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

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

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)

Emergent Order

"The infinite variety of forms which we observe in the realm of organic life not only delight our senses with their beauty and diversity, but also excite our curiosity, in suggesting the problem of their origin and connection. [...] The unity of the organic structure, which expresses itself everywhere in the fundamental features of living things and in the chemical composition and constructive power of their plasm, is also seen in the laws of symmetry in their typical forms. [...] In the protists … the constructive force of the elementary organism, the individual cell, determines the symmetry of the typical form and the special form of its supplementation; but in the histons … it is the plasticity of the tissue, made up of a number of socially combined cells, that determines this. [...] All the various fundamental forms that can be distinguished and defined mathematically are found realized in the graceful flinty skeletons of these unicellular sea-dwelling protozoa. [...] The great majority of organic bodies show a certain regularity both in their outer configuration and the construction of their various parts, which we may call ‘symmetry’ in the wider sense of the word. [...] These two branches of investigation have the common aim of detecting an ideal law of symmetry in the bodies they deal with and expressing this in a definite mathematical formula."

- Ernst Haeckel (1834 - 1919)
The Wonders of Life

Living Pattern

"Thou art confused, my beloved, at seeing the thousandfold union

Shown in this flowery troop over the garden dispersed;

Many a name dost thou hear assigned; one after another

Falls on thy listening ear, with a barbarian sound.

None resembleth another, yet all their forms have a likeness;

Therefore a mystical law is by the chorus proclaimed;

Yes, a sacred enigma! Oh, dearest friend, could I only

Happily teach thee the word, which may the mystery solve!

Closely observe how the plant, by little and little progressing,

Step by step guided on, changeth to blossom and fruit!

...

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;

But if thou here canst decipher the mystic words of the goddess,

Everywhere will they be seen, e’en though the features are changed."

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

Psychedelic Visions

"The moment that I closed my eyes a vision of celestial glory burst upon me. I stood on the silver strand of a translucent, boundless lake, across whose bosom I seemed to have been just transported. A short way up the beach, a temple, modelled like the Parthenon, lifted its spotless and gleaming columns of alabaster sublimely into a rosy air--like the Parthenon, yet as much excelling it as the godlike ideal of architecture must transcend the ideal realized by man. Unblemished in its purity of whiteness, faultless in the unbroken symmetry of every line and angle, its pediment was draped in odorous clouds, whose tints outshone the rainbow. It was the work of an unearthly builder, and my soul stood before it in a trance of ecstasy. Its folded doors were resplendent with the glory of a multitude of eyes of glass, which were inlaid throughout the marble surfaces at the corners of diamond figures from the floor of the porch to the topmost moulding. One of these eyes was golden, like the midday sun, another emerald, another sapphire, and thus onward through the whole gamut of hues, all of them set in such collocations as to form most exquisite harmonies, and whirling upon their axes with the rapidity of thought. At the mere vestibule of the temple I could have sat and drunk in ecstasy forever; but lo! I am yet more blessed. On silent hinges the doors swing open, and I pass in.

...

It is this process of symbolization which, in certain hasheesh states, gives every tree and house, every pebble and leaf, every footprint, feature, and gesture, a significance beyond mere matter or form, which possesses an inconceivable force of tortures or of happiness.

...

Perhaps one of the most difficult things to convey to a mind not in the hashish delirium, by the symbols which there teach the manner of its process, or by any others, is the interchange of senses. The soul is sometimes plainly perceived to be but one in its own sensorium, while the body is understood to be all that so variously modifies impressions as to make them in the one instance smell, in another taste, another sight, and thus on, ad finem. Thus the hashish-eater knows what it is to be burned by salt fire, to smell colours, to see sounds, and, much more frequently, to see feelings."

- Fitz Hugh Ludlow (1836 - 1870)
The Hasheesh Eater

Amber Apparition

"White in prismatic order is the union or compound light, while the [...] mixture of our material colors becomes the opposite; that is, the destruction of all, or in other words - darkness. Light is therefore color and shadow the privation of it by the removal of those rays of color, or subductions of power; and there are to be found throughout nature [...] the ruling principles of diurnal variations, the grey dawn, the yellow morning sun rise and red departing ray, in ever changing combination; these are the pure combinations of Aerial colors.

