Simple Light

"Know that before the emanations were emanated and the created was created, a supreme simple light filled all reality, so that there was no free place at all in the sense of an empty, hollow space, but everything was filled with that simple light of the En Sof. [...] And when it ascended in its simple will to create the worlds and emanate the emanations, thereby making the perfection of its works, its names and its attributes knowable, which was the reason for the creation of the worlds [...], the En Sof contracted at the middle point, truly in the middle of its light. It contracted the light and moved away on all sides around the center point. This left a free space around the center point, an empty, hollow space..."

- Isaac Luria (1534 - 1572)
Etz Chaim (Tree of Life)

Sorcery's Mirror

"Such would be the successive phases of the image: it is the reflection of a profound reality; it masks and denatures a profound reality; it masks the absence of a profound reality; it has no relation to any reality whatsoever: it is its own pure simulacrum. In the first case, the image is a good appearance - representation is of the sacramental order. In the second, it is an evil appearance - it is of the order of maleficence. In the third, it plays at being an appearance - it is of the order of sorcery. In the fourth, it is no longer of the order of appearances, but of simulation. [...] It is the fantasy of seizing reality live that continues—ever since Narcissus bent over his spring. Surprising the real in order to immobilize it, suspending the real in the expiration of its double. [...] Nothing is wholly obvious without becoming enigmatic. Reality itself is too obvious to be true."

- Jean Baudrillard (1929 - 2007)

Crumpled Manifolds

"The whole process of applying this complex geometric transformation to the input data can be visualized in 3D by imagining a person trying to uncrumple a paper ball: the crumpled paper ball is the manifold of the input data that the model starts with. Each movement operated by the person on the paper ball is similar to a simple geometric transformation operated by one layer. The full uncrumpling gesture sequence is the complex transformation of the entire model. Deep learning models are mathematical machines for uncrumpling complicated manifolds of high-dimensional data. [...] Our own understanding of images, sounds, and language, is grounded in our sensorimotor experience as humans -as embodied earthly creatures. Machine learning models have no access to such experiences and thus cannot 'understand' their inputs in any human-relatable way [...] this mapping is just a simplistic sketch of the original model in our minds, the one developed from our experience as embodied agents—it is like a dim image in a mirror."

- François Chollet (1989 - )

Quetzal Serpent

 " And then the earth arose because of them, it was simply their word that brought it forth. For the forming of the earth they said "Earth." It arose suddenly, just like a cloud, like a mist, now forming, unfolding.

...

This is the account of when all is still silent and placid. All is silent and calm. Hushed and empty is the womb of the sky. These, then, are the first words, the first speech. There is not yet one person, one animal, bird, fish, crab, tree, rock, hollow, canyon, meadow, or forest. All alone the sky exists. The face of the earth has not yet appeared. Alone lies the expanse of the sea, along with the womb of all the sky. There is not yet anything gathered together. All is at rest. Nothing stirs. All is languid, at rest in the sky. There is not yet anything standing erect. Only the expanse of the water, only the tranquil sea lies alone. There is not yet anything that might exist. All lies placid and silent in the darkness, in the night. All alone are the Framer and the Shaper, Sovereign and Quetzal Serpent, They Who Have Borne Children and They Who Have Begotten Sons. Luminous they are in the water, wrapped in quetzal feathers and cotinga feathers. Thus they are called Quetzal Serpent. In their essence, they are great sages, great possessors of knowledge."

- Popol Vuh

Plato's Cave

"Plato's Cave" Portfolio

"Before all the wondrous shows of the widespread space around him, what living, sentient thing loves not the all-joyous light - with its colors, its rays and undulations, its gentle omnipresence in the form of the wakening Day? [...] Aside I turn to the holy, unspeakable, mysterious Night. Afar lies the world - sunk in a deep grave - waste and lonely is its place. [...] More heavenly than those glittering stars we hold the eternal eyes which the Night hath opened within us. Farther they see than the palest of those countless hosts - needing no aid from the light, they penetrate the depths of a loving soul - that fills a loftier region with bliss ineffable. [...] No longer was the Light the abode of the gods, and the heavenly token of their presence - they drew over themselves the veil of the Night. The Night became the mighty womb of revelations - into it the gods went back - and fell asleep, to go abroad in new and more glorious shapes over the transfigured world. "

- Novalis (1772 - 1801)
Hymns to the Night

Postscript. Clicking on the image at the top will take you to a new Plato's Cave portfolio in my web gallery. For those of you who have not already guessed at how these images have been created (I posted the first in the series a few weeks ago with the heading, Platonic Forms), the title (and reference) will be obvious from the process: I shine thin beams of light (using one, two, or three flexible gooseneck LEDs with magnetic bases secured to a metal plate for stability) through a wide assortment of glass and acrylic geometric forms (squares, prisms, pyramids, circles, spheres, etc.) ranging in size from a quarter of an inch to about three or four inches and of varying translucency and color (the color of most forms depends on the direction of light that hits their surface), and photograph the most "pleasing combinations" of the resulting clusters of lights and shadows that appear on a black matte board pitched vertically some distance beyond where the LEDs are stationed. Note that while the images look noisy, it is not actual "noise" you are seeing, but rather the impression of noise due to the collective specular and diffuse reflections of light off the matte board's imperfectly speckled surface. 

