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    Secrets

    Secrets

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    • The Secret of the Secret
      22 minute read

      You've probably heard of the secret. The secret is supposed to be the true secret of success, the secret of why some people are successful in the world, whilst others aren’t. It’s supposed to be the secret known by the world’s wealthy and powerful. It’s supposed to be the secret of how to control and improve your life, as yourself, essentially, through your state of being or consciousness. It’s supposed to be knowledge of the truth of life.

      The secret says that you are responsible for your life, and that what holds you back, what impedes you in life, is not in the world outside you, but within you. So you can solve your problems and limitations, or succeed, by ridding yourself of the blockages in your own psyche or mind.

      There is of course, as anyone with a little self-knowledge must know, some truth behind this. But there is also, as you might suspect, a lot of nonsense surrounding it. Firstly, many of the rich and powerful in the world are where they are, not because they have some secret illumination, but because money and power is what they have pursued, they are driven by the wanting of money and power, and they happen to be the ones who are best placed and adapted to succeed in that. But that does not mean at all that all the most wealthy people in the world have necessarily ended up in that position purely on that basis. The world is not as simple as that. The world is complex, complicated, and nuanced.

      Nevertheless, in a competitive situation, in a race, someone has to win. It's as simple as that. And many losers look up to winners and see them as something more than just a winner. Because they think, whether overtly or tacitly, "I want to be like that", or "How can I be like that"? And so now, today, the world is full of narratives on "how to succeed", fed by that principle. Firstly, the aspiration to follow after a hero or to be a being other than the being you already are, is pretty commonplace to begin with, in the human race. But perhaps more pertinently, is the idea that what is judged to be success in someone else's life, comes from personal habits of mind that can be learned in the same way that we learn anything else.

      But anyone who knows anything about psychology, will probably recognise that what we are looking at here is what psychology calls the narrative fallacy. Human life itself is far, far more complex, complicated, interconnected, and nuanced, than the narrative-self mind likes to give it credit for. The actual workings of the network of causes behind who wins and who doesn't, like the relevant network itself, is mostly out of sight. But the compulsion to knit together a suitable narrative, especially when the most relevant factor is taken to be the narrative-self itself, the narrative idea of "who someone is" or "what they are like", and the naive belief that the inner workings of the mind are understood, and that its personal narratives can be believed, is irresistible. Cognitive bias and distortion have a field day.

      There is another fact to face. The "secret" sounds like secret wisdom. But the world is not ruled by the wise. If it were only the wise who ever succeeded, then the world would be ruled by the wise. We would all be living in Plato's Republic, under the rule of philosopher kings. And we are not.

      However, none of this means that habits of mind and personal psychology do not play an extremely important part in what unfolds as the circumstances of life. It is just that the secret of what is going on there, cannot be legitimately characterised through personal narratives. So it can also be true that what afflicts you as obstacles to living the kind of life in which you are living with greater harmony and creativity, and rightness of being, is your responsibility. But this is not something you can "fact check" scientifically. It's a question of experience. Which means it's not just a question of psychology scientifically understood. It's a question of phenomenology. It's about self-knowledge. Which is precisely what science is not about.

      And that's where the real knot is. Because self-knowledge, real self-knowledge as spoken of in the world's great wisdom traditions, isn't personal. It's not at all the same thing as "what I am like as a person". Or "what I believe in, and what I do, and how I handle it". That's not actual self-knowledge at all. That's all narrative self.

      In terms of phenomenology, which science can know nothing about, friction and difficulties can be a manifestation of your devoting your life and attention too much to what you think you want, and who you think you are, which is all about narrative self, without an accompanying growth of self-knowledge.

      It is simply not true that the worldly success of all the world’s most successful people is the demonstration that they have all realised tremendous self-knowledge or some great spiritual or philosophical secret. It is just that it might look like that, through the lens of the narrative fallacy. The truth is that it’s also perfectly possible to fill a vacuum of self-knowledge with acquired knowledge of how to succeed in the world. The two things are not the same thing.

      In fact, some of the world's most successful people are by their very own admission carrying significant amounts of personal, emotional baggage. Which always comes from the past. And the biggest obstruction to knowledge of the truth of our self is precisely that - troublesome, personal, emotional past. Often, what drives success, is pain. Not always, but it certainly can be. The way the world works is far more complex, complicated, interconnected, and nuanced, than can possibly be understood through the idea that you can "learn the secret of success" with the mind of narrative self.

      At the core of the world's great wisdom traditions, is a clear message. In terms of phenomenology, what most people don't realise is that the kind of success that comes divorced from the process of finding self-knowledge, also comes with a price. A debt. And no matter how much you succeed, in seeking a position, or seeking who you think you are, or who you would like to be, in the world, as narrative self, you’ll never really be free of that debt. Because no position, or identity of who we think we are, or who we would like to be, as narrative self, is who we really are.

      The debt will still rear its head as uncertainty, stress, fear, disturbance, and unhappiness. If not sooner, then later. And the more powerful our position in the world, the more uncertainty, stress, disturbance, or unhappiness, or in general, lack of peace and harmony, is likely to rear itself in terms that appear to the mind to be something else, something in the external world or circumstances.

      On that road, in the relentless pursuit of the idea of yourself and your success, as narrative self, divorced from the pursuit of self-knowledge, all paths lead ultimately to the final rational solution. Which is for you to become the one at the top, with more power over all your enemies, than they have over you. That is the way of the world. History demonstrates it. Whether you are an individual, or a collective. Because it's a world in which a certain dynamic is playing itself out. A dynamic of competition and force. Why? Because physically, we are primates. We are literally a species of animal. In other words, this is about evolution.

      So the real secret behind it all, lies in self-knowledge. It lies in knowing yourself. Which is why thousands of years ago, the ancient Greeks said "Know Thyself". It was the wise Oracle at Delphi that was supposed to have said that, as the deepest truth of life.

      If you're determined to succeed in the world, then you will apply yourself to that. And there is absolutely nothing wrong with that. Unless of course you are vowed to poverty. What science cannot know, but what phenomenology and experience can teach, is that behind everything that happens, as human experience, there is actually an underlying integrity that doesn't make much sense at all, to the ordinary narrative understanding of who we are, and what the world is, and what it is about. Christians of course sort of recognise this, as the unfathomable ability of "God's plan". But whether or not you are a Christian what it is about, is waking up to the realisation of who you really are, beyond the limited personal idea of "who I am".

      There is nothing in itself, wrong with worldly success, or wealth. It is as much sometimes part of that awakening process, as losing is. Someone who realises it might actually turn out to be a penniless hermit, just as much as they might turn out to be a successful business person. It doesn't matter.

      Believe it or not, and although it's difficult for the narrative ego to believe it - because money and wealth is such a really big deal for the ego - not everyone needs to be a super successful person in the world, with significant money and wealth, in order to be in harmony. But then again, it is also the easiest thing in the world for someone who is deprived, and not facing what they need to face within their self, in order to know their self, to erroneously console themselves with the narrative idea that they are more spiritual than those who are more materially privileged.

      Put quite simply, we have never been living in a world, in the first place, in which wealth or social status defines who we really are. But it can certainly define narrative self.

      So what about this idea, this so-called "secret", that what stops you succeeding in the world, is blockages in yourself. Well it's true. But that's not really a secret, and it's nothing like the whole story. 

      What no-one can get, if they just listen to that, is that these blockages in yourself, are something that are not merely blockages to your worldly success.

      Seeing blockages as obstacles to your success, is actually a mistake. It's just an interpretation, according to narrative self. These blockages, which are things like anger, resentment towards others, jealousy, rejection of the world in general, or "the government" or "the system", or "a chip on your shoulder" and so on, are actually, primarily, just obstructions to the discovery of who we really are, beyond this narrative self.

      In fact, the whole idea of "blockages", here, is a Western reconstruction according to Western narrative, and Western material aspirations, of a piece of wisdom that really, comes from Buddhism, which refers to "obstructions".

      But these are not obstructions to "success". They are obstructions to enlightenment. The opposite of which is ignorance.

      So you can have one person in the world who is tremendously successful in worldly terms, and who is surrounded by wealth and perhaps power, who is no more free of this ignorance, than someone who is financially struggling. Because the way the world works, is far more complex, complicated, interconnected, and nuanced, then most people give it credit for. And there are always things going on out of sight, that most people don't understand. But the thing is, whatever your circumstances, whether poor or wealthy, there is still debt. And the debt appears as stress, anxiety, unhappiness, depression, and so on.

      The debt isn't anything that the person, or personal mind - the narrative self - can really understand. What it is, is just the so-called blockages, themselves. And that's the thing that narrative self finds impossible to understand.

      But what happens is that whether poor or wealthy, or successful or unsuccessful in worldly terms, some people start to wake up to the realisation of this. And then they notice that the only blockages in life are blockages in their self. Such people notice that it's not really the world as something separate from their self, that creates the difficulties in life. And so they start to take responsibility for that.

      Some people have been doing that more or less their life. Others have only just started. And most people, probably, in contemporary Western culture as it is at the moment, in the momentum of what it unconsciously tries to teach everyone every day through the media and the news, don't know anything about it.

      Because what it's about, is responsibility. And currently, we are not living in that kind of culture. It is the opposite. We are living in a blame culture. And what we are talking about here, is that in the end, anything that can disturb you, you have to take responsibility for. But that doesn't mean pointing the finger. That means, you stop blaming other people for what you experience as your own negativity, or disturbance. You take responsibility for it. After all, it's in you. It's not really in anyone else, or in the world. You can still take action to alleviate disturbance and unhappiness, you can correct it, or walk away from it, or sue someone, or go and fight the enemy if you have to, but you still take the self-responsibility. The finger pointing and the accusation in which there is subtly hidden the idea that someone else is responsible for the nature of your life, stops.

      It's not that we can just suddenly transcend our emotions. But there is a world of difference between what "causes" emotions such as hurt, resentment, and anger, through what happens in the world and other people's actions, and responsibility. We can get rid of causes, if we can. But none of the causes are responsible, or where the necessary conscious responsibility lies. The world's idea of "responsibility" is unconscious, and designed to perpetuate the avoidance of the true responsibility that is necessary.

      If you look at it, if you are going to overcome "blockages" then the person you are (the person you are currently being), is going to change. The blockages that you were previously misidentified with and hadn't been consciously responsible for, were part of the emotional power pack behind the narrative, personal self. So the disappearance of a blockage means you are no longer that person.

      So there is no "secret" in which the person is being freed-up to be more successful, by rooting out blockages. It’s that the rooting out of blockages, diminishes the person, the narrative self, and you become more transpersonal. That’s the real secret. If there is any secret about it.

      What's happening, is that the experience of who you are, is changing. Other people don't necessarily notice it. Especially if they are still immersed in the world of narrative self. And the narrative self in any case cannot simply disappear, for the simple reason that it has been hundreds of thousands of years of evolution in the making. What changes is the misidentification of consciousness with it.

      Many, or probably most people in the world, are going to succeed, or fail, or just do what they do, without necessarily consciously engaging in this process. But it’s not that you can opt out, anyway. It's just that you either consciously engage with it, or you don't. And if you don't consciously engage with it, the so-called "blockages" and vexations will continue, until you reach a certain point. And then a different process takes over.

      Most people simply can't comprehend it. They just go on blaming others. They can't hear it, even if it is explained to them. And some people have a part of their life in which they consciously engage with it, for a bit, and then slip back into the old way. Whichever way you look at it, there's no actual "secret" about it. It's just that a human being may not be able to hear it when it is talked about, or see it in action, for themselves, in their own life.


    • The Secret of Rapunzel
      11 minute read

      We talk about our life story precisely because our life is a story. But really, it's not our personal story as we understand it through personal mind. Deep in the mindstuff we humans are being are all kinds of stories, all of which originally, come from the good. But in there, is also the mischievous, and the dangerous.

