Presentation 3

Let's come to our beginning. This is the third presentation. I'm holding a storyteller's cane. And this is from the Cameroon in West Africa. And it's pliable, it's ebony and a little bit of cut crystal and a stone inlay. The handle is from the ancient Egyptian was scepter, so that this is indeed a very ancient African wisdom. 5000 years ago already this would have been the royal symbol, the scepter of royalty. And in West Africa, as in indeed all of Africa and the rest of the world, the high art of the storyteller is the central thread by which our species has come to dominate this particular Earth. The cadence of the storyteller is the cadence of myth, and the development from the storytellers mythic cadence into the complexities of a written prose has been raised to a very high art indeed in West Africa. Uh, the literature of Nigeria alone qualifies that as one of the most famous contributors to world literature in the 20th century. While Soyinka won the Nobel Prize for literature, Amos Tutuola writing his surreal novels. Chinua Achebe becoming one of the greatest writers of the century, and on and on. Our origins go back more than 200,000 years in Africa, but about 50,000 years ago we had a refinement of species. And it was the first time that Homo sapiens left Africa by two different distinct routes, but they left not as Homo sapiens but as Homo sapiens sapiens. They had developed over the 150,000 years that our species has been stable. They had developed a capacity to refine that species in such a way that they were now wise about being wise. They simply didn't know a lot about the world, but they knew a lot about how to teach themselves to know more. And the quality of transformation by learning that is passed on and accumulated led to a gradual complexification, so that Homo sapiens sapiens became more and more refined as the millennia rolled on. And after about 10,000 years, about 40,000 years ago. It constellated into a bursting onto the scene of something that the world. Had never seen before. For the very first time art was made sculpture. Paintings. And in the Paleolithic caves came the gestalt of synching. Together Homo sapiens sapiens into superior refinement of species. We're looking at our own time, reaching back some 5000 years. Having a fulcrum about 2500 years ago, midway having a tremendous boost about 2000 years ago with the appearance of the refinement of everything that had gone before, and in particular in the last 300 years, we have come into play in such a way that our species has been refining itself to Homo sapiens. Stellaris two star wisdom man. Where the Paleolithic refined itself in selected underground caves. Our species is refining itself in selected journeys into the heavens, so that the first refinement of Homo sapiens was underground. The second refinement is now literally among the stars, so that one could put together in a symmetry in a pair, stars and stones. And this is one of the great themes of our time, because it is only in our lifetime that this has become almost glaringly apparent, that the difficulties that the world is facing is that we have been without a civilization that fully expresses the capacities of the refinement of our species, and we have not even achieved the precursor of that civilization, which is a culture which enables all peoples to learn together, to flow together. A planetary culture is necessary as a foundation for a star system civilization. Not everyone will live off the planet, but everyone will be of the species that is conscious of the capacity for our kind to do so, and that selected some actually will carry this through. Our theme is complex theme, and it is difficult to present because it is so new and requires a number of realizations that are put together in a matrix. One of the realizations is that in a mythic horizon, language is born out of the need to make an integral thread that experiences episodes of activity. Discrete objects. One's own feelings about all of each of these one's own images of these. That all of this can be strung together on the thread of language, of spoken language, and that in order to make it comprehensible, that language must have a cadence Without the cadence, spoken language cannot thread the necklace of images and feelings, of phenomena and of experience, so that they begin to constitute a quality that comes to an integral as an individual and that that individuality is in the symbolic structure of thought and that symbolic structure of thought. Then integrals around the individual as an I, whose identity is referential back to the way in which the image base the feeling tone. Refinements, the language has threaded together and tied them to the body, tied them to phenomena, tied them to the existential actions which we select out to do so that those rituals and those phenomena, those things, and the way in which we do things with them and with each other. Have a center, have a place where an idea can knit together integrally. All of the images in an imagination, and the experience can be knit together in the memory and the sense of self identity is because