compassion, collaboration & cooperation iN transistion
"Yes, I know that all these books about "life after death " are very
naïve. But they lead somewhere; there is something behind them,
something I approached before; but it frightened me then, and I
fled from it to the bare and arid desert of "positivism".
The "Fourth Dimension"!
THIS IS the reality which I dimly felt long ago, but which escaped
me then. NOW I see my way; I see my work, and I see where
it may lead.
The Hague Conference , the newspapers, it is all so far
from me. Why is it that people do not understand that they are
only shadows, only silhouettes, of themselves, and that the whole
of life is only a shadow, only a silhouette, of some other life?"
P D Ouspensky - Introduction to A New Model of the Universe
In the context of Carl Jung's four priority functional types, sensation, thinking, feeling and intuition; which correspond to the obvious means by which consciousness obtains its orientation to experience - Ouspensky's 'thoughts' on the matter ...
"Thought does not grasp, does not convey, what is at times clearly felt. Thought is too slow, too short. There are no words and no forms to convey what one sees and knows in such moments. And it is impossible to fix these moments, to arrest them, to make them longer, more obedient to the will. There is no possibility of remembering what has been found and understood, and later repeating it to oneself. It disappears as dreams disappear. Yet at the same time this is not so. I know it is not a dream. In these experiments and experiences there is a taste of reality which cannot be imitated and about which one cannot make a mistake. I know that all this is there. I have become convinced of it. Unity exists. And I know already that it is infinite, orderly, animated, and conscious. But how to link "what is above" with "what is below"?"
As a boy totally restricted to experiencing the world in my head, by
the time that I was 10 years old, I had only read just one book of fiction;
Swiss family Robinson, which I had been encouraged to read in order that
I could pass the English Exam to gain access to the local Grammar School.
My parents and maternal grandparents, however, had already taught me
to play cards, to no doubt stimulate my mental arithmetic capability, but
an important consequence of this resulted in a fascination with the
juxtaposition of the symbolism between, hearts, spades, clubs and
diamonds, along with Jacks, Queens, Kings and Aces; and so it was, much
latter in life, that I became aware of the significance of Lewis Carol's
Douglas Harding's Hierarchy of Heaven and Earth.
To quote Ouspensky ... "At last a certain whole becomes formed in my mind. I see the unbroken line of thought and knowledge which passes from century to century, from age to age, from country to country, from one race to another; a line deeply hidden beneath layers of religions and philosophies which are, in fact, only distortions and perversions of the ideas belonging to the line... Who knows, for instance, that an ordinary pack of playing-cards contains a profound and harmonious philosophical system? This is so entirely forgotten that it seems almost new... and I realise that the "fourth dimension" is the bridge that can be thrown across the chasm between the old and the new knowledge. And I see and find ideas of the fourth dimension in ancient symbolism, in the Tarot cards, in the images of Indian gods, in the branches of a tree, and in the lines of the human body."
Ever since that TIME when I first came across Escher's drawing of the
I have forever associated it with the the continuum of "LIFE and DEATH",
each without knowledge of the other. This IS the drawing which first
introduced me to the idea of the fourth dimension, duly supported no
When [RE]reading the works of P D Ouspensky, I can also relate to his own
frustrations of BEING one of the NORMAL ONES, in the context of my own
left-handed, dyslexic, 3 dimensionally manipulative perspective - of the
world which I had been born to - which regarded Pure and Applied Maths
as well as Physics and Art, as 'ALL being just ONE subject'.
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