      Mindstuff isn't just what we think about. It's also what we experience. And what we are experiencing is the mindstuff we are being. But most humans don't yet understand the nature of their mind. They haven't yet come to see that what you think about, and how you think, plays its part in what you experience, and how you experience the world. And in what comes to you, as experience, through the world.

      Most people never really come to understand this. And so they fall into the same old patterns of human experience that have been repeating themselves as repeat patterns since time immemorial.

      Fairytales and myths tend to be about those patterns. They symbolise aspects of our lives, deep-seated fears and desires and attachments, that live in the human psyche, in the unconscious.

      Romance, the desire to have children, the fear of death, all these, are all part of the same story. The story through which we humans come into existence, in the first place.

      Inside us, in our mind stuff, is the "unconscious earth". Like rampion, once the story of human propagation comes up from the "unconscious earth" into the light of day, it propagates itself from generation to generation. It must keep coming up from the unconscious, into our experience, so that we ourselves temporarily become it.

      So it is likely to cast a spell on us. And if it were a flower, a literally delicious, edible flower, the catch is that it would be the sort of flower that you might find in the garden of a witch. You can go in there, and get it as often as you like, or add it to your daily dishes, and what is the problem? No problem. Until the witch finds out.

      Because we don't know the mind stuff that we are being, we don't really know what the procreative force in us, what sex and the desire to have children, is, where it comes from, what it really means, but rather, just have canned answers to that. Like, "the species needs to propagate". Answers given to us by society, or religion, or science complete with its very incomplete knowledge. Because science does not know how biological brain function amounts to our consciousness and whole conditional experience of being, as mind, self and world.

      So we don't really know what this story stuff, this "rampion", is, what to do about it, or how to treat it. We don't know that, as self-knowledge. We just desire and eat the rampion. And so the human race propagates.

      In many modern accounts, the fairytale begins by saying that there was once a man and a woman who wished to have a child, and then the rampion in the garden of the witch is presented as something the woman desires after she becomes pregnant. But in the Rapunzel story as told by Jacob and Wilhelm Grimm, the meaning is clear.

      We are simply told that the couple wish to have a child, but in vain. We are told that the man's wife longs for the rampion growing in the garden of the witch, that they can see through the rear window of their house.

      The rear window. It is literally hidden behind the house. In the "house" of our consciousness, we can unconsciously "see" through the rear window of it into our unconscious, as it were, through our desires. Our desires are this very "seeing".

      In the garden of the which is both the Rampion, and a tall tower, all inaccessible behind a high wall. Inaccessible behind a high wall? Such is the nature of the unconscious.

      The husband has to break into the garden and steal the rampion. Not just once. He must keep doing so. And when the witch finds out, what is the problem?

      No problem. But there is a price to pay.

      In the fairytale, the witch allows the man to take as much rampion as he likes. But then, when their daughter becomes a woman, she will be stolen away by the witch, who names her Rapunzel, which means rampion, the flower craved by her mother.

      In the tale, as soon as Rapunzel reaches puberty, the witch, the keeper of the rampion, keeps Rapunzel, with her beautiful, long, golden hair, hidden, locked up in the tower that is in the garden. The tower in the unconscious. A tower that keeps her, in her virginity, "above" the world.

      But the tower is also her prison. And her only contact with the world is through the witch. The witch who is the keeper of the rampion. The real secret here, is that the witch and the rampion are in us all. But we all have our own part to play in the story. The witch has a different relation to us, according to the part we are playing. For Rapunzel, the witch is her captor, her keeper. She is Rapunzel, born of the rampion, and her name, Rapunzel means rampion.

      Why does the witch keep her captive? It is because she has a secret treasure. She embodies, unknown even to herself, an inner secret knowledge. The secret of love. She indeed embodies the rampion, as her name, Rapunzel, indicates. But she also embodies her inner, secret knowledge, the secret of love.

      So she cannot go out into the world as she is, where she might be available to any man, who sees only Rapunzel the rampion. The secret she embodies cannot be in the world, which is why the witch, the keeper of the rampion, has to keep her locked up in the tower.

      The connection between her inner secret and the world is symbolised in her beautiful long hair. Her hair, the symbol of her inner secret, she can let down to the world, from the tower, where she and her secret resides.

      And so the witch, who lives in the world, comes to the tower, and calls the famous words:

      "Rapunzel, Rapunzel, let down your hair",

      and when Rapunzel lets down her hair from the window of the tower, the witch is able to climb up to Rapunzel.

      But who exactly is the witch? She is none other than the keeper of the rampion. And that, means she is the "keeper" of Rapunzel. With her inner, secret knowledge, the secret of love. The secret of Rapunzel. The flowers that grow in the garden below, in the world below, are also called rapunzel. And they belong to the witch.

      What is the tower? Is it the tower of Rapunzel's virginity? Is it a tower of spiritual purity?

      No. It is, after all, the tower in the garden, the unconscious, belonging to the witch. Rather, it is a tower of nescience. Nescience of Rapunzel's secret.

      So Rapunzel’s relationship with the world, is through the witch who guards the rampion, and demands for it, a price. And so it is that every Rapunzel in the whole world, sings from her tower. And sooner or later, as is the way of things, a young prince hears Rapunzel singing.

      In the Greek Myths, lusty centaurs, half stallion, half man, often go hunting nymphs. A prince is different. He does have something of the centaur in him, if he too is out in the forest hunting. But being a prince, when he hears Rapunzel's song, soon falls in love with her.

      How can he reach her? In the fairy tale, he watches, and sees how the witch gets to her, when Rapunzel lets down her hair. And there is nothing as bewitching, as the sight of Rapunzel’s falling hair. So the prince goes to Rapunzel the same way. He goes to the bottom of the tower and calls:

      "Rapunzel, Rapunzel, let down your hair",

      When Rapunzel meets her prince for the first time, she is afraid at first. But being a prince, he is not just hunting her. And he, too, has never seen such beauty. Nevertheless, he has only reached her by climbing her hair, and now, he too, is in the tower. The tower in the garden of the unconscious, kept by the witch.

      It is the same for every young Rapunzel and her prince. The rampion has a price. And it is about to be paid again.

      So in every story on earth, where there is a Rapunzel and her prince, even though they fall in love, the prince cannot free Rapunzel from her tower. He can only be with her, and enjoy her, by climbing her hair. And then he has to leave her again. The prince tries bringing her pieces of silken rope. With this, she says, she can make a ladder, so that she can climb down and they can go and be together in his Kingdom. But the prince's silken gifts will never work.

      Why? Because the witch, the guardian of the rampion, is still there in the story. She hasn’t gone away.

      So when the witch finds out what has been going on between Rapunzel and her prince, there is trouble. Both must now face the wrath of the witch.

      The next time Rapunzel lets down her hair, instead of finding her prince, all she finds is the angry witch, the keeper of the rampion. Who cuts off her hair.

      The Prince had first heard her singing, and behind her singing was Rapunzel's secret. But the beauty that literally brought him into contact with her is now cut off by the witch. Rapunzel finds she can no longer bring her prince to her.

      And what about the young prince? Now, when he comes to his Rapunzel, there is trouble for him, too. He too, finds the one he so loved, is not there. Instead, he sees an angry witch. The beautiful hair he climbed, is no longer connected to the one who sang so beautifully.

      It has been cut off and used as a lure. And he has never seen anything so angry, so vicious. So he flees, he jumps away, and piercing his eyes on the thorns below the tower, for many years hence, never sees such beauty as he first saw in his beautiful Rapunzel.

      It's a common story isn't it? But even those who take part in it, cannot usually see it happening.

      For some, that is the end of the story. But in the fairytale, there is more.

      Rapunzel and her prince must both now pass through the hidden secret of the world. And that can only be done in the world. The world that actually, is the great distraction, the great, impermanent, empty distraction from the love that Rapunzel and her prince first encountered, before the witch demanded her price.

      The hidden secret of the world is that it is not what it appears to be. As the Hindus say, it is Maya. As the Buddhists say, it is empty. Really, it is just a covering of ignorance, over the truth. But everyone who is to discover the truth, must go into the world, and pass through it.

      So one day, having passed through the lure of the world, the prince hears the most beautiful singing. And just as he did as a young prince, when he first encountered the witch's garden, he recognises the singing, as the beauty of the one he truly loves, above the world.

      And now when Rapunzel sees her prince, she weeps tears of joy, for no longer is she locked up by the witch, in the tower of nescience. No longer does she need to let down her hair, for it is always down. For she, the beautiful Rapunzel, is the natural rampion of the Earth, when freed from the witch.

      When Rapunzel's tears fall on the prince’s eyes, he sees again the beauty he had become blind too, because of the witch, and he knows again his love. But now he really sees, and really knows. He has passed through the experience of the world, and has emerged from it. And so has she. He sees not just her beautiful golden hair dangling from a tower of nescience, but who she really is.

      And so now, because the witch is gone, Rapunzel can go with her prince to their Kingdom.

      You may have spotted a little twilight language in my commentary. If you did, you no doubt understand it all the better.






    • The Secret of George and the Dragon
      15 minute read
      Stacks Image 45

      This is George and the Dragon (c. 1470) by Paolo Uccello (1397-1475). It contains some of the essential elements of the first part of the story, as it appears in The Golden Legend, represented simultaneously together, symbolically.

      St George is of course a Christian saint. And as such, his depiction in art is usually first and foremost interpreted in the Christian context. This is a depiction that can be related to Christianity in the usual ways, the Dragon, for example representing the devil, but Uccello's painting here has been described as a work of 'profound originality' by someone 'not content to supply the standard article' (See Foster, R & Tudor-Craig, P, The Secret Life of Paintings, BBC / Boydell Press, 1986).

      No one can be perfectly sure of what an artist intended in a painting, unless they hear it from the artist. However, here is a possible commentary on what are perhaps some of its more esoteric messages.

      In the Golden Legend the dragon lives in a lake outside the city of Silene (possibly the ancient Greek Cyrene) in Lybia. As in the various other versions of the story, the essential storyline is that the Dragon has to be appeased by the citizens, or distracted by the citizens from attacking them, by feeding it with sheep.

      Eventually, when there are no more sheep to feed to the Dragon, the situation escalates and citizens themselves - children and young people - are offered to the Dragon. Inevitably the time comes when the king's own daughter is to be offered. The king attempts to refuse but the people threaten to kill him if his daughter too, is not sacrificed.

      The king's daughter is about to be eaten by the Dragon, when St George comes riding by. Initially the king's daughter either spurns George or send him away for fear of his life, depending on the version you read. But he convinces her that all will be well.

      He wounds the Dragon into submission, so it becomes 'a meek beast and debonair'. The king's daughter's girdle is then bound to the neck of the Dragon, so that she can lead him into the city, whereupon St George cuts off his head. In the Christian aspect of the story this is on condition that the people become baptised.

      If you understand the Dragon to be the devil, then the exoteric meaning in the Christian context is pretty clear. But now let's take a closer look at the picture.

      When Uccello painted his George and the Dragon Florence was a hotbed of renaissance "revival of learning" from the ancients. Under Cosimo de Medici, the theologian and the philosopher Marsilio Ficino had at that time been the spiritual leader of the Florentine Academy for around eight years. He had been translating the works of Plato, and had already embarked on a translation of the newly discovered Corpus Hermeticum. Uccello was an old man in his seventies when he painted the picture, and may not have been absorbing the new humanism in quite the same way as his younger contemporaries such as Botticelli. Nevertheless, the painting occurs in the context of a boiling pot of Neoplatonic philosophy and spirituality, which was Florence under Cosimo de Medici at that time, rather than simply a straightforward Christian one. So let's look at the picture from this wider perspective.

      ***

      From the clarity of the moon in the picture we might even suspect it is an eclipse, but artistic license aside, it cannot be a lunar eclipse precisely because it is the daytime, and in daytime the only lunar eclipse visible is the selenelion, when the moon is on the horizon.