each and every one of us goes through a cognitive quality of being able to interact with each other on this basis. The new refinement of species brings into play. What only one dimension further from that of the traditional world for Homo sapiens sapiens, and that is the ability to go beyond the mind, to go beyond the symbolic structure of the integral, to go beyond the I, to go farther than simply the identity. And in order to do so, a strange quality comes into play, a quality of being able to integrate the symbolic structure of thought, not only to the sense of the centre of the anus, of the oneness, but to begin to get the intuition, to begin to get the quality of vision, that there is more to reality than just this world with its phenomena, with its actions, with its. Experiences that are threaded by language that somehow the key to this. Is the ability for the symbolic structure of thought to learn, to write and to read. When we hold up a book, it is the simplest thing for us who have learned to read and to write, to simply do so. But phenomenologically, these are only ink shapes on paper and to even understand that their ink shapes are repetitive on a paper is a very, very difficult realization to carry in its originality. Books are only 2000 years old. Before that, what passed as books were scrolls were rolls. Long rolls. Short rolls. And it is the scroll which carried the sense of a continuity of going down a corridor that is illustrated. The scrolls as precursors to the codex, which is the book. The scrolls were an imitation of the illustrations along a corridor, and that that corridor was pre-planned as like an architectural gallery, so that one would, as one, walked down the corridor as one, then unrolls the scroll as one later is able to page through the book. One is shown a an initiation into a visionary capacity that goes beyond what is usually in the world, what is usually passing as one's experiential life, that this is selected out specifically to attend attentively to the way in which the symbolic thought structure is able to rearrange and recalibrate itself to something deeper, and the deeper quality to that goes back to the Paleolithic cave, the earliest caves that we have found in southern France. Cosquer is on the Mediterranean coast of France, about uh, ten kilometers from the entrance to the port of Marseille. But that that cave, which had been established some 35,000 years ago, was so long ago that the landscape has sunk and the cave was under 130ft of water, and the original entrance to it, about 400ft, was under water in murky conditions, and many French divers, who are the best in the world, lost their lives trying to get through. And when they did, they found the one of the earliest caves with art. And it isn't just art, but it is presented in such a way that the images of the animals, the images of the symbols that go with it, are arranged in such a way that obviously it was a gallery, that someone was taken around and shown in some kind of threaded sequence, so that one would learn how you are when you are exposed to this in this way, in this sequence, scrolls were an improvement on that. And one of the earliest indications of of scrolling like this was about 2000 BC, with the development of the Egyptian Book of the dead is one of the earliest presentations now of something a thousand years before was only some secret coterie of a few special persons, and only after about 500 years did they begin to appear on the insides of pyramids. The first pyramid to have hieroglyphic, uh, paintings of the of the glyphs was the Pyramid of Venus. Sometimes in older literature pronounced unas, but w e and I s is is the earliest, about 2350 BC. The act of being able to read the arrangement of pictures of the animals of the Palaeolithic hand prints, after about 30,000 years, had developed the capacity so that one could read the passage of the glyphs and come to understand that your own development was that the mind, the symbolic structure of thought, was expandable to such a range that it exceeded the head, it exceeded the cranium, and that one of the earliest qualities of being able to be freed from the limitations of a symbolic structure of thought opened oneself up to a hyperspace called eternity. And the symbol in Egyptian hieroglyphs, for that was a circle with a line like the base, and it would be there in one of the claws of Horus, the hawk god of renewal, coming over the supine coffin and releasing the person from the bodily limitations, from the limitations of the symbolic structure of thought, releasing one into a hyperspace of eternal life. This quality becomes accentuated 2000 years later with written alphabets that had been pioneered some 2300 years before, with the beginnings of cuneiform tablets that were about the size of the palm, so that getting it meant clenching your fist, because that was the earliest way of being able to read. Um. Early alphabets about 2000 BC began to supplant the glyphic characteristics, the cuneiform limitations, and our species began to look at new constellations of capacity. When we read, we literally make a continuity