Apart from my delight in being able to use this technique to explore a part of the abstract aesthetic latent space pioneered by László Moholy-Nagy, Itten, Kandinsky, Klee, Robert & Sonia Delaunay, and explored by my dad in his later years (albeit, in my case, on a woefully amateurish level compared to these extraordinary artists), I am intrigued conceptually, philosophically even, by how blatantly it blurs the distinction between traditional art and photography. I say this because for this series photography plays only a minor (and least important) role! Arranging and discovering a "pleasing configuration" of lights and forms requires a lot of time and patience. It typically takes me about 20-30 min to find a single geometry worth taking an image of. Indeed, the process of choosing the type and number of shapes, adjusting the light's intensity, direction, and the beam size, and making the myriad small changes (during which I often have to start from scratch because an arrangement is simply "not working") needed to gradually sculpt (reveal?) a "pleasing geometry" - for which the final "shot" is almost an afterthought -  is arguably more akin to making art than doing photography!

My lifelong fascination with the blurred distinction between art and photography has directly fueled my experiments in abstraction, wherein I deliberately try to tease apart (disentangle?) the creative tension between finding abstract patterns vs. creating them. Individual projects all follow their own style and rhythm. For example, for my Synesthscapes series, I search for patterns in what are essentially "fixed" environments (e.g., natural light refracting/reflecting through a rum bottle); for my Swirls, Whorls, and Tendrils series, I create singular "worlds" made up of ink and water, which I then photograph whatever time-slice of it proves to be sufficiently interesting; my perpetual winter passion to find ice abstracts consists of exactly that, finding patterns that nature herself has already produced; my light abstracts emerge from fixed geometries of light filaments and intentional random camera movements, wherein I decide whether an image is "good enough" to keep only after taking the photograph; and Cymatiscapes require little more of me than to choose a vessel type and size (e.g., a small soy sauce dish) and a vibration frequency before clicking the shutter in my camera's burst mode; I tend to think of this series (which I love!) as neither art nor photography (at least in the traditionally creative sense) and merely as an archive of my having observed something interesting. But, compared to all of these earlier experiments, the process of creating - literally, creating - images for Plato's Cave is obviously on an entirely different level! Of course, in the most fundamental sense, distinctions between art and photography (and, as someone has commented below) between art and life, are not nust blurred, they are entirely illusory.

Luminous Mind

 "Luminous, monks, is the mind.
And it is freed from incoming defilements.
The well-instructed disciple of the noble ones
discerns that as it actually is present,
which is why I tell you that—
for the well-instructed disciple of the noble ones
—there is development of the mind."

- Aṅguttara Nikāya
Luminous Mind

Overlapping Wholes

"The principal features of a complex configuration are always created by overlap. Although this ... overlap may seem trivial [...] you will see that this kind of overlap, and ambiguity, is essential and pervasive. [...] This is the glue in any system of wholes. Wholeness itself is directly created by this apparent overlap, or ambiguity. The greater the number of overlapping wholes, the more tightly bound the configuration is, and the more deeply the wholeness of the object shows itself to be.

- Christopher Alexander (1936 - 2022)

Original Mind

"The real mind doesn't have anything to it,

it is simply (an aspect of) Nature.

It becomes peaceful or agitated

because moods deceive it.

That gladness or sadness

is not the mind,

but only a mood coming to deceive us.

The untrained mind gets lost

and follows these things,

It forget itself.

Then we think it is we

who are upset or at ease or whatever.

But really this mind of ours is inherently

unmoving and peaceful...

really peaceful!

Just like a leaf which is still

As long as no wind blows.

If a wind comes up, the lead flutters -

The fluttering is due to the wind.

Our 'fluttering' is due to those sense impressions;

The mind follows them.

If it doesn't follow them, it doesn't 'flutter'

If we know fully

the true nature of sense impressions

we will be unmoved.

Our practice is simply to see

the Original Mind.

So we must train the mind

to know those sense impressions, and

not get lost in them.

To make it peaceful."

-  Ajahn Chah (1918 - 1992)

Buddha Lands

Water is not concerned with past,
future, present or the phenomenal world.
Even in a drop of water, innumerable 
buddha lands appear."

