Distortion of Reality

"Mysticism tends to combine the strictest concept of the Absolute, one that points to transcending any polarity, duality and distinction, and a vision of relativity that both denies the reality of the world of manifestation, when considered independently from its Source, and affirms an essential continuity or unity between the Ultimate and that which is not in an ultimate sense.

The Absolute is literally ab-solutum, which means that it is 'unbound,' 'detached' and 'free.' Although most often understood as 'complete' and 'self sufficient,' and therefore also 'cause of itself,' the Absolute must also and consequently be approached in terms of its perfect freedom, which is itself a dimension of its transcendence vis-à-vis any “relationality.” In this connection “relationality” entails an aspect of 'obligation' or 'reciprocity' by virtue of the 'relationships' and 'relations'  it involves. Therefore, our understanding of “absoluteness” as utter freedom immediately brings the central question of this inquiry to the fore by highlighting the apparent logical impossibility of positing concurrently the ontological reality of both the Absolute and “non-absolute realities” –including ourselves.

...

Metaphysical relativity is, in Advaita Vedānta, primarily identified with Māyā. Now Māyā is most often approached by Shankara as an epistemological phenomenon of superimposition upon Reality.  In other words Māyā is that which makes us mistake 'the rope for the snake.' It is a principle of distortion of Reality that stems from one’s inability to recognize Reality as it is, that is as the non-dual Self or Ātman. On the one hand, Māyā is the 'epistemological' fruit of a false identification of the Self with the body, on the other hand it is Māyā itself, or more specifically tamas - the lowest, most opaque of the three cosmological elements that enter into the composition of Māyā’s world of relativity, that is constitutional of delusion as such: 'The power of tamas is a veiling power.  It makes things appear to be other than what they are.  It is this which is the original cause of an individual’s transmigration and is the cause of the origination of the action of the projecting power.'

It must be noted ... that the ontological status of Māyā is incomprehensible: 'She is most strange. Her nature is inexplicable,' to use Shankara’s words. Māyā is fundamentally the unintelligible, and this lack of intelligibility is a function of  the 'obscurity' or uncertainty of its origin, as well as being bound to the  undecidability of its ontological status. "

- Patrick Laude
Shimmering Reality: The Metaphysics of Relativity in Mystical Traditions

Dynamic Interconnection

"The basic recurring theme in Hindu mythology is the creation of the world by the self-sacrifice of God—"sacrifice" in the original sense of "making sacred"—whereby God becomes the world which, in the end, becomes again God. This creative activity of the Divine is called lila, the play of God, and the world is seen as the stage of the divine play. Like most of Hindu mythology, the myth of lila has a strong magical flavor. Brahman is the great magician who transforms himself into the world and then performs this feat with his "magic creative power", which is the original meaning of maya in the Rig Veda. The word maya—one of the most important terms in Indian philosophy—has changed its meaning over the centuries. From the might, or power, of the divine actor and magician, it came to signify the psychological state of anybody under the spell of the magic play. As long as we confuse the myriad forms of the divine lila with reality, without perceiving the unity of Brahman underlying all these forms, we are under the spell of maya. (...) In the Hindu view of nature, then, all forms are relative, fluid and ever-changing maya, conjured up by the great magician of the divine play. The world of maya changes continuously, because the divine lila is a rhythmic, dynamic play. The dynamic force of the play is karma, important concept of Indian thought. Karma means "action." It is the active principle of the play, the total universe in action, where everything is dynamically connected with everything else. In the words of the Gita Karma is the force of creation, wherefrom all things have their life."

- Fritjof Capra (1939 - )
The Tao of Physics: An Exploration of the Parallels
between Modern Physics and Eastern Mysticism

Force of Creation

"The basic recurring theme in Hindu mythology is the creation of the world by the self-sacrifice of God—"sacrifice" in the original sense of "making sacred"—whereby God becomes the world which, in the end, becomes again God. This creative activity of the Divine is called lila, the play of God, and the world is seen as the stage of the divine play. Like most of Hindu mythology, the myth of lila has a strong magical flavour. Brahman is the great magician who transforms himself into the world and then performs this feat with his "magic creative power", which is the original meaning of maya in the Rig Veda. The word maya—one of the most important terms in Indian philosophy—has changed its meaning over the centuries. From the might, or power, of the divine actor and magician, it came to signify the psychological state of anybody under the spell of the magic play. As long as we confuse the myriad forms of the divine lila with reality, without perceiving the unity of Brahman underlying all these forms, we are under the spell of maya. (...) In the Hindu view of nature, then, all forms are relative, fluid and ever-changing maya, conjured up by the great magician of the divine play. The world of maya changes continuously, because the divine lila is a rhythmic, dynamic play. The dynamic force of the play is karma, important concept of Indian thought. Karma means "action". It is the active principle of the play, the total universe in action, where everything is dynamically connected with everything else. In the words of the Gita Karma is the force of creation, wherefrom all things have their life."

- Fritjof Capra (1939 - )

The Tao of Physics

Interpenetrating Worlds

"Instead of negating the conflicting aspects of a paradox, you advance your understanding when you can hold both sides of a dichotomy in your mind at the same time, reconciling rather than negating. One could embrace paradox as an operating, operative principle, rather than seeking to deny or dissolve or dilute it. Rather than seeking to resolve dualisms and institute some grand ‘theory of everything’, the science of the imagination would embrace and explore paradox, going deeper into conundrums, relinquishing delusory attempts to achieve certainty. We may find that thought and language are creative aspects of being, tools for transforming reality. If the universe is actually a projection of subtler levels of the psyche- a loom of maya- then we may discover that the vibratory lattices of interpenetrating worlds elaborated by current physics are descriptions of the psyche itself, in its fully ensouled unfolding."

- Daniel Pinchbeck (1966 - )

Breaking Open the Head:

A Psychedelic Journey into the Heart of Contemporary Shamanism