of pictures in our not in our mind, but in our visionary consciousness, so that the visionary consciousness now is larger than the mind. In fact, the structure of symbolic thought now can be called the mind, because it has a hyperspace of visionary capacity that can be brought into play as one reads or as one writes. And so it isn't just the phenomenal quality of an integral making sense, but it's of a differential field of visionary consciousness that is protean. To be able to literally let us read through the symbols they now become more and more transparent. We do not see the letters. We hardly even see the words. We can concentrate and see the letters. We can focus and see the words, but we can read enormously fast. And speed reading is one of the great techniques of the last generation, where one can literally look at whole paragraphs of print very quickly, and the quicker you look at it, the more you retain. Because what you are exercising here is not the structure of the memory in the mind, but you're accessing the flow of remembering in the field of consciousness. And when that field of consciousness, which is a differential field, it does not work by limiting and by integrating, it works by expanding and Complexifying is at home in that. So that it is able literally to make up before there is a base. A new quality of imaginative creativeness and remembering which goes beyond the supposed limitations. And one then comes into a very interesting phenomenon. This is a couple of words from one of the great philosophers of civilization of about 100 years ago, Wilhelm Dilthey. The formation of the Historical World in Human Sciences. This is published by Princeton just a few years ago, 2002. Writers like Dilthey are extremely important in European thought. He taught at the University of Basel for for many years very famous. We're just now coming into English translations that are able to convey something like this. The chapter is additions to the formation of the historical world. The section is number one, the logical system in the human sciences. But the first italic little inset, just a paragraph down is called psychic structure and it reads the course of psychic life consists of processes. Each one begins and changes in time. Even when I make a cross section somewhere in the sequence of a life course and seem to come upon a psychic state, it is only the fixation of a determinate phase of consciousness through attentiveness that creates the illusion of permanence. I have used for the last generation the phrase square of attention, the frame of the picture to fill in the picture so that we get what you're talking about, so that we have a frame of referentiality, which we share through our attention to the same square of attention timed at the same time, so that in speaking and in hearing, in reading out loud, in reading silently together where tuned in time and in the square of attention. But a psychic structure is made into an appearance by this technique because it actually flows in a continuity. It flows in a continuum. It is a process. It is not the stream of consciousness so much, though it was called that early in the 20th century by Henri Bergson. William James, a number of pioneers at the time of Dilthey, to explain why it is that there is this sense of consciousness in its continuity. It is actually that it is in the horizon, mythic horizon of experience, that the flow is continuous. It is only made discrete, into selections, into shapes, by the symbolic structure of thought in its integral, like a scissors and paste of taking discrete images, abstracting them out, rearranging them, taking feelings, taking emotions, taking objects, taking activities, and making a pattern, and then having it set so that it appears to us to be certain to stay fixed. If the mind is trained so that it has an option of not doing this. We call it clearing the mind. We call it a releasing us from the need to make sense out of something and just letting it be, just letting it happen, just letting it occur. Experience flows without punctuation. It flows without breaks. When Chinese was first written as a stream of characters, there was no punctuation whatsoever. It was only later that you got the shaping of lines of characters. The final classic quality to Chinese poetics is a five character line, and the next line will be five character line. And the classic in Tang poetics is that you had eight lines of five characters so that you had a 40 character poem. One of the classic little books on Chinese poetry, published by Oxford about 50 years ago, now 40 years ago, is called A Little Primer of tofu. David Hawkins and each one of the 40 character poems, I think there are some 28 that are selected out, are shown in a word for character, and then placed in the sequence of five words in eight lines vertical, so that one could get the sense that this is a very difficult process to do, to let it just flow. And one comes to realize that high poetry participates in the flow of the unbroken continuity of the mythic horizon of myth, so that there is such a thing. As reading a poem out loud. Even