- Dogen (1200 - 1253)

Perfect Penetration

"I entered into the stream of the self-nature of the sense of hearing, thereby eliminating the sound of what was heard. Now proceeding from this stillness, both sound and silence ceased to arise. Advancing in this way, both hearing and what was heard melted away and vanished. When hearing and what is heard are both forgotten, then the sense of hearing leaves no impression in the mind. When sense and the objects of sense both become empty, then emptiness and sense merge and reach a state of absolute perfection. When emptiness and what is being emptied are both extinguished, then arising and extinction are naturally extinguished. At this point the absolute emptiness of nirvana became manifest, and suddenly I transcended the mundane and supra-mundane worlds."

- Guanyin Bodhisattva
Shurangama Sutra

Gojū-no-tō

"By knowing things that exist,
you can know that which does not exist.
That is the void.

...

Do not think dishonestly. The Way is in training. Become acquainted with every art. Know the Ways of all professions. Distinguish between gain and loss in worldly matters. Develop an intuitive judgement and understanding for everything. Perceive those things which cannot be seen. Pay attention even to trifles. Do nothing which is of no use. [...] Know the smallest things and the biggest things, the shallowest things and the deepest things. As if it were a straight road mapped out on the ground. [...] These things cannot be explained in detail. From one thing, know ten thousand things. When you attain the Way of Strategy there will not be one thing you cannot see. 

...

In the void is virtue, and no evil.
Wisdom has existence, principle has existence,
the Way has existence, spirit is nothingness."

- Miyamoto Musashi (1583 – 1645)
The Book of Five Rings

Pointillist Flecks

"...the notion of depth is toyed with and finally subverted, until Klimt reduced the volumes of terrain to a series of flattened pieces comprised of a multitude of pointillist flecks. The sky disappears almost entirely from his compositions, as do, with a few exceptions, traditional methods of illusionism like linear and atmospheric perspective. [...] The paintings of the mid-aughts are gorgeous tapestries of narrow value range and scintillating color. They bear a superficial resemblance to French Post-Impressionism, but the offbeat elegance and nervous energy are unique to Klimt."

- LINEA, review of Klimt: Landscapes
at Neue Galerie New York (2024)

Pure Mind

"Mind precedes all mental states.
Mind is their chief; they are all mind-wrought.
If with an impure mind a person speaks or acts
suffering follows him like the wheel
that follows the foot of the ox.

...

Mind precedes all mental states.
Mind is their chief; they are all mind-wrought.
If with a pure mind a person speaks or acts
happiness follows him like his
 never-departing shadow."

- The Dhammapada

Ephel Duath

"Far above the Ephel Duath in the West the night-sky was still dim and pale. There, peering among the cloud-wrack above a dark tor high up in the mountains, Sam saw a white star twinkle for a while. The beauty of it smote his heart, as he looked up out of the forsaken land, and hope returned to him. For like a shaft, clear and cold, the thought pierced him that in the end the Shadow was only a small and passing thing: there was light and high beauty for ever beyond its reach."

-  J.R.R. Tolkien (1892 - 1973)
The Return of the King
Sam, Chapter II: The Land of Shadow

Aboriginal Dreaming

"Although The Dreaming conjures up the notion of a sacred, heroic time of the indefinitely remote past, such a time is also, in a sense, still part of the present. One cannot ‘fix’ The Dreaming in time: it was, and is, everywhen. We should be very wrong to try to read into it the idea of a Golden Age, or a Garden of Eden, though it was an Age of Heroes, when the ancestors did marvelous things that men can no longer do [...] Clearly, The Dreaming is many things in one. Among them, a kind of narrative of things that once happened; a kind of charter of things that still happen; and a kind of logos or principle of order transcending everything significant for Aboriginal man. [...] These tales are neither simply illustrative nor simply explanatory, they are fanciful and poetic in content because they are based on visionary and intuitive insights into mysteries; and, if we are ever to understand them, we must always take them in their complex content."

- W.E.H. Stanner (1905 - 1981)

Unconscious Activation

"The creative process, so far as we are able to follow it at all, consists in the unconscious activation of an archetypal image, and in elaborating and shaping this image into the finished work. By giving it shape, the artist translates it into the language of the present, and so makes it possible for us to find our way back to the deepest springs of life."

- C. G. Jung (1875-1961)

Spiritual Harmony

"The more abstract is form, the more clear and direct is its appeal. In any composition the material side may be more or less omitted in proportion as the forms used are more or less material, and for them substituted pure abstractions, or largely dematerialized objects. The more an artist uses these abstracted forms, the deeper and more confidently will he advance into the kingdom of the abstract. And after him will follow the gazer at his pictures, who also will have gradually acquired a greater familiarity with the language of that kingdom.

...

Form alone, even though totally abstract and geometrical, has a power of inner suggestion. A triangle (without the accessory consideration of its being acute- or obtuse-angled or equilateral) has a spiritual value of its own. In connection with other forms, this value may be somewhat modified, but remains in quality the same. The case is similar with a circle, a square, or any conceivable geometrical figure.

...

