Merging With Suchness

"When Dongshan was ready to leave his teacher Yunyan, Dongshan asked, 'Later on, if someone asks me if I can depict your reality, or your teaching, how shall I reply?' Yunyan paused, and then said, 'Just this is it.' When he heard that, Dongshan sank into thought. And Yunyan said, 'You are in charge of this great matter. You must be most thoroughgoing.'

Dongshan left Yunyan and was still perplexed; he didn’t quite get it. As he proceeded he was wading across a stream, and seeing his reflection in the water, he had some understanding. He looked down in the stream and saw something, and then he wrote this poem:

‘Just don’t seek from others or
you’ll be far estranged from yourself.
Now I go on alone, but everywhere I meet it.
It now is me; I now am not it.
One must understand in this way
to merge with suchness.’"

- Dongshan Liangjie (807–869)

A World of Phantasms

"When, therefore, Philosophy proves that our knowledge of the external world can be but phenomenal—when it concludes that the things of which we are conscious are appearances; it inevitably arouses in us the notion of an illusiveness like that to which our visual perceptions are so liable in comparison with our tactual perceptions. Good pictures show us that the aspects of things may be very nearly simulated by colors on canvass. The looking-glass still more distinctly proves how deceptive is sight when unverified by touch. And the frequent cases in which we misinterpret the impressions made on our eyes, and think we see something which we do not see, further shake our faith in vision. So that the implication of uncertainty has infected the very word appearance. Hence, Philosophy, by giving it an extended meaning, leads us to think of all our senses as deceiving us in the same way that the eyes do; and so makes us feel ourselves floating in a world of phantasms."

- Herbert Spencer (1820 - 1903)
First Principles/Part I, “The Unknowable”

Rhythmic Harmony

"An artist, when he paints a tonal picture, has in mind the relative dark and light of colors, and their relative coolness and warmth. Let me explain. First the relative coolness or warmth of colors. The artist regards blue as the coolest hue. As a matter of fact violet reflects even less light than blue; still, for his practical purposes, an artist says that the cool hue is blue, and he associates with it violet and green. On the other hand, yellow, he treats as warm, and associates with it red and orange.

And, if you consider for a moment, the distinction of warm and cool hues, which is practiced by artists and founded on the nature of light, appeals to our own experience. You will have no hesitation in feeling that a bunch of violets, surrounded by green leaves, gives you a feeling of coolness, as compared with another bunch composed of red and yellow poppies.

Accordingly, if an artist has made up his mind that his tonal harmony shall be a cool one, he either composes it entirely of cool hues, or sees to it that some one or all of them shall ‘prevail.’ The warmer hues may be introduced for the sake of contrast, but very sparingly. And, of course, he will reverse his use of the hues, if he wishes the tone to be a warm one.

...

When all is said and done, tone is the result of color relations,
so arranged that they produce a rhythmic harmony."

- Charles H. Caffin (1854 - 1918)
A Child's Guide to Pictures

Little Flame of Consciousness

"The development of consciousness is the burden,
the suffering, and the blessing of mankind.
...
If there were no consciousness, there would be no world;
the whole world … depends upon that
little flame of consciousness.
...
Consciousness, no matter how extensive it may be,
must always remain the smaller circle within
the greater circle of the unconscious,
an island surrounded by the sea; and, like the sea itself,
the unconscious yields an endless and self- replenishing
abundance of living creatures,
a wealth beyond our fathoming.
...
 Our consciousness can conceive of things
only in temporal succession, our time is,
therefore, essentially linked to the
chronological sequence.
...
The longing for light is the
longing for consciousness."

- C. G. Jung (1875-1961)

Continua of Time, Space, and the Self

"'Pure experience' is the name which I gave to the immediate flux of life which furnishes the material to our later reflection with its conceptual categories. Only new-born babes, or men in semi-coma from sleep, drugs, illnesses, or blows, may be assumed to have an experience pure in the literal sense of a that which is not yet any definite what, tho ready to be all sorts of whats; full both of oneness and of manyness, but in respects that don't appear; changing throughout, yet so confusedly that its phases interpenetrate and no points, either of distinction or of identity, can be caught. Pure experience in this state is but another name for feeling or sensation. But the flux of it no sooner comes than it tends to fill itself with emphases, and these salient parts become identified and fixed and abstracted; so that experience now flows as if shot through with adjectives and nouns and prepositions and conjunctions. Its purity is only a relative term, meaning the proportional amount of unverbalized sensation which it still embodies.

Far back as we go, the flux, both as a whole and in its parts, is that of things conjunct and separated. The great continua of time, space, and the self envelop everything, betwixt them, and flow together without interfering. The things that they envelop come as separate in some ways and as continuous in others. Some sensations coalesce with some ideas, and others are irreconcilable. Qualities compenetrate one space, or exclude each other from it. They cling together persistently in groups that move as units, or else they separate. Their changes are abrupt or discontinuous; and their kinds resemble or differ; and, as they do so, they fall into either even or irregular series."