though it is written, it is read out loud. And one says that when one does this, one lifts the poem off the page. One lifts the poem not only off the page, but off the referential structure of symbolic thought. Where does it go? It goes into the braiding of the flow of the conscious art of the poem, with the mythic flow of the experience, and in that braiding one comes to have the flavor of the character of the writer along with the characters that the writer is writing about. So that one now knows that not only is Oedipus a formidable problem in the Greek tragedy, but that Sophocles is amazingly refined. To be able to do this for us, or that Prometheus. Uh, in Prometheus Bound is a catastrophically heroic impossibility according to the Greek gods. And yet occurs. And that Aeschylus is like the ultimate high flying eagle writer, a pirouetting in such a way that aeschylean Greek is almost impossible to read and understand, because one has to be refined to an nth degree to follow the acrobatics of it in this way. The flow of spoken language is braided with a transform of the poet, so that one. Now, in order to really make the poem come alive in the experience of someone, it needs not to be read, but it needs to be read out loud. And it's this quality that then places the language into a hyper space, into a differential conscious dimension. And the way that it gets there is that it takes a transform of the integral symbolic structure of being able to understand a language, how the thread of that language brings, the necklace of images and feelings and referentiality to things and allusions to rituals and activities and allows it to go outside of the mind into that visionary hyperspace, and that in that visionary hyperspace, a another dimension, as it were, a fifth dimension, a quintessential dimension has come into play as a field that is remarkably in a complementarity with the field of nature. That experience and existence, and the symbolic structure of thought all took place within the field of nature had not had progressively unrealized. That all of this takes place literally in the four dimensions of the field of nature, which is not only capable of an integrating cycle that comes complete to the center of I in my mind, and the center of you in your mind, but that there is a mysterious quality of nature that had almost been forgotten, is that it does not have an assigned dimensionality. It actually has a mysterious zero ness that characterizes it. The oneness comes from time. The second, third, and fourth dimensions are really space that almost instantly blossoms out of time. So that space time really is not a continuity where time is the fourth dimension, but it's the first. And in that quality, the field of consciousness as a fifth dimension, as a quintessential that's alchemical talk. It's the quintessential that now transforms not only the nature, so that what is occurring is not just a time that is integral vis a vis the way in which spatiality now creates phenomenality. But there is a timelessness in the fifth dimension that allows for there to be an elasticity and a flexibility to the mysteriousness of time in nature. And now time can be stretched, can be mysteriously indefinite. And what comes out of that is a person who is related to the character of the experience in the mythic horizon. But this person exceeds the limitations of the individuality in the symbolic structure by infinitudes, so that the way to talk about it is that the person, as an artist, has learned to be prismatic in at least six dimensions, and so enters into experience in the world through one's character, through one's experience, through one's feelings, through one's imagery. But in a creative way, and can now change the world. And that nature accepts this. She's glad to have this. And so the the capacity here. Uh, again, psychic structure. The mythic horizon. The psychic. The artistic expansion being prismatic is spiritual, and so the spirit and the psyche have a deep relationship to each other, almost like a mature person grew out of the child's character And anyone who's raised a child can see already, even before they can talk. Even before they can walk, they begin to give evidences of their character. A little baby will start to have a character. A puppy will start to have a character. A young colt, a young pig, little birds. They begin to have remarkable characteristics, and it's the characteristics that are now freed to mature that the art of the spiritual person releases, and in doing so creates something that was not there before, creates another dimension, and that other dimension is actually history. And that history is not a dead past in record, but is the kaleidoscopic ability to recut the past in any which way. And that as one does this, it's paired symmetric complement. The future now becomes possible, and that the future and the new past are symmetrical in the kaleidoscopic flow of historical consciousness. And while art will come out of the fifth dimension of vision, what comes out of the seven dimensional historical kaleidoscopic complexity flow is actually a new form just now