Every form is as sensitive as a puff of smoke, the slightest breath will alter it completely. This extreme mobility makes it easier to obtain similar harmonies from the use of different forms, than from a repetition of the same one; though of course an exact replica of a spiritual harmony can never be produced. So long as we are susceptible only to the appeal of a whole composition, this fact is of mainly theoretical importance. But when we become more sensitive by a constant use of abstract forms (which have no material interpretation) it will become of great practical significance."

- Wassily Kandinsky (1866 - 1944)

Primordial Ideas

"Colors are primordial ideas,
children of the aboriginal colorless light
and its counterpart, colorless darkness Light,
that first phenomenon of the world, reveals
to us the spirit and the living soul
of the world through colors.

...

Color is life, for a world without color seems dead.
As a flame produces light, light produces color.
As intonation lends color to the spoken word,
color lends spiritually realized sound to a form.
...
Between black and white there throbs the
universe of chromatic phenomena."

- Johannes Itten (1888 - 1967)

Weltanschauung

"That everything is transitory is merely a simile. Everything we see is a proposal, a possibility, an expedient. The real truth, to begin with, remains invisible beneath the surface. The colors that captivate us are not lighting, but light. The graphic universe consists of light and shadow. The diffused clarity of slightly overcast weather is richer in phenomena than a sunny day. A thin stratum of cloud just before the stars break through. It is difficult to catch and represent this, because the moment is so fleeting. It has to penetrate into our soul. The formal has to fuse with the Weltanschauung"

- Paul Klee (1879 - 1940)

Fiery Light

"A fiery light, of the greatest flashing brightness, coming out of a cloudless sky, flooded my entire mind and so inflamed my whole heart and my whole breast like a flame — yet it was not blazing but glowing hot, as the sun makes anything on which its rays fall hot. 

...

And I saw as if in the middle of the southern sky an image, beautiful and wonderful in the mystery of God, like a human in form. Her face was of such beauty and radiance that I could more easily look at the sun than at her; and a great circlet of golden color surrounded her head. [...] And this image spoke: ‘I am the supreme and fiery force, who sets all living sparks alight and breathes forth no mortal things, but judges them as they are. Flying around the circling circlet with my upper wings - with my wisdom - I have ordered all things rightly. But I am also the fiery life of the essence of divinity; I flame above the beauty of the fields, and I shine in the waters, and I burn in the sun, the moon, and the stars. With the airy wind I quicken all things with some invisible life that sustains them all. For the air lives in viridity [i.e., greenness] and in the flowers, the waters flow as if alive, and the sun lives within its own light.

...

The light that I see thus is not spatial, but it is far, far brighter than a cloud that carries the sun. I can measure neither height, nor length, nor breadth in it; and I call it the 'reflection of the living Light.'"

- Hildegard of Bingen (1098 - 1179)

Platonic Forms

"And now look again, and see what will naturally follow if the prisoners are released and disabused of their error. At first, when any of them is liberated and compelled suddenly to stand up and turn his neck round and walk and look towards the light, he will suffer sharp pains; the glare will distress him, and he will be unable to see the realities of which in his former state he had seen the shadows; and then conceive some one saying to him, that what he saw before was an illusion, but that now, when he is approaching nearer to being and his eye is turned towards more real existence, he has a clearer vision. [...] Will he not fancy that the shadows which he formerly saw are truer than the objects which are now shown to him? [...] He will require to grow accustomed to the sight of the upper world. And first he will see the shadows best, next the reflections of men and other objects in the water, and then the objects themselves; then he will gaze upon the light of the moon and the stars and the spangled heaven; and he will see the sky and the stars by night better than the sun or the light of the sun by day. [...] Last of all he will be able to see the sun, and not mere reflections of him in the water, but he will see him in his own proper place, and not in another; and he will contemplate him as he is. [...] This entire allegory you may now append, dear Glaucon, to the previous argument; the prison-house is the world of sight, the light of the fire is the sun, and you will not misapprehend me if you interpret the journey upwards to be the ascent of the soul into the intellectual world according to my poor belief, which, at your desire, I have expressed - whether rightly or wrongly God knows. But, whether true or false, my opinion is that in the world of knowledge the idea of good appears last of all, and is seen only with an effort; and, when seen, is also inferred to be the universal author of all things beautiful and right, parent of light and of the lord of light in this visible world, and the immediate source of reason and truth in the intellectual; and that this is the power upon which he who would act rationally, either in public or private life, must have his eye fixed."