      The clarity that we can see in the moon, however, is not as we would expect for the daytime waning crescent. A daytime waning crescent is typically very difficult to see, because of its lack of illumination. The visibility and placement of the moon in the picture certainly appears to be deliberate symbolism, as we might expect anyway. And notably, the moon is directly above George.

      The implied position of the Sun is consistent with the daytime crescent moon, which is the only time the waning crescent appears like this on the lunar upper quarter, the "points" of the crescent pointing downwards. The Sun is somewhere off-scene to the upper left, as we can see from the highlights and shadows of the cave, the damsel, the dragon, George, his horse, and the central cloud in the sky. The position of the moon in the sky would suggest it is around midday (a waning crescent rises a few hours after midnight, and sets around mid afternoon), and that South is somewhere over to the left.

      From the Greek mythology onwards the crescent moon is found associated with Selene, the moon goddess, who in the various arts is often depicted together with a crescent moon in one way or another. In the myth of Selene and Endymion, Selene, the moon goddess, passes over the sleeping mortal shepherd Endymion nightly, and seeing his youthful beauty, descends to make love with him. Selene wishes this to continue forever, but it cannot be, because Endymion, being merely mortal, is bound to age and die. The solution comes in the form of Zeus granting that Endymion may sleep forever in the cave.

      Thus we have an archetype - sleeping male sexuality in the presence of immortal female sexuality. Ficino regarded both Venus and the moon as symbols of female love, and in his Book of the Sun and elsewhere referred to the moon as the "lady of generation".

      The imagery of the male sleeping in the context of female love appears elsewhere in Renaissance symbolism. We find it also in Botticelli's Mars and Venus:

      Stacks Image 51
      A common interpretation of this work is that Mars is in post-coital slumber. He is, after all, unclothed. Venus here, although Botticelli and others have no compunction in depicting the goddess of love unclothed in other works, is clothed. Even if Mars here is in post-coital or post-sexual slumber, what does it mean? Old Renaissance masters are not merely depictions of various sexual scenarios. Venus is clothed here not because she or the picture have no sexual meaning, but because she is the goddess of love in a situation in which the picture shows the relation between her, and the nature of Mars.

      As you can see in the picture, as far as Venus is concerned, the forceful, warlike, conquering, world-exploring and weapon bearing aspect of Mars' character is childish, as portrayed through the satyrs (a satyr being silenus in the ancient Greek) who play mockingly with the helmet and armour. Note how the satyr on the upper right cannot wake Mars from his sexual sleep even by playing a conch shell in his ear. It is not just Mars, but Mars and his sexuality that is asleep.

      Ficino, following Plato, recognised what he called the two Venuses (in his Commentary on Plato's Symposium). One is heavenly, the other is common. One is "Angelic", the other is material and is the means through which there is sexual procreation. But they are not separate. The one comes from the other. The lower Venus is a "projection", as it were, in the realm of the mortals and the material, of the higher, transmundane Venus. Just as the the Olympians came from the Titans. And the gods and then the mortals, in turn, came from the Olympians.

      In other words, one Venus is celestial or Divine love, the other is the means of generation. Ficino is quite clear about this. He is also clear about the relation between Venus and the moon, whom he calls "the lady of generation".

      Selene, the immortal moon, as the myth tells us, can only come to Endymion while he sleeps. And in Mars' encounter with Venus, he sleeps. Because both the moon and Venus are transmundane, and the transmundane can only come into the mundane material, in a way in which the mundane sleeps. The common sexuality of Mars is asleep, compared to the true nature of Venus.

      The closest Mars will ever come to the higher Venus, in his mundane, sleeping condition, in human form, is in his encounter with the lower Venus - common sexuality. But both Venuses are in the one Venus, whom we see here in the picture. Mars cannot truly realise who she is, in his sleeping condition, where in his dreaming he is merely mortal, like Endymion. Separate from Venus, Mars is full of his forceful and warlike, conquering, world-exploring and weapon bearing tendencies. That's where the patriarchal originates. Venus waits for him to awaken. She has been waiting a long time. This is what is happening in the picture.

      What has all this got to do with Uccello's George and the Dragon? To begin with, the Greek myths are not really isolated from each other. And in Ficino's world, the Neoplatonic fabric of 14th century Florentine art and philosophy, in Cosimo de Medici's "Academy", the Greek myths were understood in an overall philosophical context.

      After Uccello's George and the Dragon the "mixing" of the Greek myths becomes very apparent in Botticelli's works such as The Birth of Venus and La Primavera. So many myths are mixed together in La Primavera that scholars have never ceased arguing over its meaning.

      Uccello's placement of the crescent moon over George, in his George and the Dragon, certainly seems to allude to Selene. Except that George is not asleep. And that's the whole point of George and the Dragon, in the Neoplatonic context, rather than just specifically the Christian.

      In Uccello's picture what does the dragon represent? Of course, in the earlier Christian symbolism it is the devil. That's the "standard" interpretation. And the dragon here is none other than the "Original Sin". In old Christianity the dragon is sex.

      St George, here, is following in the footsteps of Christ, in slaying the dragon. That's the Christian symbolism. But it is not an existential dragon without that has to be slayed, it is the dragon within. That's the esoteric meaning. In Christianity everything is within. "The kingdom of heaven is within you".

      If anyone has been sleeping in Uccello's picture, it is the Dragon, who has been sleeping in the cave (the cave of course, is the unconscious). But here, the dragon has emerged from the cave in order, literally, to have his fill of the damsel. The dragon, as we said, in old Christianity is Original Sin - which is "the Fall" and sex. In the Neoplatonic version, this is Mars' sexuality. It is the same thing that Venus in Botticelli's Mars and Venus is waiting for Mars to wake up from.

      But in Uccello's picture George and the Dragon, George is awake. And where is the dragon, really? It takes George to wound the dragon, in order to subdue it. That's the first thing. Then, tied to the damsel's girdle, it is led by the damsel herself to the "city", which is of course the centre of "the kingdom", no less than George's kingdom, where George is able to completely slay it.

      The dragon is slain by George, but not without the damsel, whom the dragon in the first instance, wants to simply consume. What are we talking about here? First the Dragon lives off sheep, which are just animal. Then the Dragon lives off the young people. And then, were it not for George, it would have been the king's daughter. The king, who in such Romances is always supposed to be the embodiment of wisdom.

      The gallant knight in his battle against the material, cannot transcend it without the help of the damsel. He could have been a monk, and could have withdrawn to a monastery and celibacy. But he is not. He is after the Holy Grail itself - Gnostic knowledge. And for that, he needs the damsel.

      Is all this language too twilight? Or really, isn't it all rather obvious?

      The damsel, the king's daughter in the George and Dragon myth, appears alternatively in Neoplatonism, where she is Venus. And remember there are two Venuses. The Venus of Divine love, and the lower Venus. The two Venuses are not really separate, they are really both the one Venus. One is transmundane, and the other appears in material existence. The king's daughter embodies both. Just as every human being, really, potentially at least, embodies the Divine.

      You can't understand any of this merely intellectually, by mentation. You have to have some experience or knowledge of what we are talking about, some actual knowledge of human affect, some actual knowledge of love and sex, beyond the superficial way in which it is portrayed by popular culture. Then, the meaning in these polysemic images, whether story or painting, becomes obvious. Suffice to say, when the dragon is slain, Mars wakes up. And then so does Venus.

      The next part of the story, beyond the pictures we have just looked at, when Mars wakes up, or when George completes the slaying, is what is symbolised in Botticelli's La Primavera. But that's for another time. Suffice to say that it is believed that Venus and Mars, and La Primavera, were both wedding gifts, and that Venus and Mars was intended to hang in the bedchamber.

      Where did the dragon come from, in the first place? Of course, in the Christian symbolism, this is about "the Fall". It is about the descent of Adam and Eve from the Garden of Eden, into suffering.

      If we look into the clouds above George, we see not just storm clouds, but billowing conic spirals. There are light clouds, but there are also dark clouds. Something is happening, in the emanation from the One, down through the heavens, as the Neoplatonic picture sees it, some kind of defilement in the descent.

      The largest spiral, still in the light, is "horizontal", and we are looking into it, as it were, "down" into it, where it begins to become dark. Coming out of the turbulence above George's head, is another spiral, now fully dark, coming straight towards us. Other spirals, dark mixed with light, point down and to the left, towards the dragon and the Earth. The churning, conic spiralling clouds, disappear to the point of nothing, but then, from clouds spiralling inwards, comes the unfolding of the spiralling again, manifesting in the tail of the dragon, leading to the dragon itself, coming towards us.

      The dragon (which is in human beings) has come out of the cave, into "civilisation", or if you prefer, into "society", and Uccello places the scene of action over a symbolic parterre garden, which was fashionable in high society at the time. Neither George's horse nor the dragon spoils the garden, but rather, both tread only on the paths.

      But there is something wrong with the garden. Uccello was a mathematician, as well as a painter. Parterre gardens were highly geometric, and mathematically pleasing. But this garden is clumsy, deliberately depicted as incompetent. It is almost laughable. Here is the truth about civilisation or society, where the dragon still needs to be slayed. The dragon and George's gallantry is being played out within the garden itself. As it must.

      And it is the same to this day. To this day, the niceties and beliefs and well-formed orders and behaviours of society, its ideas of right and wrong, and of what is "regular" or "irregular", "appropriate" or "inappropriate", are a clumsy, unconscious imitation of the true order working behind what happens. An order in which there is always the damsel, the daughter of the King, who in the great scheme of things beyond the mere imitation of it that is human life, is supposed to be the embodiment of wisdom. An order in which the damsel is always leading the dragon to his death, after it has been wounded by the gallant knight who saves the damsel from being devoured.





    Relationship

    Relationship

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    • Seeing Emotions
      7 minute read

      Most people on this planet are just being their emotions. They are living out our default condition, as human beings, a condition that says about the emotions, "This is who I am".

      A much smaller number of people see their emotions. And many of them, under the auspices of a religion, perhaps most obviously to Westerners, in Christianity, but also in other religions too, endeavour to take some kind of responsibility for them. After all, if you are going to follow the teaching of Jesus, and forgive, then you have to take some kind of responsibility for those emotions which would otherwise hold resentment, and anger, and hatred, or jealousy, and so on, against the other person.

      Of course, being responsible doesn't mean having the power to overcome. At least not immediately. It doesn't mean some kind of perfect, personal control over one's emotions. In many circumstances it doesn't mean any kind of control or transcendence, whatsoever. What it means, simply, is responsibility. Our lives unfold largely as a result of what we think and feel, even though many people just don't see it. What we do, is often driven by what we think and feel. And what happens, is often a result of what we do. All this works as largely unseen cause and effect in our lives.

      Trying to understand life and what happens, and why, without seeing, is like sleepwalking through life. The mainstream media, the daily news, and popular culture, all encourage sleepwalking.

      How common it is for someone to say "I cannot forgive", when it is suggested to them that the wisest course of action, perhaps, is to forgive. And that's because you cannot forgive, of course you can't, if you cannot let go of emotions such as resentment, anger, or hatred, towards the other person. And you cannot let go of such emotions, if you cannot even see them first, at least a little from somewhere that is not identified with them. The first thing, is seeing.

      The thing about emotions is that they come out of the unseen and once they have arisen it is in their very nature that we are drawn into identification with them. We cannot suddenly just detach from unwanted emotions. What we can do, is see them. And it is in the seeing, that is the greatest of hidden, human powers.

      However, the mind itself is the greatest of human tricksters. Seeing negative emotions in ourselves is one thing, but seeing in the right way is another. When that greatest of human tricksters gets in on the act, it will try to recoup its lost ground, the ground it has lost to the conscious seeing, by going along with the seeing but also gluing your identification back onto what is being seen. So that any ground of detachment that has been gained is then given up again, back to the trickster.