discovered which one used to call the universe, and now it is can't stay as a universe, and to even call it an omniverse or a multiverse is going back to the old bad habits of trying to pin it down. The way in which it was talked about 2500 years ago by someone like a Pythagoras. It's the cosmos. And that when the cosmos is accessed through the historical kaleidoscopic consciousness, the spiritual person now is able to do something that is remarkable, no longer needs to have a symbolic referent to phenomenality, but can have a future forward referentiality to the numinous, to noumenon, to visionary possibilities, and that when the phenomenal and the noumenal come together in a synergy, Something occurs that is very high in magic. One learns that you are now real. Let's take a break. Let's come back to something that is mnemonically important. This will be the second refinement of our species. The first refinement in the Paleolithic came out of a visionary, quintessential dimension and matured its forms in art. Our refinement comes out of a seven dimensional historical kaleidoscope consciousness and refines itself in terms of science. 500 years ago, in the Renaissance was the beginning of a time form. They used to be called cycles of the Phoenix in ancient times, and that time form was the beginnings of universities that featured the arts and sciences. Just a couple of hundred years before that, the earliest universities like the University of Paris or the University of Oxford, University of Bologna, medieval universities focused themselves on theology and on Aristotelian logic, and so forth. Renaissance universities were a literal revolution Renaissance because they shifted the university to focus on the arts and sciences together in a tandem. And out of this came over the past 500 years, the ability for this new refinement of species to begin to take hold in such a way that there are two important early harbingers of the refinement of species with the sciences. Emphasized are Sir Isaac Newton and Benjamin Franklin. Newton was born in 1642, Franklin in 1706. So they really are like a parentheses of when it was that our refinement of species began to pick up speed and pick up a enough of a quality that it could get off the ground, literally get into the air. What is featured for us is that our learning has to undergo a recalibration in terms of not just having a better future, but of learning not to look upon the present as a moment, not looking upon ourselves as an individual point. That the present is really a presence, and the point is really a moving locus of no dimension. This requires two woven braided capacities. One is that remembering envision must be a continuity of our character in our experience, with the maturity of the prismatic spirit as our person. We must have this continuity to be able to grow up from the promise of who we are in our lives, to what we can be in the larger spectrum of possibilities of that life lived. Multidimensionally kaleidoscopically eventually. This is one of the parts of a new learning. There have been attempts in the 20th century. One of the strongest attempts was in India with Sri Aurobindo and this little monograph, A New Education for a New Consciousness. And Sri Aurobindo developed the capacity to turn yoga, classical yoga into a new yoga. One of his great books, which we'll bring next week, is called The Future of Man. The most beautiful little book by him was called The Mind of Light. One of the qualities that comes out of Sri Aurobindo in science is complemented by J. Robert Oppenheimer's great book, published in 1955, called The Open Mind with spiritual persons like Oppenheimer and Sri Aurobindo. And you can put in with them such great spirit persons as Teilhard de shut down, um, any number of interesting persons, uh, Niels Bohr, all looking at the way in which the openness of the mind, the clearing of the mind so that it is able to focus precisely and accurately and to have the ability to have that accurate singular cursor be able to go full circle and come back to a center, which is seen precisely because it is not occupied, it is seen to be open, and that the seeing then goes through the circle, does not look to see or to imagine that there must be something in the frame of reference in the square of attention that when it looks through quintessentially, it now transforms its ability to be an unlimited mind. Just as the Renaissance was 500 years before us. 2000 years ago, the historical Buddha was 500 years before Jesus and Mary Magdalene. The historical Buddha was a contemporary of Pythagoras and of Lao-tzu, and of a revival of Zarathustra, who was from about 1800 1900 BC but revived at the same time. The historical Buddha is one of the clearest exemplars, like the Renaissance University is one of the clearest ways in order to get a grasp, to get the idea that what is being talked about here is has antecedents. It has historical resonances that are collectible into meaningful sets, but they, when collected, do not stay collected like a snowball, but become resonances within a set that has a harmonic, and that a harmonic is able