- Plato (c.424 - 348 BC)
"The Allegory of the Cave" (Republic, Book Seven) 

Seed Unfolding

"The One, perfect in seeking nothing, possessing nothing and needing nothing, overflows and creates a new reality by its superabundance. [...] The process is like the unfolding of a seed, moving from simple origin to termination in the world of sense, the prior always remaining in its place, while begetting its successor from a store of indescribable power - power that must not halt within the higher realm [...] but continue to expand until the universe of things reaches the limit of its possibility, lavishing its vast resources on all its creatures, intolerant that any one should have no share in it. Nothing is debarred from participation in the Good, to the extent of its receptivity. "

- Plotinus (c. 204/5 – 270 CE)
The Enneads

Luminous Forms

"Architecture is the masterly, correct and magnificent play of masses brought together in light. Our eyes are made to see forms in light; light and shade reveal these forms; cubes, cones, spheres, cylinders or pyramids are the great primary forms which light reveals to advantage; the image of these is distinct and tangible within us without ambiguity. It is for this reason that these are beautiful forms, the most beautiful forms. Everybody is agreed to that, the child, the savage and the metaphysician."

- Le Corbusier (1887 - 1965)

Spiritual Facts

"Particular natural facts are symbols of particular spiritual facts. [...] Nature is the symbol of spirit. [...] Every natural fact is a symbol of some spiritual fact. Every appearance in nature corresponds to some state of the mind, and that state of the mind can only be described by presenting that natural appearance as its picture. [...] By degrees we may come to know the primitive sense of the permanent objects of nature, so that the world shall be to us an open book, and every form significant of its hidden life and final cause."

- Ralph Waldo Emerson (1803 - 1882)
Nature

Rhythmic Measures

"The same stream of life that runs
through my veins night and day runs through
the world and dances in rhythmic measures.
It is the same life that shoots in joy
through the dust of the earth in numberless blades of grass
and breaks into tumultuous waves of leaves and flowers.
It is the same life that is rocked in the ocean-cradle
of birth and of death, in ebb and in flow.
I feel my limbs are made glorious by the touch of this world
of life. And my pride is from the life-throb of ages
dancing in my blood this moment."

- Rabindranath Tagore (1861 - 1941)

Possible Worlds

 "As there are an infinity of possible worlds,
there are also an infinity of laws,
certain ones appropriate to one; others,
to another, and each possible individual
of any world involves in its concept
the laws of its world."

- G.W. Leibniz (1646 - 1716)

Spirit World

"...As with the man on the mountaintop, extraordinary imaginings and singular sensations arise that seem to grow out beyond all bearing. But it is necessary for us to experience that too. We must assume our existence as broadly as we in any way can; everything, even the unheard-of, must be possible in it. That is at bottom the only courage that is demanded of us: to have courage for the most strange, the most singular and the most inexplicable that we may encounter. That mankind has in this sense been cowardly has done life endless harm; the experiences that are called 'visions,' the whole so-called 'spirit-world,' death, all those things that are so closely akin to us, have by daily parrying been so crowded out of life that the senses with which we could have grasped them are atrophied. To say nothing of God."

- Rainer Maria Rilke (1875 - 1926)
Letters to a Young Poet (Letter 8)

Fleeting Vortices

"[Physicists and naturalists cannot] look down from a great height upon a world which their consciousness could penetrate without being submitted to it or changing it. [...] a more complete study of the movements of the world will oblige us ... to discover that if things hold and hold together, it is only by reason of complexity, from above.

...

Hence we find our minds instinctively tending to represent energy as a kind of homogeneous, primordial flux in which all that has shape in the world is but a series of fleeting 'vortices'. [...] each new being has and must have a cosmic embryogenesis ...

...

Science, philosophy and religion are bound to converge ...
but without merging, and without ceasing, to the very end,
to assail the real from different angles
and on different planes."

- Teilhard De Chardin (1881- 1955)
The Phenomenon of Man

More is Diferent

"At each level of complexity entirely new properties appear, and the understanding of the new behaviors requires research which I think is as fundamental in its nature as any other. That is, it seems to me that one may array the sciences roughly linearly in a hierarchy, according to the idea: The elementary entities of science X obey the laws of science Y. But this does not at all imply that science X is 'just' science Y. At each stage entirely new laws, concepts, and generalizations are necessary, requiring inspiration and creativity to just as great a degree as in the previous one."

- Philip W. Anderson (1923 - 2020)
More is Different

Plural Monism

"Monism allows for no such things as 'other occasions' in reality—in real or absolute reality, that is. The difference I try to describe amounts, you see, to nothing more than the difference between what I formerly called the each−form and the all−form of reality. Pluralism lets things really exist in the each−form or distributively. Monism thinks that the all−form or collective−unit form is the only form that is rational. The all−form allows of no taking up and dropping of connexions, for in the all the parts are essentially and eternally co−implicated. In the each−form, on the contrary, a thing may be connected by intermediary things, with a thing with which it has no immediate or essential connexion. It is thus at all times in many possible connexions which are not necessarily actualized at the moment.

...

Here, then, you have the plain alternative, and the full mystery of the difference between pluralism and monism, as clearly as I can set it forth on this occasion. It packs up into a nutshell:—Is the manyness in oneness that indubitably characterizes the world we inhabit, a property only of the absolute whole of things, so that you must postulate that one−enormous−whole indivisibly as the prius of there being any many at all—in other words, start with the rationalistic block−universe, entire, unmitigated, and complete?—or can the finite elements have their own aboriginal forms of manyness in oneness, and where they have no immediate oneness still be continued into one another by intermediary terms—each one of these terms being one with its next neighbors, and yet the total 'oneness' never getting absolutely complete?