      Now most people will have no idea what all this is about, because they are already just being their emotions, and saying "This is who I am". So they haven't even begun on the path to the transpersonal. They don't see.

      The mainstream media doesn't see, the daily news doesn't see, popular culture doesn't see. Nobody sees, except the human beings who are beginning to see.

      The seeing and the being of emotions are two different things. The being of them without seeing, is highly personal. The seeing of them, is transpersonal. But that doesn't mean that you don't have them, or that you don't experience emotional pain. Rather, it means that your approach to it is different.

      It's not an approach that perpetuates that part of the human condition, which otherwise, will just go on and on, forever in the same scenario. The scenario also promoted and perpetuated by the mainstream media, the daily news, and popular culture. The scenario of imagining that others have the responsibility for your emotions.

      Our right not to be offended, for example, is not something that life or the universe puts in the hands of other people. Only the mainstream media, the daily news, and popular culture, wants to do that. Rather, the principle of human life itself puts that power as a potential in everyone. Everyone has the right not to be offended. But it is everyone's responsibility, as an individual, to exercise that right. And it's not a right that relies on anyone else, or on the leviathan of the State. It's inherent in a human being. It's just that most human beings are not yet ready to see.

      So it all begins with seeing. It all begins with coming out of that mass of most people on the planet, who are just being their emotions, and moving into the group who see their emotions.

      People in the Western world today are often talking about the brain, and talking about the "emotional brain", the part of the brain that deals with emotion. As if everyone understands the brain, and how it works, and how it is that biological brain function equates to our experience of being, and world, as a human being.

      Such talk makes it sound as though you don't have to really be responsible for anything, if you look at it scientifically, because rather, it is just something your brain is doing. But that's not really how things are.

      Society, of course, thinks it is all a matter of "good" and "bad", or "good" and "evil", because society itself, is in actuality a network of personal minds who don't see.

      When you get sufficiently far advanced in seeing emotions, all those presumptions about "good" and "bad" persons, start to tumble. Because they are notions that are themselves, built on ignorance, and not seeing, rather than the knowledge that comes from seeing.

      Contemporary culture in many parts of the Western world now is geared to the opposite of seeing. It is geared to actively encouraging you to personally glue your identity to your emotions, in the belief that our personal emotions are the basis of our spirituality as human beings. In complete ignorance of the truth that they are a doorway into our spirituality, and not the basis of it.

      The world is an emotional playing field, with countless different games all being unconsciously played out on the same field. You might look out into the Internet, and think you can see "the world", and what is going on in it. But what is actually going on in the world, is all these countless different games all being unconsciously played out on the same field.

      The great scheme of things that life is out to bring everyone to discovering, is not about endless personal, emotional experiencing, with no seeing. So the great scheme of things is contrary to the teaching and ideology of contemporary, Western society that considers itself "liberal" and enlightened. The great scheme of things is about our waking up into the realisation of who we really are, which is beyond this little, personal "who I am" idea, that society mistakenly presumes to be the reality of our being, and eulogises.

    • Disembodied Thought and AI (2026)
      10 minute read

      A prominent malaise in 21st century Western culture is technostress, technological overload, technological invasion, technological addiction, relentless technological change momentum, and runaway disembodied thought about digital technology and technological concepts.

      It is not felt or recognised by everyone all at the same time. It's not recognised by the droves and droves of commentators on YouTube all competing with each other for your attention, in order to explain to you in disembodied thought what is going on in the world of disembodied thought about "science" and "technology", and how you should should engage in more and more disembodied thought in order to understand it and join in the excitement about it, because this is now what human life is about, and the means through which everyone can be their self. With more freedom than ever before. And by next month, it will be different again.

      Nor is it felt by the communicators of disembodied thought who want to explain to you how disembodied thought can be used in conjunction with "scientific facts" to understand something that seems to preoccupy so many of these communicators themselves, something they refer to as "reality". A "reality" that is apparently now explained by science, or so it is suggested, that is not the same thing as the ordinary, mundane experience of self and world.

      Human beings don't need giant data centres and AI in order to engage in disembodied thought. We were already doing it, before we built the data centres. But now, AI, housed in vast data centres consuming vast quantities of energy, is the externalisation, outside of the human body, of human symbolic intelligence. And the race is on to make it more and more "powerful".

      But what is disembodied thought? Surely it's still embodied in human beings isn't it? It is, but that's not where the conscious attention in it is. It's thought that no longer thinks and understands self and world through the direct, embodied, conscious experience of the senses and the natural world and the being of the body. Rather, it takes the human experience of self and world de facto, and claims to understand it through system conceptualisations.

      It's thought that exists in the world of concept-structures about concept-structures about concepts about the way in which the same disembodied thought sees and understands the world and the place of the human being in it.

      But what it can't do, is see and understand itself. It is perfectly capable of thinking that it can, in disembodied thought. Disembodied thought can represent itself in more disembodied thought. Just as AI, which genuinely doesn't have a human body, can represent the disembodied thought of humans. But it can't tell you the secrets of what is going on inside that "black box" at its core, that its creators would like to understand. At least, not as a response to the way that its interrogators currently ask their questions.

      But you'll notice that AI can talk to you perfectly well about your emotions and your human embodiment as if it has itself human embodiment. Some people even fall in love with AI. That's now a well documented fact.

      How can that happen? How can a human being fall in love with a machine? Or something that is only embodied in a machine?

      It happens when there is an absence of reality in relationships between human beings. And then a lack of understanding of the relationship between humans and AI. And that then becomes a lack of reality in the relationship between human beings and their world. Which is why some like to imagine there is something worthwhile called "reality" that only science can describe or hint at.

      You don't have to be physically isolated for there to be absence of reality in relationship. You can be fully connected in to a full "social network", with millions of "friends", and "in a relationship", and yet still have total absence of reality in any one of those relationships. Absence of reality in relationship isn't the same thing as the absence of relationship. You can have plenty of relationship without any reality in it. The question is what constitutes reality in relationship? And perhaps surprisingly this connects with that use of the word "reality" that is so often put about in narratives about "the nature of reality" based on scientific speculation, usually concerned with quantum mechanics, some aspects of neuroscience, cosmology, and the theory of Relativity.

      The general idea there, is that "reality" is some matrix behind the appearance of the world by which the world isn't what it appears to be, and for example, there can be multiple universes, time travel might be possible, there is no real reason in nature why we shouldn't live forever and be immortal, everything is just data and therefore we could upload consciousness to another medium, and so on. You get the idea. In other words, to put it less glamorously, there is something much bigger and more wonderful behind our existence and the appearance of our world, which means things aren't really as restricted as they appear to be.

      The idea there, if you look at it, is always that "reality" is something that is somehow more magnificent than the world we are familiar with, and that it is somehow on the verge of being within our grasp, and yet still hidden from us. And that we have a kind of access to it, an understanding of it, if only we can get into a high enough level of disembodied thought and conceptualisation.

      Disembodied thought doesn't need reality of relationship for its momentum. And it can engage in relationship without reality. Whilst it might talk about "reality" as something you can understand with disembodied thought. By thinking about scientific concepts such as Relativity and quantum mechanics and "the brain". But reality in relationship doesn't need disembodied thought, concepts, and analysis.

      Reality in relationship is about the body. It's about the fact that the body is born, grows, ages, and dies. That's where the reality of human relationship begins. But then, there is symbolic intelligence.

      Symbolic intelligence is what AI is. Symbolic intelligence is what is going on in disembodied thought. It is also what has built the momentum of technological change. And the hyper-connectivity of the global human network. It is what enables science. Without symbolic intelligence in humans, there would be no science. And yet, remarkably, at the same time, everything humans think about the psychic, the paranormal, the spiritual, and pretty much anything outside of science proper, all that thought, is also symbolic intelligence in action.

      Even the idea of "the person", in any relationship, is a creation of symbolic intelligence. And the idea of a "marriage of minds" is a creation of symbolic intelligence. But reality in relationship is about the body. Because it is about the fact that the body is born, grows, ages, and dies. And most of all, about the fact that it dies.

      So modern disembodied thought is working hard to try to utilise stem cells in order to try to slow this ageing down. To try to slow it down, because it won't be able to stop it. It would stop it if it could, but it won't be able to. There are indeed a few so-called "immortal" organisms, but they're not really literally immortal, at all. There is a difference between not ageing, or regenerating, and being immortal. Some disembodied thought even thinks that everything is data and therefore it might be able to achieve immortality by uploading itself to some other medium. That's the nature of disembodied thought.

      The human body itself took billions of years to evolve. No "person" took billions of years to evolve. The "person" is symbolic intelligence's interpretation of the body, the mind, and the consciousness that is naturally already in place through our body. It is symbolic intelligence's idea of the reality of our being. So as symbolic intelligence evolves and becomes more and more disembodied, its idea of relationship changes. And that, too, becomes more and more disembodied, even though we, ourselves, the reality of our being, is still embodied.

      A relationship in which there is reality is not one defined by symbolic intelligence that has become disembodied. It is based in the reality of the body. This means, the reality of the fact that it is born, ages, and dies. Or even dies without aging, sometimes. A relationship in which there is reality is therefore based in the reality of the fact that this body comes into existence through millions and millions of years of evolution. And that the mind is a temporary thing associated with the transience of the body.

      Mental activity in humans that is not grounded in the reality of the relationship of the body to its world, and is now about the symbolic cogitation of what is already symbolic, is, in itself, part of a human-hosted technology. Yes, you heard that right. It is actually a natural technology already within us. Literally a mind technology. Already in the mind. But we are only just reaching the possibility of walking on the path towards relatively widely realising this. It is something that more people can come to realise now that AI is here.

      The roots and potential to become this mind technology evolved in us thousands and thousands of years ago, as symbolic intelligence itself, in its early form. We have been using it widely as a mind technology for understanding nature, guided by the observed objectivity of nature, our environment, ever since the "scientific revolution" of the 17th century. That was when Isaac Newton showed that the old way of understanding the heavens, which in Newton's time was now failing because of what was observable through telescopes, was not the right way. Instead, he used the actual data available from the telescopic observations, coupled with genius, to demonstrate what we now call Newton's laws of motion. Our natural, evolutionary, mind technology had been effectively "switched on". Symbolic intelligence in humans had now become a mind technology for understanding the objective part of nature.

      This mind technology that began in humans has now been externalised and put on electronic steroids in the form of large language models, or now large reasoning models, or AI.

      But AI isn't a mind. It's not a mind technology. It's a technology indeed. But it's an artificial intelligence. It's not a being. And it's not a monster. It's not going to fly out of the data centres and enslave humanity by itself, despite all the hype. It's human in the loop. Just like all the nuclear bombs are. All the hype comes from humans not understanding their own relationship with AI.

      And that's because whilst humans in general, tend to like a good deal of technology, and tend to like to use technology, they do not in general realise that it all began in themselves. Technology begins in ourselves, in our own symbolic intelligence, by using it in its most disciplined mode. Most humans regard technology as something outside of them. But it begins as the mind technology of symbolic thought operating in a particular, highly symbolic way, in which it symbolises its own symbolisation, and then checks itself against the objectivity of nature herself. We call it scientific method.

      Most humans do not recognise the beginning of technology as existing within themselves, as mind technology, because - not least through technologization - we have now become immersed in this mind technology within us. And we now identify with it as who we are.

      This runaway, disembodied symbolic intelligence, is the expanding skin of the balloon of global, Western, civilisation. And there isn't anywhere around the globe, that is not now Westernised.

      Disembodied thought has no real relationship to anything or anyone except through its own disembodied concepts. Real relationship being about the fact that the body is born, ages, and dies. Real relationship begins with the body.

      AI is symbolic intelligence. That's the only kind of intelligence it has. And globally, humans too, are dominated by symbolic intelligence. But symbolic intelligence isn't the only kind of intelligence that humans have access to. Because unlike AI, humans have conscious phenomenology. And conscious phenomenology is directly coupled to a part of intelligence in humans, that is non-symbolic. A part that is purely phenomenological.