to be expanded. So it can be kaleidoscopic of many sets, of many resonances that are able to play together in a rather grand way. The great Renaissance way of talking about it is that when you have all these various instruments, you can now have an orchestra. The community of the future is an orchestra of possibilities without limit. Homo sapiens stellaris is poised to learn that our home star system puts us on a parity with any other and all other star systems in the cosmos. That our back yard, as it were, is literally interstellar space. And that that interstellar frontier is capable of being explored and not through just limitations which the integral space time and the symbolic structure of thought previously had corralled that there are many possibilities of exploration, of travel, of communication beyond belief. The historical Buddha to come back for a moment there when he would speak the remembrance of what he said and how he said it was kept accurate in such a way that all of those remembered, uh, discourses were called threads. And in Sanskrit the word for thread is sutra. Uh, in South India, it's pronounced with a southern accent at sutta but sutra. Of all the sutras of the Buddha and some are huge, very long, convoluted, some are medium sized, most of them are smaller. The one of the earliest of the smaller is called the pariana. And it is the fifth book. The fifth? It's only, uh, about, uh, two pages or so. The pariana means the way across, and the structure of the pariana is based on the structure of symbolic thought. The structure of symbolic thought in the classical Buddhist meditative exactness, thought in Sanskrit is called a chitta and the ability to get to the real openness of a cheetah is called a bodhicitta, an enlightenment moment. The Buddha was refined enough to be able to demonstrate that a moment of thought, an atom of the structure of symbolic uh uh, thought in the mind, has 16 parts. Eight parts of which are discursive in that they can be separated out. They can be named. In fact, they are classically named, but the other eight are not nameable because they're not discernible separately. They always occur together. And the classic way of speaking from the great British translators of the sutras of the Buddha in the late 19th century was that they form a trill. They never occur as notes. It's always a trill. And the reason is that the eight discursive aspects, segments of a moment of thought are like the spokes, and the other eight are like the spaces in between the spokes, and that together. Then they are like a not only a moment of thought, but they're like a wheel so that they become like a chakra, not just the chakras of a body, but there is such a thing as a truth chakra, a dharma chakra, and that if a Dharma chakra is put into motion, if it is put into its circularity, what it generates then is a resonance with all other moments that now in a kind of mysterious clockwork, are moved together. The principle also holds in um, in our level of phenomenality. If you have a room full of cellos and Yo-Yo Ma comes in and strikes a B-flat on his cello, all the other cellos in the room very silently will have B flats humming in them. Moments of thought that are clear, like a dharma chakra. Buddhi Chitta are able then to make a harmonic of the entire mind, so that that moment of enlightenment is the trigger that starts the chain reaction of every other moment of thought occurring together. And in the parayana There are 16 top yogis who are suffering from various problems, and they bring all of their problems to the Buddha. And so all 16 of them eventually are the moment of thought in this little sutra. And the sutra is called the Parayana. The way across the way across to the other shore. But in order to get to the other shore, one has to realize that this is not a passage from here to there. It is a continuity of openness. There never was a split of two shores. The illusion that there was a split. Makes a kind of a ghostly, uh epiphenomenon called the ego. And that the ego, then, in claiming its authority, in the individuality. Conceives of itself as a subject. And so subjectivity becomes a believed in fiction, which is able to be deluded because it can be exposed to illusion, and it doesn't know its illusion, cannot tell what is real, cannot tell whether any activity that one does is real because real activities leave no causal trail. They have no karma. Whereas someone who is like a bull in a China shop is constantly going to be breaking things, it's going to be generating karma because cannot tell that reality is graceful and doesn't break anything, does not leave karma trail at all. Courses in openness is the classic way of saying it. I won't read the translations. This is from Lord Chalmers translation 1932. He was the governor general of what was then Ceylon is now Sri Lanka. One of the really great translators of of the sutras. The quality that we're looking at is for us to begin to acquaint ourselves with various aspects that have come together in a series of resonance sets that have a shared harmonic. We're looking at the way in which our maturity