...

Whatever I may say, each of you will be sure to take pluralism or leave it, just as your own sense of rationality moves and inclines. The only thing I emphatically insist upon is that it is a fully co−ordinate hypothesis with monism. This world may, in the last resort, be a block−universe; but on the other hand it may be a universe only strung−along, not rounded in and closed. Reality may exist distributively just as it sensibly seems to, after all. On that possibility I do insist."

- William James (1842 - 1910)
A Pluralistic Universe

Unfolding Forms

"The essential order of movement is not that of an object translating itself from one place to another, but rather, it is a folding and unfolding, in which the object is continually being created again, in a form generally similar to what it was, though different in detail. The explicate order of movement of the object is thus not independent, substantial, and self-existent. We suggest instead that it is an appearance, abstracted from the implicate order, on which it depends and from which it derives its whole form and set of characteristic relationships.

...

What all this means is that the flux of the holomovement is the implicate source of all forms, both physical and mental. That is to say, the whole of existence, including inanimate matter, living organisms, and ‘mind,’ arises in a single ground, in which these are all enfolded, or contained implicitly. 

...

It is clear that, in this view, living organisms are to be regarded as particular manifestations of what is ultimately enfolded in the inward depths of the holomovement. We are suggesting here that a living organism has a more direct contact with what is thus enfolded in the holomovement than does inanimate matter. [...] One can appropriately call the holomovement the life energy, which is the ground that ultimately creates and sustains all matter and all mind, as two relatively autonomous and independent streams that may move in parallel."

 - David Bohm (1917 - 1992)
The Implicate or Enfolded Order
Quoted from Chapter 1 in Mind in Nature: the Interface of Science and Philosophy

Forces Eternal

 "Here doth Nature close the ring of her forces eternal;
Yet doth a new one, at once, cling to the one gone before,
So that the chain be prolonged for ever through all generations,

And that the whole may have life, e'en as enjoyed by each part.
Now, my beloved one, turn thy gaze on the many-hued thousands
Which, confusing no more, gladden the mind as they wave.
Every plant unto thee proclaimeth the laws everlasting.
Every floweret speaks louder and louder to thee."

- Johann Wolfgang von Goethe (1749 - 1832)
 The Metamorphosis of Plants

Unreal Things

 "Unreal things have a reality of
their own, in poetry as elsewhere.
We do not hesitate, in poetry,
to yield ourselves to the unreal,
when it is possible to
yield ourselves."

- Wallace Stevens (1879 - 1955)

Photographer's note. There is an amusing story behind this image, which I took with my iPhone yesterday after my wife, our eldest son, and I finished dinner at a local Nepalese restaurant. As we were waiting for the bill to arrive, I was transfixed by what looked like - to my eye, anyway - a mountainous dune-like vista (such as we had recently seen during our visit to Death Valley, CA). In "reality" this is nothing but a three foot section of wall near the ceiling, with the play of light owing itself to some light fixtures on the ceiling itself (which I cropped out of the image you see above). The "amusing" part is that while I was transfixed by the real-but-unreal dunes (and took a few loooong moments, as I usually do, to get the composition just right), our waiter was politely waiting by our table, equally transfixed by my fascination with what - to him - was nothing but peeling paint on a wall that needed repair! Indeed, when I was finished and approached our table to sit back down, I heard the tail end of a conversation that ensued behind my back between our waiter and my wife. My wife was explaining (as she has done countless times before in similar scenarios) that I "see the world a bit differently," even as our waiter kept apologizing for not having yet "fixed" the wall. Light, shadow, texture, reflection, paint, wall in need of repair, or dunes in the desert, ... which of these are "real" and which imagined? And what of the infinite other Borgesian worlds left unperceived and unexplored? Seeing the world differently, indeed 😊

Thoughtful Imbibing

"Before all the wondrous shows of the widespread space around him, what living, sentient thing loves not the all-joyous light -- with its colors, its rays and undulations, its gentle omnipresence in the form of the wakening Day? The giant-world of the unresting constellations inhales it as the innermost soul of life, and floats dancing in its blue flood -- the sparkling, ever-tranquil stone, the thoughtful, imbibing plant, and the wild, burning multiform beast inhales it -- but more than all, the lordly stranger with the sense-filled eyes, the swaying walk, and the sweetly closed, melodious lips. Like a king over earthly nature, it rouses every force to countless transformations, binds and unbinds innumerable alliances, hangs its heavenly form around every earthly substance. -- Its presence alone reveals the marvelous splendor of the kingdoms of the world.

...

Aside I turn to the holy,
unspeakable, mysterious Night.

...