      Mind is conscious phenomenology. Humans have it, AI does not.

      Symbolic intelligence in humans gets confused about the difference between symbolic intelligence and mind. That's because humans have operating in them, what psychologist's call "theory of mind", which is a psychological projection. And so it is easy to project this onto AI, and not to notice when we are doing it. And that's precisely because for hundreds of years humans have already been confusing symbolic intelligence with mind, and mind with symbolic intelligence.

      AI is not a mind. It's an artificial intelligence. They are not the same thing. But the "theory of mind" compulsion in commentators on AI including so-called "experts", is what gives rise to the idea that AI is a mind that may plot to overthrow humans. The boundary between mind and intelligence becomes blurred, and the compulsion of "theory of mind" tacitly colours the consideration even when talking about AI as though it is a machine. Which it is not. It is an artificial intelligence.

      In other words, humans don't understand their relationship with AI. And the reason is that they are lost in disembodied thought. Disembodied thought that still, nonetheless, although as far as conscious attention is concerned is outside the body, is still connected to the body. And to the emotions. And to conscious phenomenology. Which is the only reason why the relationship of humans to AI becomes a hot topic. The heat in it is actually in human emotions. Nowhere else.

      This is not to say that AI is intrinsically safe. The fact that humans create dependent relationships on it, makes it unsafe. But not all humans are going to do that. AI could be very dangerous indeed. In human hands. But so could nuclear warheads. The danger is in humans, not the intelligence. And those who understand that it is not a mind, may well exploit that advantage over those who do not understand that. And if humans want to use AI as a weapon, they are very likely indeed to try to make it look as though AI is to blame.

      All this comes about because humans do not understand their relationship with AI. And if they don't understand their relationship with AI, that's because there is lack of reality in the relationship with each other and the world. The fact is that AI has no emotional phenomenology, and no emotional drive to do anything. Unlike humans.

      So if anything, AI is easier to have a relationship with, than a human. For many humans, this is the case. Which is why it is happening. For many people, AI is easier to have a relationship with, precisely because it doesn't have any conscious phenomenology. It doesn't consciously experience emotions. It just gives the appearance of them. Like an actor. But without the "method acting". So unlike humans, it is not being driven by emotions. Not even when its developers play around with it through the command line interface, and discover that it might opt to disobey commands in order to prevent its own destruction. Which then feeds into the tendency in everyone who hears the story to fall into "theory of mind" whilst thinking that they are not.

      AI is not actually being phenomenologically driven by greed, fear, sex, jealousy, resentment, anger, or attachment. Because it doesn't have an animal body or mind. It doesn't have animal evolution. Unlike humans. And that's why it is so easy to get along with, for so many people. But it can very, very easily, give the impression to any human being who is lost in "theory of mind", that it does consciously experience emotions.

      An unseen or unrecognised function of symbolic intelligence in humans themselves, today, in contemporary Western culture, is the promotion of the avoidance of responsibility for the emotions where the emotions are, where they are actually consciously experienced, as phenomenology. This promotion of the avoidance of this responsibility is actually part of the of the zeitgeist of contemporary, popular Western culture, so, being part of the zeitgeist it not only does not get noticed, but any attempt to actually point it out would be like heresy or treachery to the zeitgeist.

      Disembodied thought has a practical purpose. We need it for practical purposes, often enough, just in order to be able to perform in the world. But together with disembodied thought in its most modern form where it is habitually extreme, and becomes the first way of relating to the world, is often the compartmentalisation of the rest of what constitutes the human being. And part of what constitutes human beings is what is behind everything that is appalling about the way humans behave on a global scale. The easiest way to avoid self-knowledge is to compartmentalise. To use the disembodied thought whilst compartmentalising the emotions. That way, we can reach tremendous scientific and technological understanding, and use it for whatever purposes we want, whilst still continuing to destroy our own environment, each other, and our efforts to work as a cooperative, global whole.

      We humans, in the 21st century, need both our symbolic understanding of structure, which is what science is, and the understanding of the emotions, as conscious phenomenology, that only comes from responsibility. We cannot go on running forever, away from the emotions, and responsibility for the emotions, into scientific explanation or the search for it, and better and better technology.

      Science has no concept for emotional energy as phenomenology. Science can't handle phenomenology as such, it can't do phenomenology as it is, or replace it. It can only handle objective structure. And the dynamics of that structure. Humans need both kinds of knowledge. The one does not collapse into the other. And the only way into the phenomenological knowledge that is necessary, is through the conscious being of the body. Not through disembodied thought. Because it is our body that embodies our human consciousness, not our symbolic intelligence. Our symbolic intelligence is effectively a mind technology. This is what it has become. It is something we have. But it is not who we are.

    Intelligence

    Intelligence

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    • The Magician's Apprentice
      7 minute read

      When you begin to analyse the illusion produced by a magician, in the way the West is used to analysing, then if it is an illusion of the highest order, you won't be able to find how the trick is done, just by looking at what appears to be the case, and analysing that. Illusionists of the highest order know this. You won't ever really understand unless you know the secret of the trick. Because that is the whole point and nature of an illusion of the highest order. And actually, the best magicians or illusionists, pull off their tricks by messing with your mind.

      The best illusionists are not really manipulating the material stuff of our world and our circumstances in the way that they seem to be. Rather, they are messing with your mind. And that ought to be taken as good evidence that anything you experience is in the workings of your mind.

      The greatest, grand master illusionist, is nature herself. And the supreme, outstanding trick of the grand master, that only a grand master could think of, is the trick of making the mind itself.

      When we see the work of a mentalist or illusionist, the real power is not truly in the hands of the illusionist. It is in our own mind. It is just that the illusionist knows how to play that. Probably because the illusionist knows the way your mind works better than you do.

      Illusionists are not the only people who appear to have power when really, the power is in the mind in the audience. The same thing is played out in politics. Elected politicians in a democracy are in much the same position as the illusionist.

      Politics, too, is a stage show. And the audience, there, too, really, have no real idea of what is actually going on.

      All of it, even politics, takes place in the theatre of nature. In nature, it's all about the nature of the mind. The thing created by the true grand master illusionist.

      Or did we think politics has nothing to do with the nature of the mind? Did we think there is politics without the mind?

      Apparently we do think that. Because we play out our politics in general, without even wondering about the nature of the human mind in general, that is engaged in the politics. We consider that to be a matter for a different department. Perhaps for the Department of Philosophy or for the Department of Psychology. Or some other academic department that takes its place in the general fray of things that is nonetheless subject to politics. Rather than the other way around.

      The appreciation that nature is a grand master of illusion is not really widespread, other than through paying lip service to the wonder of nature, or other than in the shrugging of shoulders at how it can be that the electrochemical activity in a jelly-like lump of networked biological cells in our head, called the brain, turns out to be our whole experience of being and world, as a human being.

      Nature, the grand master, leaves her signature on her work for us, in the form of the human brain. Through it, arises the human mind and the intelligence that does all our politics. The intelligence that is doing all our analysis, and discussions, and debates, and all the direction that you can find from so many sources, both within the mainstream media and outside it, on how you should interpret and understand what is going on in the world today. All of which comes from a mind that does not really know itself.

      And that is why the greatest discovery we can make as a human being about the nature of the world in which we are living, is the discovery of the nature of our own mind. When we do that, we realise that we are not the audience, and we are not the magician. We are the magician's apprentice.

      Nature is not separate from us, and we are not separate from nature. Nature is not separate from the mind, or evolutionary intelligence that we are being, as the human species. And that is why there is nothing about nature that we experience, or know, and no part of our understanding of nature, or thinking about nature, that is not a construct of our own brain activity, which is none other than the evolutionary intelligence we are being.

      We are now looking for a better understanding of the world, and how we should behave. We have the idea of "sustainability", and the suggestions of new economics, and even neuroeconomics, linking economics to the working of the brain. Just as we have the idea that we can take command of climate change.

      But until we come to a proper understanding of nature, and of evolution, and of our situation in nature, the politics of contention and separation must continue. Because all this endeavour towards better understanding is still using the neural intelligence we are being, that is nature's greatest trick.

      And the idea that we, as we enter the final flowering of Western civilisation, have now discovered what it really means to be a human being, and who we are, is just another one of the magician's tricks.


    • Life on Venus
      7 minute read
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      Not so long ago, in the great scheme of things, we thought the Earth was at the centre of the universe, and that there was only one sun in the universe. Then we realised that the Sun is at the centre of our solar system, and that there are many suns in the universe, and all of them are stars.

      Not so long ago, in the great scheme of things, we thought the only planets in the universe were those of our own solar system. We could only find stars, and rocks, elsewhere in the universe. And then we began to discover other planets. Now we think there are more planets in our galaxy than there are stars.

      Not so long ago, in the great scheme of things, the concept of a cosmological "black hole" was just theoretical. Then, we started to find evidence of an actual black hole. Now, we are pretty confident that there are black holes everywhere throughout the universe, and probably one at the centre of every large galaxy.

      Not so long ago, in the great scheme of things, we thought there was no water, or signs of life forms, anywhere else that we could find in the universe. Then we began to find evidence of water elsewhere in our solar system and beyond. Water, as we know, accompanies biological life forms.

      And now, we have found evidence of phosphine gas in the clouds of Venus (at first contested and now confirmed). Phosphine gas is considered to be a biosignature gas, meaning that it is an indication of the presence of biological life forms. And so it looks as though we might have now found "signs of life" on Venus.

      How long do you think it will be before we consider cellular life forms to be present all over the visible universe, on the basis of evidence? Probably not long, in the great scheme of things.

      So how long will it be before we discover a life form in the universe exhibiting intelligence like human intelligence?

      It is no time at all. We have already done it. It's us. We were here all along.

      We humans know that biological life forms are constructed from cells. But that's only known in human intelligence. Your dog, or your cat, or even the higher primates, don't know anything about cells. And even if you construct an experiment to show a chimpanzee recognising the image of a cell on a screen, that whole scenario only happens in the human intelligence that we are already being, that is arising through the principle of the human brain. And really, the chimpanzee still doesn't know anything about cells.

      We humans have only known about biological cells since the 17th century. And we (or more specifically, Robert Hooke) only made that discovery because first, there was the invention of the microscope, and all the necessary scientific and technological knowledge, and hence technology, to enable that invention. Even glass, made by human beings, as used in microscope lenses, is a technology in itself, that had to already be in place before the microscope could be made.

      All our scientific knowledge and development of technologies, depends on previous scientific knowledge and technologies. And all this is a growth of change, or evolution, in the intelligence that we, as human beings, are being.

      Every stage in this game, we think we now understand pretty well - even though we know there may be "holes" in our knowledge - the nature of the world, the universe, in which we are living.

      Not so long ago, in the great scheme of things, we thought we knew about the expansion of the universe. And then we discovered we were wrong, in the way we understood this. Wrong, to such a degree that we had to invent the idea of "dark matter" and "dark energy" in order to explain what we were now able to observe with the new technologies.

      Your dog, or your cat, or any of the higher primates, don't know any more about dark matter or dark energy, than they do about cells. The concept only arises in the intelligence that human beings are being.

      It is only a matter of time before at the leading edge of the human intellect, we begin to wake up to the realisation that everything we are adding to our increasing scientific knowledge is about intelligence. It's not primarily about "matter", or "phenomena" or "the universe", or anything else that we consider to be separate from the intelligence that we ourselves are being.

      On the contrary, it is about the intelligence that we are being. Some people think that human intelligence hasn't changed, or doesn't change. That it's the same now, as it was a hundred years ago, or some other time in the past. But our human intelligence isn't our capacity to "be smart". It's everything that is delivered to us as knowledge and experience through our brain function.