...

The ark stood firm on Ararat: th’ returning sun
Exhaled earth’s humid bubbles, and, emulous of light,
Reflected her lost forms, each in prismatic guise,
Hope’s harbinger, ephemeral as the summer fly,
Which rises, flits, expands, and dies."

- J.M.W. Turner (1775 - 1851)

Overtones and Vibrations

"String theory is an attempt at a deeper description of nature by thinking of an elementary particle not as a little point but as a little loop of vibrating string. One of the basic things about a string is that it can vibrate in many different shapes or forms, which gives music its beauty. If we listen to a tuning fork, it sounds harsh to the human ear. And that’s because you hear a pure tone rather than the higher overtones that you get from a piano or violin that give music its richness and beauty.

So in the case of one of these strings it can oscillate in many different forms - analogously to the overtones of a piano string. And those different forms of vibration are interpreted as different elementary particles: quarks, electrons, photons. All are different forms of vibration of the same basic string. Unity of the different forces and particles is achieved because they all come from different kinds of vibrations of the same basic string."

- Edward Whitten (1951 - )

Universal Consciousness

"A spiritual evolution, an evolution of consciousness in Matter in a constant developing self-formation till the form can reveal the indwelling spirit, is then the keynote, the central significant motive of the terrestrial existence. This significance is concealed at the outset by the involution of the Spirit, the Divine Reality, in a dense material Inconscience; a veil of Inconscience, a veil of insensibility of Matter hides the universal Consciousness-Force which works within it, so that the Energy, which is the first form the Force of creation assumes in the physical universe, appears to be itself inconscient and yet does the works of a vast occult Intelligence.
...
They are the seven colours of the light of the divine consciousness, the seven rays of the Infinite, and by them the Spirit has filled in on the canvas of his self-existence conceptually extended, woven of the objective warp of Space and the subjective woof of Time, the myriad wonders of his selfcreation great, simple, symmetrical in its primal laws and vast framings, infinitely curious and intricate in its variety of forms and actions and the complexities of relation and mutual effect of all upon each and each upon all. These are the seven Words of the ancient sages; by them have been created and in the light of their meaning are worked out and have to be interpreted the developed and developing harmonies of the world we know and the worlds behind of which we have only an indirect knowledge. The Light, the Sound is one; their action is sevenfold."

- Sri Aurobindo (1872 - 1950)
The Life Divine

Mystery of the Infinite

"When the King conceived ordaining

He engraved engravings in the luster on high.
A spark of impenetrable darkness flashed
within the Concealed of the Concealed
from the mystery of the Infinite,
a cluster of vapor in formlessness
set in a ring, not white,
not black, not red, not green, no color at all.
As a cord surveyed, it yielded radiant colors.
Deep within the spark gushed a flow
imbuing colors below,
concealed within the concealed of the mystery of the Infinite.
The flow broke through and did not break through its aura.
It was not known at all until,
under the impact of breaking through,
one high and hidden point shone.
Beyond that point, nothing is known."

- "Creation of Elohim," Zohar

Cosmogenic Vision

"If you analyze cave art ... there are so many details that make it clear that this was an art of altered states of consciousness, of visions. And plants like the amanita muscaria mushroom and psilocybin mushrooms appear to have been directly connected with this sudden and radical change. So to investigate this possibility when I got interested in this mystery, I went down to the Amazon where there are still surviving shamanistic cultures today, and where they drink the powerful visionary brew: ayahuasca, of which the active ingredient is dimethyltryptamine (DMT) which is actually closely related at the molecular level to psilocybin. [...] And one of those effects has to do with creativity, and we can see the creative cosmogenic impulse of ayahuasca in the paintings of Ayahuasca Shamans from Peru, like the paintings of Pablo Amaringo ... those richly saturated colors, they’re amazing visions that they reproduce. [...] And as these paintings show, another universal experience of ayahuasca is the encounter with seemingly intelligent entities which communicate with us telepathically."