In other regions the light has pitched its joyous tents."

- Friedrich von Hardenberg (1772 - 1801)
Hymns to the Night 

Luminous Eddy

"The birth and death of the leaves are the
rapid whirls of the eddy whose
wider circles move slowly
among stars."

- Rabindranath Tagore (1861 - 1941)

Another Vision

"We must close our eyes and
invoke a new manner of seeing, a
wakefulness that is the birthright of us all,
though few put it to use.

...

What then is our course, what the manner of our flight? This is not a journey for the feet; the feet bring us only from land to land; nor need you think of coach or ship to carry you away; all this order of things you must set aside and refuse to see: you must close the eyes and call instead upon another vision which is to be waked within you, a vision, the birthright of all, which few turn to use.

...

Never did eye see the sun unless
it had first become sun-like,
and never can the soul have vision of
the First Beauty unless itself be beautiful."

- Plotinus (c. 204/5 – 270 CE)

Scenery of Spring

 "In the scenery of spring,
nothing is better, nothing worse;
The flowering branches are

of themselves, some short,
some long."

- Ryōkan (1758 - 1831)

Cosmic Soul

"I perceived that I was on a little round grain of rock and metal, filmed with water and with air, whirling in sunlight and darkness. And on the skin of that little grain all the swarms of men, generation by generation, had lived in labor and blindness, with intermittent joy and intermittent lucidity of spirit. And all their history, with its folk-wanderings, its empires, its philosophies, its proud sciences, its social revolutions, its increasing hunger for community, was but a flicker in one day of the lives of the stars.

...

It did not seem impossible that man himself was the germ of the world-soul, which, we still hope, is destined to awake for a while before the universal decline, and to crown the eternal cosmos with its due of knowledge and admiration, fleeting yet eternal. [...] It is even conceivable that every creative advance that any mind has ever made involves unwitting co-operation with the cosmic mind which, perhaps, will awake at some date before the End.

...

The cosmos exploded, actualizing its potentiality of space and time. The centers of power, like fragments of a bursting bomb, were hurled apart. But each one retained in itself, as a memory and a longing, the single spirit of the whole; and each mirrored in itself aspects of all the others throughout all the cosmical space and time."

- Olaf Stapledon (1886 - 1950)
Last and First Men and Star Maker

Shitao's Yihua

"On a windy, rainy, spring day, I am happy I have no visitors; my hand is free, my mind relaxed and cleansed. The ancients called it yihua, the 'single stroke': a thousand hills, ten thousand valleys, people, bamboo, trees, a single brushstroke and all is completed. On one level, yihua constitutes a very practical concept: a complete design begins and finishes with the single brushstroke. On a metaphysical level, it suggests that 'myriad strokes are reunited in oneness' through the mind and hand of the artist and through the artist's spiritual communion with nature."

- Shitao (642–1707)

Movements of Mind

"The life of forms is not the result of chance. Nor is it a great cyclorama neatly fitted into the theater of history and called into being by historical necessities. No. Forms obey their own rules - rules that are inherent in the forms themselves, or better, in the regions of the mind where they are located and centered - and there is no reason why we should not undertake an investigation of how these great ensembles, united by close reasoning and by coherent experiment, behave throughout the phases that we call their life. The successive states through which they pass are more or less lengthy, more or less intense, according to the style itself. [...] We must never think of forms, in their different states, as simply suspended in some remote, abstract zone, above the earth and above man. They mingle with life, whence they come; they translate into space certain movements of the mind. [...] We must, in the truest sense of the word, follow closely at its heels; we must take careful note of how it lives its life."

- Henri Focillon (1881 - 1943)
The Life of Forms in Art

Unknown Worlds

"Without a living subject,
there can be neither space nor time.

...

[This is] "...what one might call the description of a walk into unknown worlds. These worlds are not only unknown; they are also invisible. Furthermore, the justification for their existence is denied by many zoologists and physiologists. [...] While this assertion will sound odd to anyone familiar with those worlds, it can be explained by the fact that not everyone has access to those worlds. Certain convictions are able to bar the entrance to those worlds so securely that not even one ray of all the splendor that spreads over them can penetrate it. Whoever wants to hold on to the conviction that all living things are only machines should abandon all hope of glimpsing their environments. [...] Every subject spins out, like the spider's threads, its relations to certain qualities of things and weaves them into a solid web, which carries its existence.

...

Each subject lives in a world where there is
only of subjective realities and where the
same environments represent
only subjective realities."