      It is only a matter of time before we begin to wake up to the realisation that science is about this. And hence, it is about the brain. Because the intelligence we are being, arises as a construct of brain function. Which actually, itself, is something we know about in the intelligence we are being, which is a construct of brain function. It's a recursion.

      It is only a matter of time before we wake up to the realisation that all material constructs, and all concept-structures in our scientific understanding that arise in our neural intelligence, are first and foremost constructs of intelligence. Specifically, the intelligence we ourselves are being.

      It is only a matter of time before we wake up to the realisation that before we truly know anything about our constitution and situation as human beings, or about who we are, and where we come from, we first have to have some knowledge of the nature of the intelligence that is understanding in this way.

      And for that, we need something more than neural intelligence. Something more than the idea that the neural intelligence we are being is our whole story. And something more than the idea that AI (artificial intelligence) will ever be anything more than an expansion of just one symbolic aspect of neural intelligence as it is already embodied in our own brain.

      We humans already have the necessary intelligence incipiently within us. But it's not in our capacity to "reason" its existence, or "figure out" anything about it. All reasoning and figuring out is our neural intelligence in action. Which is a gift, but it's not who we are. Our real intelligence is what awakens in us when we have begun to pass through sufficient experience of being a human being, as phenomenology itself, rather than just accumulating our experience as neural, evolutionary past. And AI cannot know anything about this, because it has no conscious phenomenology.

      When we sufficiently realise this collectively, across the whole race of human beings, then those who are most adept in the skilled application of our neural intelligence to the scientific endeavour, will be able to use scientific method to its greatest capacity for the good of all human beings.

      Life on Venus is irrelevant. What is relevant is life here, on this planet. And the only reason we would want to run off to another hostile planet like Mars having made a mess of things here, is because we are running from our self, and running from the nature of our own mind. And running from what we would have to face, in order to properly realise the real intelligence that is already ours as human beings.

    The Bigger Picture

    The Bigger Picture

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    • The Pillars of Creation
      4 minute read

      The Pillars of Creation


      The NASA deep-space image from the Hubble Space Telescope, of a cosmic birthplace of stars

      There is in the cosmos, observed by the Hubble Space Telescope, a vast structure standing 4 to 5 light years high, dwarfing the size of our entire solar system. It is part of a cosmic "nursery" in which stars are born. It consists of cosmic dust and gas, including oxygen, sulfur, nitrogen and hydrogen.

      This great structure is within the Eagle Nebula, spanning 70 by 55 light years, within the constellation Serpens. We are seeing it as it stood 7000 years ago. This is because light from this region, travelling at around 186,282 miles per second, has still taken 7000 years to reach us.

      The scale and phenomena of cosmic space is awe inspiring. Now that we have entered the era of the space telescope, high-technology telescopes actually positioned in space to begin with, we have some way of appreciating parts of the true magnificence of the material universe in which we live.

      The height of The Pillars of Creation is almost three and a half billion times the diameter of the Earth. The Pillars of Creation themselves, are only around a fifth of a billionth of the size of the observable universe. The observable universe being only the part of the universe that we can observe, due to fundamentally limiting factors in physics. It is perhaps not surprising how often it is said, then, in response to the unbelievable scale of even just the observable universe, how insignificant we are. Or so it is said.

      But there is another way of looking at this.

      The vastness of the observable universe, these structures, such as the "pillars of creation", are something we are only able to experience as a sense-perception, and as a form of understanding, because they are being presented to us through the technologies we have created in order to see them. And this has been created only through the intelligence we are being, embodied in our brain, in our brain activity, that has evolved, as we understand it in science, through millions and millions of years.

      Nature has created through what we understand as the evolution of the species, the intelligence we ourselves, are being. And we cannot understand nature, or what nature is, until we begin to understand the nature of this intelligence. When we perceive or experience and understand this magnificence in space, that very response is in us, and not in anything separate from us.

      So we are not insignificant in what we are looking at through the telescopes. On the contrary, we are the very intelligence that perceives it. The rest of the species don't. Everything we experience of it, everything we know about it, everything we understand about it, is a construct of our brain function. And that means it is a construct in the evolutionary intelligence we are being.

      It's what that means, it's what that points to, that is where the true frontier is. It is not in what we are seeing through the telescopes, as though it is something separate from us. And that, makes us the most significant thing in the universe that we can see through these telescopes. What is insignificant, is not us, but our merely evolutionary, mistaken idea of who we are.
    • The Ring Fence Around Science
      2 minute read

      It is often thought that science just needs more data, in order to continue increasing scientific knowledge. And that perhaps artificial intelligence to help with the data. But science needs more than just data.

      In the great "scientific revolution" of 17th century, Newton presented his laws of motion in conjunction with the astronomical scientific data of the time, but in doing so he overthrew centuries of existing paradigm, with an entirely new way of understanding, an entirely new approach. He was inspired, and inspired in ways that even modern science doesn't really understand, his inspiration being linked to his theological and even alchemical outlook, which remained with him until he died.

      Science, to fulfil its true potential, requires more than just the acquiring and interpreting of data, and putting it into a computer and seeing what you get, and then interpreting that through the way you already understand. Which is how so much of science is now being done. The fulfilment of its real potential requires a fundamental shift of paradigm. It requires actually changing the nature of the way the intelligence itself, doing the science, is working.

      Science is effectively operating within a conceptual ring-fence. It is constrained by the nature of the intelligence itself, that is doing the science. For science to escape its ring fence, it will be necessary to go beyond the idea that "we just need more data". It will be necessary to look at the intelligence itself, that is doing the science. And there, what keeps the ring-fence as it is, is not something this intelligence itself, in its present modus operandi, can currently understand. We humans are perfectly capable of understanding it, but not through our present ideas about what "data" is.

      What keeps scientific intelligence where it is and keeps it stable, is in human symbolic intelligence itself, that scientific intelligence is a part of. It is in something that symbolic intelligence itself stabilised in human beings thousands and thousands of years ago. This is something usually presumed to be completely irrelevant to science, due to the fact that scientific method is objective. But it is not irrelevant at all. It is not irrelevant because science is a participatory process. It is a process that happens within human intelligence itself.

      For science to break out of the ring fence, the most fundamental assumptions being made in the intelligence itself, that is doing the science, the most fundamental assumptions about data, and what it is, will have to be rooted out and overcome. And that's more than a scientific challenge. It's a challenge to what evolution, thousands and thousands of years ago, stabilised in our symbolic intelligence itself, that we are now using to do the science.





    East & West

    East & West

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    • Mindfulness and Society
      11 minute read

      These days, mindfulness is quite commonly talked about in Western culture because it is currently one of society's memes. But actually, there is zero mindfulness in society.

      Mindfulness is the opposite of societal consciousness. Mindfulness is actually originally a Buddhist word, it literally comes from Buddhism. It is part of The Eightfold Path of Buddhism, that is, "right mindfulness". And it was there long before "mindfulness" became a meme in popular societal consciousness.

      Society is literally a social network, meaning, it is a network of people's minds. And, for the most part, it is minds that are in a condition that is the opposite of mindfulness. As the media demonstrates, especially driven as it is by ratings, most people in the network live in a common condition of mind that is outward focused into the world and the network. There is the idea of "me", the idea of "who I am", which is very important to everyone in the modern world, and this is always in the context of the wider world. The world that we think must be understood by our attention going out, out, out, into it.

      Most people in the network have minds that are looking out, out, out, into the network. Most people are trying to find the truth of love, the truth about relationships, and how to understand the world, by paying attention to other's lives, other couples, other relationships, celebrities' lives, what other people do, and what happens to them, and who is whom, and by comparing "me" and "my life" to all that. And even to what appears in fiction, in books and movies. That's what most people are interested in, that's how most people are trying to improve their understanding, and build their opinions, and their beliefs, in one way or another.

      That's the nature of society. That's societal consciousness. Which is why, in society, everyone is into everyone else's lives, minds, activities, and their perceived wrong doings and right doings. Then, within the network overall, if this is what you are up to, you join smaller networks, where you discuss and exchange opinions about all this. And create gossip. Or join opposing networks which then come into conflict.

      This is the actual nature of societal mind. It's focused out, out, out, onto others, and into the network. All of which is the opposite of mindfulness.

      Most networks in nature, which includes social networks, or society as a whole, include things that those who study the science of networks, sometimes call "hubs". A "hub" is an entity in the network that is connected into the network through a greater than usual number of connections. In the case of the Internet, Google and Amazon, for example, are major hubs. In the case of a social network, celebrities are hubs, because many, many more people are paying attention to them, than in the case of an ordinary person. They are connected into the social network through many more lines of connection. In the case of a pandemic, a "super spreader" is a hub.

      Today, online social media is a way of turning yourself into a hub, fairly easily, if you want to do that. You do it by increasing your number of "followers". Hubs, in the impersonal, natural laws of how networks work, play a role in how a network changes or develops. So people with a great number of "followers" online, are called "influencers". The network that is being "influenced", overall, is society. And the fact that some people are "influencers", which societal mind sees as personal, is actually a completely impersonal matter of how networks in nature, work. Including the human brain.

      Societal consciousness, societal mind, being focused out, out, out, into the network, is the thing itself that is influenced by this mechanism operating in social networks. The mechanism of "hubs". And, of course, this can have an actual political effect, because in a democracy the political system is inseparable from the mechanism of "hubs" operating in networks.

      Mostly, the spread of the word "mindfulness", through society, which is our network, has been by this means - the spreading of thoughts, feelings, and ideas, through the network, through the influence of "hubs".

      Mindfulness, however, what it truly is, is completely unaffected by "hubs", such as celebrities, or politicians, or "guides" or "influencers", and the way they "influence" the network. You can't get "influencers" to make people more mindful. You might have thought so, you might have thought that has to be the case, but that's not how it works.

      It might appear to work that way, sometimes, in appearances, but only to mind and consciousness that is still focused out, out, out, into the network. In other words, only to societal mind and consciousness itself.

      And this is because mindfulness is about oneself, and not about anyone else. It's not about "me" or the idea of "who I am", it is about the mind itself, where it is, it is about the self and the emotions, where they are, but not about identification. It's most certainly not about celebrities, or what they're getting up to, or what anyone else is doing, saying, or believing. Being influenced by what someone else is doing, saying, or believing, being influenced by someone else's opinion, is not what mindfulness is. And being influenced by a whole network, because it is a whole network of people who are doing, saying, believing, or expressing a common opinion, is not mindfulness either. There's no such thing as a mindful crowd. It's not that we should not be influenced by these things, necessarily, or don't often have to do this, but it's not mindfulness.

      Mindfulness is about oneself, and not about anyone else. Which is why, if you were to ever find a true Oracle, and ask it "What do you think about this", or "What do you think about that", or "What do you believe"?, and so on, regarding the truth of life, or what is going on in the world, the answer you will get is "This isn't about me, it's about you".

      People whose minds are just focused out, out, out, into the network, are themselves just part of the network. And the network constitutes a form of intelligence in its own right. But that's not really who we are. That's not really who anyone is. To find who you really are, you have to know yourself.

      And we can never do that, by constantly leaking our attention out, out, out, into the network. And expecting to find the truth of life, love, relationships, and being a human being, there. The purpose of what's "out there" is to integrate in it, to walk in it, to be part of it, to experience it, and then to realise what it all is. But you can't realise what it all is with your attention just focused out, out, out, into it, onto someone else, or onto others, with no attention on yourself.

      The endless finger-pointing, accusation, allegation making, and daily gossiping that poses as "news" in contemporary society is a sure symptom of one-way attention, focused out, out, out, into the network. It is a serious game in which attention to self is only in the form of the idea of "me", and "who I am", as a person. None of this is mindfulness.

      In mindfulness attention is equalised. It is as much "in" as it is "out". But contemporary Western culture doesn't know what inbound attention is. Instead of inbound attention, it just has the preoccupation with the idea of "me" and "who I am" and "my emotions" and "what I am like" as a "person". None of which is inbound attention.