- Graham Hancock (1950 - )
The War on Consciousness

Supernatural Visions

"In the last few decades, a new kind of art has been striking natives and tourists of Peruvian Amazonia with great wonder and enchantment: ayahuasca‑inspired visionary art. This very original iconography emerges directly from the artists’ visionary experience under the effect of the ayahuasca brew. [...] With the use of figurative techniques, sometimes learned in art schools or developed autonomously, mestizo visionary artists manage to translate and share their colorful supernatural visions with a much wider public than that directly involved with ayahuasca shamanism. One of the most important effects of this translation, in my view, is to render visible the invisible dynamics of shamanic worlds, even to untrained eyes. [...] This art functions as a shining window to the spiritual worlds of ayahuasca shamanism, translating the multidimensional and extraordinary visions to our more familiar realm of everyday iconic images."

- Vinícius Dino, Visionary Art in Peruvian Amazonia:
The Power of Images and Translation Effects

Other Minds

"Our normal waking consciousness, rational consciousness as we call it, is but one special type of consciousness, whilst all about it, parted from it by the filmiest of screens, there lie potential forms of consciousness entirely different. [...] We may go through life without suspecting their existence; but apply the requisite stimulus, and at a touch they are there in all their completeness, definite types of mentality which probably somewhere have their field of application and adaptation. No account of the universe in its totality can be final which leaves these other forms of consciousness quite disregarded. How to regard them is the question - for they are so discontinuous with ordinary consciousness. Yet they may determine attitudes though they cannot furnish formulas, and open a region though they fail to give a map. At any rate, they forbid a premature closing of our accounts with reality."

- William James (1842 - 1910)
The Varieties of Religious Experience

Broken Symmetry

"The state of a really big system does not at all have to have the symmetry of the laws which govern it; in fact, it usually has less symmetry. [...] In my own field of many-body physics, we are, perhaps, closer to our fundamental, intensive underpinnings than in any other science in which non-trivial complexities occur, and as a result we have begun to formulate a general theory of just how this shift from quantitative to qualitative differentiation takes place. This formulation called the theory of 'broken symmetry' may be of help in making more generally clear the breakdown of the constructive converse of reductionism."

- Philip W. Anderson (1923 - 2020)

In the Heart of the Spirit

 "In our hearts there burns a fire...
That burns all veils to their root and foundation
When those veils have been burned away
Then the heart will understand completely.
Ancient love will unfold ever-fresh forms
In the heart of the Spirit,
In the core of the heart."

- Rumi (1207 - 1273)

Illusory Categories

"The further we penetrate into the submicroscopic world, the more we shall realize how the modern physicist, like the Eastern mystic, has come to see the world as a system of inseparable, interacting and ever‑moving components with man being an integral part of this system.

...

Quantum theory thus reveals a basic oneness of the universe. It shows that we cannot decompose the world into independently existing smallest units. As we penetrate into matter, nature does not show us any isolated ‘basic building blocks,’ but rather appears as a complicated web of relations between the various parts of the whole. These relations always include the observer in an essential way.

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Our tendency to divide the perceived world into individual and separate things and to experience ourselves as isolated egos in this world is seen as an illusion which comes from our measuring and categorizing mentality. [...] all things and events perceived by the senses are interrelated, connected, and are but different aspects or manifestations of the same ultimate reality."

- Fritjof Capra (1939 - )
The Tao of Physics

Temples of the Sun

"The loftiest object of their worship was Light, represented by the Sun. Hence they built pyramidal Temples of the Sun. [...]

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The Great Pyramid! Both, built in Atlantean times, stand as distinctive marks of the mysterious continent, and remain as mute legacies from a race of people who have departed as mysteriously as their own land. Both remind the successors of the Atlanteans of the glories of that lost civilization.

...

Light is the subtlest, most intangible of things which man can register by means of one of his five senses. It is the most ethereal kind of matter which he knows. It is the most ethereal element science can handle, and even the various kinds of invisible rays are but variants of light which vibrate beyond the power of our retinas to grasp."

- Paul Brunton (1898 - 1981)
A Search in Secret Egypt