- Jakob von Uexküll (1864 - 1944)
 A Foray Into the Worlds of Animals and Humans:
With a Theory of Meaning

Infinite Garden

"The Author of nature has been able to employ this divine and infinitely wonderful power of art, because each portion of matter is not only infinitely divisible, as the ancients observed, but is also actually subdivided without end, each part into further parts, of which each has some motion of its own; otherwise it would be impossible for each portion of matter to express the whole universe. [...] Each portion of matter may be conceived as like a garden full of plants and like a pond full of fishes. But each branch of every plant, each member of every animal, each drop of its liquid parts is also some such garden or pond. [...] And although the earth and the air interspersed between the plants in the garden, or the water interspersed between the fish in the pond, are not themselves plant or fish, yet they still contain them, though more often than not of a subtlety imperceptible to us. [...] Therefore there is nothing uncultivated, nothing sterile, nothing dead in the universe, no chaos, no confusion, except in appearance."

- G.W. Leibniz (1646 - 1716)
Monadology

Mycomagicians

"Mushrooms hold the secrets to the universe,

to life on our planet, and
 the core of our being.

...

There are more species of fungi, bacteria, and protozoa in a single scoop of soil than there are species of plants and vertebrate animals in all of North America. And of these, fungi are the grand recyclers of our planet, the mycomagicians disassembling large organic molecules into simpler forms, which in turn nourish other members of the ecological community. Fungi are the interface organisms between life and death. [...] Biological systems are influenced by the laws of physics, and it may be that mycelium exploits the natural momentum of matter, just like salmon take advantage of the tides.

...

Mushrooms are the key to unlocking the
mysteries of the natural world."

- Paul Stamets (1955 - )
Mycelium Running:
How Mushrooms Can Help Save the World

Vast Similitude

"On the beach at night alone,
As the old mother sways her to and fro singing her husky song,
As I watch the bright stars shining,
I think a thought of the clef of the universes and of the future.

A vast similitude interlocks all,

All spheres, grown, ungrown, small, large, suns, moons, planets,

All distances of place however wide,

All distances of time, all inanimate forms,

All souls, all living bodies though they be ever so different, or in different worlds,

All gaseous, watery, vegetable, mineral processes, the fishes, the brutes,

All nations, colors, barbarisms, civilizations, languages,

All identities that have existed or may exist on this globe, or any globe,

All lives and deaths, all of the past, present, future,

This vast similitude spans them, and always has spann’d,
And shall forever span them and compactly hold and enclose them."

- Walt Whitman (1819 - 1892)
"On the Beach at Night Alone" in Leaves of Grass

Former World

"Geologists, dealing always with deep time, find that it seeps into their beings and affects them in various ways.  They see the unbelievable swiftness with which one evolving species on the earth has learned to reach into the dirt of some tropical island and fling 747s into the sky. They see the thin band in which are the all but indiscernible stratifications of Cro-Magnon, Moses, Leonardo and now. Seeing a race unaware of its own instantaneousness in time, they can reel off all the species that have come and gone, with emphasis on those that have specialized themselves to death. [...] Consider the earth’s history as the old measure of the English yard, the distance from the king’s nose to the tip of his outstretched hand. One stroke of a nail file on his middle finger erases human history."

- John McPhee (1931 - )
Basin and Range

A Kind of Gravitas

"Stones possess a kind of gravitas, something ultimate and unchanging, something that will never perish or else has already done so. They attract through intrinsic, infallible, immediate beauty, answerable to no one, necessarily perfect yet excluding the idea of perfection in order to exclude approximation, error, and excess. This spontaneous beauty thus precedes and goes beyond the actual notion of beauty, of which it is at once the promise and the foundation.

...

I speak about stones that have always lain outside or that sleep in their deposits, in veins, at night. They have not aroused the interest of the archeologist, nor the artist or the diamond merchant. No palace, statue, jewel, no dyke, embankment or tombstone was built from them. They are neither useful nor famous. Their facets decorate no ring or diadem. They do not bear lists of victories, or state laws, in indelible numerals. They are not boundary markers or steel, and do not earn credit or deference from bearing with bad weather. They only attest to their own presence.

...

I speak about stones as algebra, vertigo and order; stones as hymns and quincunxes; stones as stings and corollas, on the brink of dreams, catalyst and image. [...] As one speaks about flowers, leaving botany, gardening and flower arranging aside, still having a lot to discuss, so will I overlook mineralogy, ignoring the arts that give stones a purpose. I speak of bare stones - fascination and glory! - that both hide and yield up a mystery, slower, more immense and more profound than the fate of a short-lived species."

- Roger Caillois (1913 - 1978)

Materializing Reverie

"My pleasure still is to follow the stream, to walk along its banks in the right direction, in the direction of the flowing water, the water that leads life towards the next village...Dreaming beside the river, I gave my imagination to the water, the green, clear water, the water that makes the meadows green. ...The stream doesn’t have to be ours; the water doesn’t have to be ours. The anonymous water knows all my secrets. And the same memory issues from every spring. [...] Water becomes heavier, darker, deeper; it becomes matter. And it is then that materializing reverie, uniting dreams of water with less mobile, more sensual matter, finds the full weight of its repose."

- Gaston Bachelard (1884 - 1962)
Water and Dreams: An Essay on the Imagination of Matter