as a refined species is able to go back in the new past, as well as to develop into the possible futures at the very same time, and to share our presence of doing this together, in other words, of being able to learn together. And so I call the new civilization the stellar civilization, a learning civilization where learning is not something that one does when one is between certain ages, or to go back to get certain degrees or certain technique certifications, but it is the ongoing continuity of keeping the character in your own experience forever young, and to keep the maturity of your spiritual person ever caring, to be related to that character so that one's person has a personality which is true to oneself. And it turns out like snowflakes, no person is identical with another. Each is a unique expression, an exemplar, and it is the ability to value the uniqueness of others in the midst of a community of sharing presence. That is the signature key for Homo sapiens stellaris one notices more and more no matter what the background is. People who learn to explore the international net tend to have very similar takes upon relationality and can share software anywhere in the world. It doesn't matter what religion, what background, what nationality, what gender that one is, there is a growing share ability as a planetary culture. What gives it the stability, though, is not the planetary culture. That would be generating the mythic horizon of a communal experience. But what gives it the stability is to found it in the further expression of a form generated by a shared history. Because when a history is shared together, then all of our spirit person prismatic forms are able to relate to the cosmos in a reality that is recognizable, not only cognizable, but recognizable. That one is able to look at someone else as oneself, not as some kind of metaphor, but with the dearness of recognition to know they are who they are. Glad to meet you, that they can know you as you are. And it is this quality which is very interesting. The interplay of complementarity was the most important not fulcrum, not center, but axial pivot in the development of physics. About a 3545 years ago. And one of the great figures in there was Niels Bohr, and this was the Centennial Conference. He was born in 1885, and in 1985, in Copenhagen. The Niels Bohr Institute held a series of international lectures, and they put the family crest symbol. Niels Bohr had adopted the tai chi with the black and the orange for his family crest, and the Latin motto was um uh. The phrase which translates um, that uh, everything is um is related together. Uh, the table of contents. Listen to a few titles. Survey of random surface theory the effective action for chiral fermions. One realizes now that vision, when it leads through the ecology of consciousness all the way to science. Vision is actually theory. The Greek term word theoria means contemplation, and contemplation is not like a meditation, where a meditation focuses integrally to the vanishing point, to the one point which is focused so that it vanishes into openness. This is called sometimes moksha. Release In contemplation one expands into infinity. So in the one, one goes to the vanishing point, to the point of vanishing. The other one goes to the periphery of infinitude. Both occupy then a seamless openness. And this is characteristic of the way in which reality actually occurs. So that you get something like random surface theory, the effective action of chiral fermions, the subatomic particles that have not only a time and a place in terms of positioning, but that their chirality, right handed or left handed, are is an essential part of the dynamic of them. Just a few more on infinite dimensional symmetry groups in physics. Renormalization group studies in quantum. Uh uh, color dynamics and beyond. Review aspects of string theory and so forth. This entire quality we're going to be looking at not only deeper, but higher of how very special men and women have come increasingly in what can be seen as a new past, and also as in a future. Last week, we talked a great deal about some of the great science fiction writers. Several of them were very personal friends of mine for decades. The ability to vision a future, to vision a new past is a shared symmetry of the way in which the mind's awareness exceeds the limits of their own individual structure, their own experience, their own ritual comportment in their lives exceeds it in such a way that the classic way of illustrating it, East and west, was to put a space within space around the head, so that one had the saints with a clear thought bubble, or one had the saints with a halo with a nimbus, or one had the radiance of the spikes of light coming forth, or eventually the entire body would be surrounded with the color of auras. And all of this to indicate that there is a higher space within space that is not limited to the space blossoming out of time. That while time can blossom. Phenomenal space. Eternity blossoms a kind of a hyperspace. Within which many other dimensions of possibility not only exist, in fact, it would