an enormous junkyard phantasmagoria that's been going on for thousands of years, passed on with the greatest sincerity by people who have no differentiation whatsoever, simply is not a condition that can continue, because those kinds of roads lead eventually by the curves of the way in which reality actually happens. If they're not opened out into spiraling by further learning, they tend eventually to come back full circle. And when that kind of energy comes back full circle, it hits you in a very prominent place. This kind of dead end looms at the beginning of the 21st century as a condition everywhere, all the time, on every level. It's not a matter of tearing up the old textbooks, but it's a matter of transforming them and not by transposition. And that's what this education is all about. It's about learning how to learn and preparing to be prepared. And in that process, there is not only a participation initially, but there is a distillation and a transform that occur. And they'll occur because they are occurring, not because you get it or don't get it. As long as I continue this process, it'll be there. And it's a matter of just allowing for the saturation to build to whatever it needs to for you. And it'll just it'll happen because it's not done right. Because that's the way it, it is occurring anyway. I have a bunch of other notes, but I think, um, I think I'll, I'll end here and we'll do the Bhagavad Gita next week. And then in two weeks, we'll start that last two year cycle. And we'll start where we started two years ago. We'll start where we always have started. The very first thing we do is we step out the door of wherever we live and take a walk and come back home. And just that simple activity gives us enough to begin the entire education. Just simply that. And it's not a matter of reading into something. It's a matter of letting it petal by petal blossom. So this education is about blossoming. You don't have to be smart. You don't have to understand. Those are functions Of epiphenomena of a limited wedge of pie. We're not serving that. That's concrete pie in the first place. We're learning how to cook. And you can cook anything that you want. The whole cosmos is nutritious. Somebody asked a young lama one time he had come over to the West. Chögyam Trungpa, when he was young and said, what do you what do you do after hours? And he looked at him and he said, there's always a show going on.