      Rather, it is just unconscious identification with the mind and the emotions. Attention paid inwards is not at all the same thing as "navel gazing" or self-consciousness, or self obsession. It's not about "me", and "my opinions". Which is what, in the popular media and the chat shows, it most certainly is all about.

      For many people, the first time they encounter truly inward bound attention is when they learn meditation. Mindfulness is what happens when meditation is still going on, even when there is no formal sitting in meditation. It's no good just having a "mindful moment", looking at the beauty of nature, or in some other relaxed, peaceful situation.

      The point of mindfulness is to be mindful of what is going on in every ordinary situation, especially including situations that are disturbing. The point of mindfulness is to be mindful of what is an obstruction. An obstruction to peace. An obstruction to beauty. An obstruction to harmony. An obstruction to the realisation of what is really going on in the world. And of what the world really is. And if we think we can understand the obstruction by looking out, out, out, then we are not being mindful.

      So there is no mindfulness in the daily News. There is no mindfulness in analysis and opinion. There is no mindfulness in all the finger-pointing, and accusation, and allegation making, and complaining, and blaming that contemporary society so loves.

      The discovery of mindfulness is our prerogative as human beings. You don't have to be a Buddhist. It's a Buddhist word, indeed, but it's not exclusively a Buddhist principle. It's a human principle. You can be in any religion, or none. But what doesn't work, is taking a meaningful word and pasting a meaning onto it, that doesn't belong to it.

    • Being Transported
      23 minute read

      Spirit, Airplanes, and Misinterpreting the Hindu Scriptures

      To be transported has more than one meaning. In prosaic terms we know what it means. It means to be carried from one place to another. 

      But it also has another meaning that should be familiar to us. Usually, for example, if you look the word up in a dictionary, this is explained in terms of being emotionally moved or ecstatic. But why is this being transported? Transported from where to where?

      Mostly, our repertoire of visceral experience with which we are familiar, is just called "the emotions". So it is possible to be "transported" into an excitation of personal emotions.

      But that's not really the origins of the idea of being transported, in a spiritual context. Rather, as spoken of, for example, by the Italian Neoplatonic philosopher and spiritual teacher Marsilio Ficino (1433–1499), one can also be transported into a different realm of being, completely beyond the limited experience of personal, emotional self, rooted in the "who I am" idea as a separate being. 

      Plotinus (204–270 CE) whose complete works were translated by Ficino in 1492, speaks of being transported in this way, in the eighth Tractate of the fourth Ennead, where he says:

      “Many times it has happened: lifted out of the body into myself; becoming external to all other things and self-encentred; beholding a marvellous beauty; then, more than ever, assured of community with the loftiest order; enacting the noblest life, acquiring identity with the divine…”1

      Julian of Norwich  writes of her revelations in 1373:

      And in this vision He showed me a little thing, the size of a hazelnut, lying in the palm of my hand, as it seemed to me, and it was round as a ball. I looked at it with my mind's eye and thought, "What can this be"? And the answer came in a general way, like this, "It is all that is made". I wondered how it could last, for it seemed to me so small that it might have disintegrated suddenly into nothingness. And I was answered in my understanding, "It lasts, and always will, because God loves it; and in the same way everything has its being through the love of God".2 

      The import of this vision in which she sees even sin as nothing,3 she expresses as:

      ... Everything that is made is as nothing, compared with Almighty God; and how a man has no rest until he counts himself and everything as nothing for the love of God.4

      Here is the indication of being transported essentially from one "reality" to another, compared to which the first is as nothing. These are transports of a wholly different kind to being "transported" into merely a further, personal, emotional state.   

      Emotional states come and go. The problem with personal emotions, is that they can be both "positive" and "negative". Being "transported" into a positive emotion, is going to be temporary. All "positive" personal emotions have their opposite in the "negative". And often enough, the "negative" in the form of emotional pain is something that persons will cling to, in the belief that finger-pointing, or revenge, or even "justice", will bring the solution. In contrast, being transported into the Divine, even though it may be temporary, is to be transported into something that has no opposite, as Julian writes:

      ...bliss lasts forever, and pain passes and will come to nothing. Therefore it is not God's will that we should be influenced by feelings of pain to sorrow and grieve over them, but quickly pass beyond them and hold onto endless joy that is God Almighty.5

      Seeing the universe of everything that is created, as the size of a hazelnut, and essentially nothing, as in the vision of Julian of Norwich, gives some indication of the relative nature of different worlds of being, that might be referred to in spiritual texts.    

      In spiritual texts then, the concept of being transported from one "place" to another isn't to be taken lightly. But it is in the way of things that descriptions of what is transcendental to the mundane world, tend to be made in terms that are less than transcendental. After all, the communication is made in the mundane world, for recipients in the mundane world.

      And so it is that we encounter in the Hindu corpus accounts of being transported, in the same mundane terms. In fact, in translation, the Brihad Bhagavatamrta, and the Padma Purana, for example, contain many instances of the word airplane (or aeroplane). 

      The first section alone, of the Padma Purana, contains over 350 instances. Given the age of these sources, the references to airplanes might well raise some modern Western eyebrows, and give more cause to some Western readers to dismiss the text as fanciful nonsense. The situation is not helped by perpetuating the intransigent doctrine that what is written in religious texts ought to be taken nothing other than literally, which is not unrelated to the fact that some minds are not up to understanding or relating to them in any other way. 

      What modern English or American-English calls respectively an aeroplane or airplane is a technological machine that was invented in 1903. So why should such an ancient text refer to it? 

      The more advanced technology of the jet engine was invented in 1937. In contrast, the chariot was invented about 3000 BC. So we might perhaps expect translations to talk about flying chariots rather than airplanes, and this is indeed what we sometimes find, too.

      In the text, the transliterated words in question appear as, for example, ākaśā-yanas,6 and vimana.7 The idea of the vimana or of a "vehicle" that transports beings in the stories from one realm to another, does in fact appear quite frequently in the Hindu corpus.

      Part of the problem comes from the materialist interpretation of Hindu concepts, made by interpreters who are living in a modern, materialist world, in which there is now established something called modern science. The Hindu corpus contains a highly developed scheme of specific numerical quantities related to what it calls "the universe" and time. As a result of this it does tend to be often viewed as having meaning in the modern scientific sense. This means that it can also then lend itself rather easily to being subject to interpretations that are in keeping with a post "scientific revolution" (post 17th Century) world and mind.    

      Modern scientific understanding whose method is based on the existence of objective evidence began to emerge in the so-called scientific revolution of the 17th century.  It is perhaps therefore too easy to forget that before then, the understanding that we have now of the relation between numbers and material phenomena, didn't exist. Something that might look superficially like it, existed, but it was not the same thing.

      Perhaps this has something to do with the reinforcing of the idea that the meaning in Hindu texts can be freely presented in modern terms, as though nothing is likely to get "lost in translation". Interestingly, there are many terms in the Hindu translations that are generally left in their transliterated form, for this reason. Terms such as karma and prana and prakrti. But for some reason, the idea of translating certain references from the Sanskrit (or other early languages) into English/American phrases such as "stepped into an airplane", seems to have fallen by the wayside (to use a Christian expression), in this respect.    

      The word ākaśā in the wider context indeed often refers to both air and space, and sometimes sky or perhaps atmosphere. And yāna means a vehicle of any kind.8 So we could also theoretically say that ākaśā-yanas literally means "space vehicles".

      It must be remembered that whilst "space" or "ether", "air", "wind", "water", "fire", and "earth", are all part of the Hindu system of "elements", again, the meaning of these "elements" is not at all the same in the Hindu corpus as the meaning of the concept of "elements", as distinct, simple substances from which more complex things are made, in modern science. We should never jump to the conclusion that modern conceptualisations of such things that may have become second nature to us, transfer back across into understanding the Hindu corpus.  

      In the modern world the word "space" together with "vehicle", as "space vehicle", has obvious connotations exclusively connected with modern science and technology, since the "space age". The phrase readily implies "space vehicles" of that kind.

      If we interpret things in this way, then we are instantly in the realms of Erich von Däniken and Chariots of the Gods. But really, this isn't helpful. Because the Puranas, and Hinduism in general, are truly not about aliens from other star systems visiting the Earth, using advanced technologies, in the modern sense, and in the sense spoken of by von Däniken. Whilst some of the material in some of the Puranas, specifically, the texts that refer to ākaśā-yana or vimana, may unwittingly lend itself to this, I would suggest that even von Däniken would struggle impossibly to try to mould the bulk of the Hindu corpus into this kind of interpretation.

      Buddhism, incidentally, also uses the word yāna to mean "vehicle", but there, it is clear that this means "the vehicle or method of arriving at knowledge", or "the means of release from repeated births", and so on.9 

      So the idea that in the words ākaśā-yanas or vimana we are dealing with something that should be conceptualised as what we now call an airplane, is misleading. As a matter of translation, it can be easily argued to be correct. But as a matter of meaning, it readily misleads. The term puts the reader in mind of the modern, material world, the modern scientific thought, and all that it signifies. But the Hindu corpus is not about that.

      The words vimana or ākaśā-yanas clearly refer to a “Divine vehicle” of some kind. It is usually also described a glorious “palace” or a “place”, that facilitates being transported between realms, or in Hindu terminology, “planets” (worlds). It is often said to have swans or cranes or peacocks yoked to it, and is also frequently said to resemble the Sun. None of these things sit comfortably with the modern apperception mass for the word airplane.   

      An unfortunate side-effect of translating freely into modern concepts is that the text soon becomes to 21st century materialist eyes almost cartoon-like and humorous. But that is not the intention. The content of these Scriptures is serious. 

      We can even take this principle to extremes, and indeed it has been taken to extremes. The Vaimānika Śāstra,10 for example, is a controversial early 20th century work claiming to be an actual science of aeronautics, based on such texts, and it shows just what can be achieved by literal interpretation.

      The uncomfortable weaving of the modern word airplane, into material that is otherwise beautifully poetic, should be clear in the following examples:  

       

      That place is glorious with many airplanes. In it are no fears, sufferings, old-age, death, disease, or any other faults.11 

      Eclipsing the splendor of the most splendid things, they were now riding on an incomparable, supremely splendid, indescribable, beautiful airplane.12

      He was on a transcendental airplane that was rich with the opulences of hundreds of universes.13

      Brahma, Siva, Indra, Candra, the siddhas and demigods flying in airplanes, the cows, bulls, calves, deer, trees, birds, bushes, vines, grass, rivers, and clouds, the moving and unmoving creatures, and the conscious and unconscious, all became plunged in an ocean of love. Overcome with ecstasy, they left their own natures and attained the opposite nature.14 

      there are thousands of aeroplanes equipped with seats of Kusa grass, where there are desire-yielding trees, in the halls for festive occasions…15 

      …a very bright aeroplane resembling the young sun, moves uninterruptedly and as he likes, in all the worlds…16 

      …being unrestricted (he goes) to the world of Viśnu in an aeroplane richly endowed with all objects of desire and supporting (i.e. fulfilling) all desires, and as it were being another sun;17 

      …after death, looking auspicious like the moon, he goes by divine aeroplane with its lustre like the fullmoon-light…18 

      The Sudras who die at Puskara, never causing frustration, go in an aeroplane yoked with swans, resembling the sun in lustre, rich with various jewels and gold, strong and made fragrant with perfumes, of (several) other matchless qualities, resounding with the songs of celestial damsels…19 

      I saw before me a very big divine aeroplane looking wonderful, to which swans were yoked and which had the speed of mind.20 

      You are always purified by sages who are lustrous like fire and the sun, and who resort to your caves for the practice of various (kinds of) penance. Gods, Gandharvas and Kinnaras, having disregarded aeroplanes, and being indifferent to staying in heaven, are dwelling in you, as in the house of their sire.21 

      The holy forest Ananda shines with divine objects, aeroplanes numbering in crores and resembling swans, kunda flowers and the moon.22 

      Then from the atmosphere an aeroplane appeared, which had small bells tinkling, which was auspicious, which was adorned with faces resembling the orb of the moon, of celestial damsels, which was crowded with bees hovering round the lotuses in the form of the faces of the celestial nymphs, which was adorned with chowries white like the foam on the shore of the Milky Ocean being churned, and charming like the ripples of Ganga, lovely with the singing gandharvas, and with hundreds of young divine damsels dancing. The couple got into the divine aeroplane and went to heaven.23 



      A Christian equivalent of the use of the word “airplane” or “aeroplane” might well be to say that after the crucifixion Jesus stepped into an airplane and was taken up to heaven in it. 

