By sewing across the Eye and Cave polarised landscape along the centre-periphery directrix to waves the fabric of unity, the interrelations between the esoteric and the exoteric top-down and bottom-up at once, lights up the subtle collective intelligence of the community on the Mesoteric membrane, the porous state where all diachronic dimensions collapse into one single plane[1] in a non-linear experience mantled into different aesthetic states of consciousness[2]. That is to say, the emergence of the collective intelligence of the Meeting in the Cave equation, from polarisation to inclusion, a ‘temporarily’ state of mindful balance in singularity, ignited by the polarities transiting through the point of stillness gaining self-awareness, a creative union of opposites that, in the current evolution from individual to collective intelligence, favours the formation of the Hermaphrodite state[3] as a new paradigm in cultural and social trends, in gender and politics issues, and in the whole human make-up.
Effects of the creative vibration
Each state of consciousness contains in itself all its previous dimensions, as equally each evolutionary stage bears in itself all its preceding states. When the creative vibration is in sync with its own frequency, its reflection on the plane of manifestation can transmute further.
Yet, it is worth remembering that Meeting in the Cave is an artwork, not a doctrinal exposition, and that a state of consciousness is something not conceptual, higher in the order of creation than Being and, as such, it cannot satisfactory be brought to the level of thoughts or feelings.
Grace and Silence
Grace is the perfect alignment of will and cosmic law,
and silence is a prerogative of sound fulfilling the unsaid.
#JoiningVibes
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[1] A process analogous, on a different plane of consciousness, manifestation and reference, to the merging of two black holes giving rise to a gravitational wave in the visible realm; also, to the qubits remaining in multiple states until coming together into coherence, making a number of events to act jointly in one single quantum state.
[2] An aesthetic state of consciousness is a generalized, transitory, universal in quality, state experienced by a fruitor exposed to a work of art, in autonomy from the ordinary sensory perception integrated into it. Devoid of ego pulsions and of practical desires and motivations, the subject is enchanted by the object of fruition and ‘temporarily’ resides in it.
Self-evident in nature, the experience is characterised by a state of rest, of lysis of the Self dissolved into a lysate consciousness — homologous to the process of disintegration of a cell by the rapture of its membrane wall and the ensuing creation of the lysate fluid. The awareness of the experience disquiet the ordinary consciousness — akin to the metaphysical conatus inducing the cosmic consciousness to disallow its original fullness and dive into the dualistic timespace continuum — unveiling alongside the ordinary sequence of events, a new dimension of reality on the fore, momentarily raising the fruitor’s consciousness beyond the ordinary perception by experiencing both inner and outer realities as a single dimension. In so doing, the experience enriches the collective consciousness with an individual sensory input, an enhancement unattainable otherwise; a cathartic igneous burning off all, or of partial, karmic remains usually pairs the experience. Entitled is to say that the audience as a whole can equally share a highlighted state devoid of individual debris, a collective aesthetics and cathartic experience or, better, a laic initiation to Unity. In Indian aesthetics, for instances, the quality of the aesthetic experience evoked in the sensitiveness of the audience by a visual, literary or musical sign, bears a specific ‘flavour’ (rasa, Skt:, lit. juice, essence or taste), further discerned into eight different qualities, i.e. erotic (śṛngāra), comic (hāsya), pathetic (karuna), furious (raudra), heroic (vīra), terrible, (bhayānaka), odious (bībhatsa), and marvellous (adbhuta) or by a combination of two or more states. (Cf., e.g., K. Chandra Pandey, Indian Aesthetics, Varanasi: Chowkhamba, 1959 and, in particular, R. Gnoli, The Aesthetic Experience according to Abhinavagupta, Varanasi: Chowkhamba, 1968).
There is no need to insist upon the fact that the aesthetic experience is a subset, a hypostasis, of the mesoteric spiritual-material experience of which here are expounded but the essentials, as it actually belongs to a distinct set of reference. Yet, worth mentioning is that the mesoteric state is not necessarily triggered by aesthesis only; and that, insofar the knower, the knowing, and the known are but one, it can acquire a character of permanence since it is unleashed from the spacetime constraint.
[3] In Greek mythology the Hermaphrodite is the son of Hermes and Aphrodite, who merged bodies with a naiad and thereafter possessed both male and female qualities. In western traditional alchemy, after the stages of separating opposing qualities, these are once again united in the Rebis — res bina, dual or double matter — the reconciliation of spirit and matter, of the sun and moon, giving rise to the subtle Hermaphrodite as the end-product of the great Work (magnum opus), i.e., the child of wisdom, the filius sapientiae of the Red King and the White Queen bearing male and female qualities in equal measure.
In Hinduism, Ardhanareeswara, one of the 64 manifestations of Shiva, is half man and half woman. Drawing the feminine (Parvati) energy into its own self as its left half, it symbolizes the oneness of all beings, the male (Purusha) and the female (Prakriti) energy together making up the cosmic energy. This fusion of the male (Shiva) and female (Shakti) halves transcends the distinction and limitation between male and female and takes unity beyond gender manifestation. Shiva is substance, Shakti is substrate, dynamic and creative; he is being, she is becoming. He is one, she is many; he is infinite, she turns the infinite into finite; he is formless, she renders the formless into countless forms. Though being inert and the holder of power, he is a dead body (shava) without her, as al power in creation, maintenance, and dissolution rests with her, however, she does not exist without him. When the two become one in the stainless purity state (nirmala turiya), Ardhanareeshwara becomes a being of generative and constructive force, it destroys the old, and cleanses and recreates anew the cycle of time. In Tantric ritual, the unity of opposite gives rise to the formation of the Diamond body.
As an archetype, the Hermaphrodite is a symbol of the conjunctio oppositorum in which conscious and unconscious mediates to release tensions, solve conflicts and heal. As an image of the Self, is where oneness becomes the goal of man’s self-realization in mundane fashion, the embodiment of the human prototype nature, either the Adam Kadmon, or the Anthropos Coelesti, or the Insan al-Kamil, depending on the culture of reference.