- William James (1842 - 1910)
A Pluralistic Universe

Spiritual Being

"Art should be there to remind man that he is a spiritual being, that he is part of an infinitely larger spirit to which he will return in the end. If he’s interested in these questions, if he simply asks himself these questions, he’s already saved spiritually. It’s not the answer that’s important. I know that from the moment man begins asking the questions, he will be unable to live as he has before."

- Andrei Tarkovsky (1932 - 1986)

Provisional Forms

"The world consists of colors, sounds, temperatures, pressures, spaces, times, and so forth, which now we shall not call sensations, nor phenomena, because in either term an arbitrary, one-sided theory is embodied, but simply elements. The fixing of the flux of these elements, whether mediately or immediately, is the real object of physical research. As long as, neglecting our own body, we employ ourselves with the interdependence of those groups of elements which, including men and animals, make up foreign bodies, we are physicists. For example, we investigate the change of the red color of a body as produced by a change of illumination. But the moment we consider the special influence on the red of the elements constituting our body, outlined by the well-known perspective with head invisible, we are at work in the domain of physiological psychology. We close our eyes, and the red together with the whole visible world disappears. There exists, thus, in the perspective field of every sense a portion which exercises on all the rest a different and more powerful influence than the rest upon one another. With this, however, all is said. In the light of this remark, we call all elements, in so far as we regard them as dependent on this special part (our body), sensations. That the world is our sensation, in this sense, cannot be questioned. But to make a system of conduct out of this provisional conception, and to abide its slaves, is as unnecessary for us as would be a similar course for a mathematician who, in varying a series of variables of a function which were previously assumed to be constant, or in interchanging the independent variables, finds his method to be the source of some very surprising ideas for him.

...

... we certainly shall wonder how colors and tones which were such innermost parts of us could suddenly get lost in our physical world of atoms; how we could be suddenly surprised that something which outside us simply clicked and beat, in our heads should make light and music; and how we could ask whether matter can feel, that is to say, whether a mental symbol for a group of sensations can feel?"

- Ernst Mach (1838 - 1916)
Popular Scientific Lectures

Omni Inter-Accommodation

"In short, physics has discovered
That there are no solids.
No continuous surfaces.
No straight lines;
Only waves.
No things.
Only energy event complexes.
Only behaviors.
Only verbs.
Only relationships,
Which, once discovered,
Can be kept track of
and employed
By both the integral brain
And the extracorporeal computer
But may never be discovered originally
By those physically limited tools.

And the why-for and how-come

Of omni-interaccommodation

Of all the known family

Of weightless, eternal, generalized principles —

Thus far discovered

By scientific observation

To be metaphysically governing

In elegant mathematical order

All Scenario Universe’s

Interrelationships, transformations and transactions,

Without one principle contradicting another —

Are all and together

Absolute mystery."

- R. Buckminster Fuller (1895 - 1983)
Intuition

I Am an Atom in the Universe

"At this moment I have knowledge of,
in the living reality, that I am an atom in the universe
that has access to infinite possibilities of development.
These possibilities I want, gradually, to reveal.
...
Those granted the gift of seeing more deeply
can see beyond form, and concentrate on the
wondrous aspect hiding behind every form,
which is called life.
...
The more we discover the wonders of nature,
the more we become aware of ourselves."

- Hilma af Klint (1862 - 1944)

Beauty for Ashes

"It would be idle to deny that there is in autumn - the fall of the year - an irrepressible note of decadence; it is echoed in a whisper by the rustle of falling leaves. Beneficent in their life, for all the plant’s wealth is due to them, they are beautiful in their dying. They have worked themselves out, for it is hardly a metaphor to speak of the industry of the leaf; supplies are running short, the sun’s rays are fewer, the first shock of frost has come, and the leaves must die. But before they die they surrender to the plant all that they have still left that is worth having. There is a retreat of particles down the leaf-stalk into the stem. Thus the leaves fall virtually dead, almost empty except of waste. They are like empty houses from which the tenants have flitted, breaking, and burning some of the furnishings as they went, leaving little more than ashes on the hearth. But nature is ever generous of beauty, for the dying leaves have a literal ‘beauty for ashes.’ [...] Climb the hill above the village, and watch the sun set over the withering woods. Look out over the sea of gold, mingled with fire, and broken by dark rocks which you know to be pines. Accept the withering but see also the harvest-fields; even on the bare boughs there are buds. Hear the birds pass overhead, quite a Babel of good-byes, but many at least will return. Watch the seeds drift off the dead plants as the wind sighs along the hillside, and know that the race continues. Look death in the face, and see that he is kindly and wise. Wait till the cows are driven home lowing, till the sheep are herded off the exposed moorland, till the colors pale in the brief twilight, till the birds that remain cease to sing, till the lamps are lit in the cottage windows. Wait on till the curfew tolls, till the lights are put out one by one, - then know the rest and silence of autumn."

- J. Arthur Thomson (1861 - 1933)