be regressive to talk about them as existing. They occur before existence happens. And so one says a space of eternity is infinite. Meaning that one can talk about zero and infinity in the same logical way and not make a misstatement when it comes to application. When it comes to the original Greek word for art is techne. When it comes to having the technique of how to do something artistically, one understands that you can shift the phenomenal out of its limitations. Put it into a numinous spectrum of possibilities, and out of that, make a higher dimensional selection of what you would like to do next. That one can literally create the space time that one now wants to create for some project. In this way, the new refinement of species brings the art of person making into a future referent harmonic with the actual cosmos. The quality of being able to transition. This is the quality that was put in the words of Pythagoras, a contemporary of the historical Buddha, when he said, everything is number. Meaning that there is a mathematic capable of being generated out of an arithmetic line. If one has a cardinal line of numbers one, two, three, four, five, six, seven, eight, nine, ten brings one back into play with a zero gives you a higher order. If put into a musical set, do re me fa so la TI do seven notes with the eighth note. The octave of it is the first again, but on a higher order it's the next step up, which also can be extended so that one can now have octaves that repeat in a dovetailing, and one can have a musical instrument like a piano that has 11 octaves in it. Now one has the ability to have a music which is truly a heavenly. As incredible is only recent. No matter how ingenious a harpsichord composition by someone from the Renaissance might be, by the time you get to Mozart doing a piano concerto or Beethoven doing a sonata. One has the ability to get into the art of transcendental spaces, where the cosmos actually now is listening along with you, is playing along with you and anyone who has ever had the experience of being in a performance art. Acting especially, is like this in live theater, where the audience and the performers merge in a complementarity where the stage and the house are one sphere of expressiveness. It's not just that the audience is with you, the audience, and you are together in a hyperspace. The magic of the theater, the magic of the performance. I remember seeing one time a rehearsal of young music students trying to play a Mendelssohn's octet in E, and they were they were pretty good, but they were still students, and they couldn't quite get the ensemble of a whole octet with the passion of a Mendelssohn. But they didn't stop, and one finally got the elan that the mistakes didn't matter. The music was being made. And there it is. Uh, another exemplar which you can consult sometime. Yo-yo Ma was determined to bring one of the great classic suites of the solo Partitas for cello into the public arena, and so he wanted to play each one of the six partitas in some public place. He chose a Boston, he chose Toronto, and he went to the most public places in these these cities to have his cello solo cello play while the public was just going about their normal lives. And it's on video as well as on CDs. When you're finished with the first, there's an interesting quality because the very next one that happens, you have already the tone you're tuned to. What the artist is, um, sharing with you is preparing for you. And when you get that, you begin to notice that people who are like passers by while this performance is going on, they begin to literally resonate like other cellos, cellists with with that quality that the whole production becomes an ensemble in the midst of a crowded Toronto public area. The whole city seems to be vibrating to that partita at that time, and not just because Yo-Yo Ma is a great cellist. He is also a great spiritual person, an artist. The. The Monterey Pop Festival in 1970 featured some of the most creative music played up until that time on the stage, and the person who brought the house down the very last performance was Ravi Shankar. New at that time, fairly new, and he played a composition of his own making called Dune. And it was a bluegrass, rock and roll version of a morning raga. And it got into a harmonic that just coursed through the audience. And so you it wasn't about just appreciating, it was about the levitation of one's personal prismatic quality along with everyone else. And it was like floating in that hyperspace. And it was the pace of the way in which the tabla player never ceased to speed up and complexify and intensify the rhythmic quality of it. And Ravi Shankar trained by. Uh. Uh. Uh, Ali Akbar Khan's father, Ustad, proceeded to open up the musicality of it so that eventually one came to the ability to follow the tabla in its complexity, leading to a concluding. And it was over, but it was over in such a way that it will never be over. And it was a long time before the cheering stopped being several thousand people in hyperspace and came back to the seats in Monterey and realized, wow. More next week.