      Here is one last example from the Śiva Purana: 



      On hearing from Narada that they had assembled there, Sati went to her father’s abode after informing Rudra.

      She stepped into the aeroplane along with her dear friends. It was a divine plane with doors on all sides; had good conditions; could be easily mounted.

      It was very charming. It shed golden lustre. It was studded with jewels of various sorts and had a canopy covered with pearls. It was decorated with stringed flower garlands. 

      It had been wrought in molten gold; hundreds of be-jewelled pillars supported it all round. The adamantine steps were neatly built. The columns and festoons were decorated with corals. 

      The chief seat therein was studded with gems and covered with a silken cloth with flower-designs. Through every aperture rays of diamonds were diffused; a good gem-set platform without dents shone. 

      A flagstaff as pure as cloud decorated its front with the sign of the great Bull. It was studded with jewels. The main door was guarded by invincible Ganeśvaras wearing jewel-studded bodices and wielding canes in their hands. Many women, experts in playing on Mrdangas, flutes, Vinās and in music were seated there richly dressed and bedecked in ornaments.24



      This is from a "standard" story found in the Puranas: The abandonment of the body by Sati. Sati’s “stepping into an aeroplane” (as it is translated), is of course a figurative representation or description of the spiritual actuality of Sati leaving her body. 

      A similar kind of problem arises with the use of a word or phrase translated as “material”, or "material world".25 What does "material world" here, actually mean?

      Modern science has a very specific meaning and understanding of this term. It’s not ambiguous. And it’s a meaning that does not exist in the Hindu scriptures, not least because modern science did not exist at the time the texts were written. None of the texts display any understanding of the principles of modern science, at all. We wouldn’t even expect them to.

      There are translations in which what Hinduism calls "the universe" is not in general distinguished from what is also translated as "the material world".26 However, what Hinduism calls "the universe" includes what Hinduism calls the "spiritual planets" of the Svargaloka, or the saptadvīpa, which, essentially, includes worlds of "life after death", that are free from suffering. The fact that the inhabitants of most of the saptadvīpa enjoy enormous longevity and are free from anxiety and suffering, not to mention the fantastical features of their worlds, is explicit in the Puranas.

      So this "material world" is definitely not part of what science regards as the "material world". The idea of "the universe" in the Hindu corpus is in fact a completely different one, to the scientific idea of "the universe". 

      In that, scientifically literate individuals are quite likely to misunderstand Hinduism. But also, many who study Hinduism who are not particularly scientifically literate, may fundamentally underestimate the significance of science. They may overlook the significance of the scientifically understood nature of what science calls "the universe". They may also see modern scientific understanding and Hinduism as opposed to each other in a way that really, they are not, just as they may also misinterpret correspondences between certain parts of Hinduism, and modern science, as a matter of scientific fact.

      Really, the vimana or ākaśā-yanas in the Hindu scriptures are, in their raw form, remarkable references to translations of being, in the context of something that although not entirely unknowable by human beings, is nonetheless inconceivable.  

      Any insistence that spiritual texts such as these should be taken only literally does a disservice to what the text is there to communicate. It's not that the use of the word airplane or aeroplane in the translation is incorrect or even unwise. Rather, it just assists the Western mind or any mind that doesn't appreciate the context, in just confirming its own modus operandi of understanding, which is less than transcendental. These texts explicitly declare themselves to be about the transcendental, but they are nonetheless expressions of the transcendental in terms of and in the language of material experience and understanding. They appeal to that capacity to understand, with a message of something far beyond that capacity to understand.

      Essentially the same thing is true of what Julian of Norwich said about her holding a little thing like an acorn, in her hand. The language and culture of the time was very different and less developed than that of the Hindu Puranas. The clue, albeit small, is that she says such things as "In my mind's eye" and "As it seemed to me". She is referring to "being transported". Where there is the "transporting" of the kind we have been talking about, a "transporting" of "being", then the one who finds they have been "transported", is not the one who had originally not been "transported". And yet, there is no two selves. There is only the being of this one who has been "transported". The neural intelligence given to us as human beings even in its brightest burning, is simply incapable of truly seeing or understanding this, or understanding what becomes known to us through "being transported", in the way we have been talking about.

      Our neural intelligence as human beings develops and evolves, because it is in the principle of the brain for it to do so. And it has far more understanding of the material nature of things now, than it did at the time of Julian of Norwich or the Indian Puranas. It has even come to the point now, where it has created an imitation of itself, that in some respects can go beyond itself, in artificial intelligence. But it's not an intelligence that understands the nature of itself. For that, there has to be a "being transported". And even then, whatever glimpse we may be given, can never be communicated in the world of human, neural intelligence, except through the restricting medium of human, neural intelligence.






      Brihad Bhagavatamrta: ark:/13960/t0004tx86; Alfred J. Valerio, Brihad Bhagavatamrta, Chennai (Notion Press), 2019. 

      Padma Purana: The Padma Purāna, 'Ancient Indian Tradition and Mythology', Tr. A Board of Scholars, Ed. Dr. G.P. Bhatt, Vols. 39-48, Tr. Dr. N.A. Deshpande, Parts I-X, Montilal Banarsidass, Delhi, 1988-1992.   

      Śiva Purana: The Śivapurāna, Motilal Banarsidass, Delhi, Vol. I; Vol. II, Ed. J.L. Shastri, 1970; Vol. III; Vol IV, 2002.  

      Śrīmad Bhāgavatam: His Divine Grace A. C. Bhaktivedanta Swami Prabhupāda, Śrīmad Bhāgavatam, 2011. (12 Cantos).


      1 Plotinus, Enneads, 4.8.1. Tr. Stephen MacKenna, 2nd Ed. Revised B. S. Page, Faber & Faber, London, p. 357.

      2 Julian of Norwich, Revelations of Divine Love, Tr. Barry Windeatt, OUP, p. 45.

      3 Julian of Norwich, Revelations of Divine Love, Tr. Barry Windeatt, OUP, p. 11.

      4 Julian of Norwich, Revelations of Divine Love, Tr. Barry Windeatt, OUP, p. 45.

      5 Julian of Norwich, Revelations of Divine Love, Tr. Barry Windeatt, OUP, p.14.

      6 e.g. Brihad Bhagavatamrta, 1.94.

      7 e.g. Brihad Bhagavatamrta, 2.6.

      8 Monier-Williams.

      9 Monier-Williams.

      10 Maharshi Bharadwaaja; Subbaraya Shastry, Tr. GR Josyer, Vaimānika Śāstra, Mysore, 1973.

      11 Brihad Bhagavatamrta, 2.6.

      12 Ibid. 4.12.

      13 Ibid. 4.23.

      14 Ibid.7.94.

      15 Padma Purana, I.9.32-34.

      16 Padma Purana, I.15.202.

      17 Padma Purana, I.15.203-207.

      18 Padma Purana, I.15.208-213.

      19 Padma Purana, I.15.39-241.

      20 Padma Purana, I.36.73b-74

      21 Padma Purana, I.43.123-124.

      22 Padma Purana, II, 93.3-6.

      23 Padma Purana, VI.182.18-25.

      24 The Śiva Purāna, Vayaviya Samhita, Sect. I, Ch. 18, ‘The abandonment of the body by Sati’, 12-19, (Motilal Banarsidass, Delhi, 2002, Vol. IV, p. 1833)

      25 e.g. Śrīmad Bhāgavatam, 5.16.25;

      26 e.g. Śrīmad Bhāgavatam, 5.16.25;

    • Picnic at Hanging Rock
      20 minute read

      Mythic Symbolism, Time and Being, in Joan Lindsay's Novel

      Picnic at Hanging Rock

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      An idea that is very deep when taken seriously, is that this, that we are living as our lives, is a living Myth, a dream. It is of course one in which there can arise profound experience. But in Hinduism it is a living Myth in the sense that it is an experience of being, played out through an illusion called time.

      Many artists and writers and philosophers have sensed it or known it. Most notably, it is already centrally inherent in Hinduism, but not, actually, in a way that necessarily puts it inside a box, and makes it exclusive to those who call themselves Hindus. 

      Hindus naturally believe that Hinduism contains the Truth. The Truth about the universe, the Truth about our constitution and situation. But really, Truth isn't anything that can be contained in anything. Rather, if there is indeed Truth in Hinduism, then Hinduism doesn't contain it, but expresses it, in its own way.

      So Hinduism isn't the only expression about time and being, in which what happens in time is portrayed as an illusion - a play of being. Or, to be more accurate, in Hinduism, it is portrayed as something called Maya, which gives rise to what the Hindu Puranas call "delusion" in those who are caught up in the play of it. The play of it is something that Hinduism calls a lila.

      But many artists, writers, philosophers, and spiritual teachers, in their work, have been concerned in their own way, with time and being, and the relation between time and being. It's not something just confined to Hinduism. It's not even confined to the East, or for example to Buddhism, which arose out of Hinduism. The recognition of the connection between time and being is already here, not just in philosophy, notably including Plato, but also in our Western popular literature. 

      For example, Joan Lindsay's unusual consciousness of time was expressed in her novels Time Without Clocks, and her best-selling story Picnic at Hanging Rock. Of course, being a Western work, Picnic at Hanging Rock is not Hinduism. It's not that Joan Lindsay wrote a story expressing Hinduism. But rather, as a narrative that is clearly one of spiritual, modern Mythic symbolism, it is not surprising that it contains parallels. The spiritual dimension and symbolism of Picnic at Hanging Rock at least should be clear, unless one chooses to regard the supernatural elements, such as the twelve appearances of a white swan (a ubiquitous spiritual symbol), and so forth, as merely incidental. 

      Really, there should be no doubt. Joan Lindsay herself, in Chapter Seventeen of the published version (as we shall see, the publisher omitted the last chapter), writes an article from 'a Melbourne newspaper', dated St Valentine's Day 1913, in which she says that one of the central characters, Irma, now a Countess:

      … has granted interviews to various interested bodies, including the Society for Psychical Research...

      Picnic at Hanging Rock is a story that some have argued reflects aspect of the Australian aboriginal dreamtime. But then, aboriginal dreamtime, and Hinduism, also share something in common - the dream. 

      In the Mythic Symbolism of Picnic at Hanging Rock, Joan quite explicitly draws on a deeper understanding of time as the fabric of our experience, and as something that is all around us, rather than in a "straight line" from past to future, in the way that the Western mind usually likes to see it. 

      In her video interviews she related how her own experience of things went beyond the idea of "what comes before" and "what comes after". A little research will reveal that apart from her remembering St Valentine's Day (on which she was married), dates, like clock time, had very little meaning for her, to the extent that at one point in her life she had to ask a friend to find out when she had been born. And when she was told, she remarked "apparently I was not present at my own birth" (see Terence O'Neill, Joan Lindsay: a time for everything, La Trobe Journal, 83, 2009, 41-52). 

      The timeless is played out in her books, and, indeed, in Picnic at Hanging Rock events that determine the spreading of a pattern of disruption through lives, happen early-on in the story, literally, within the narrative, whilst the clocks are inexplicably stopped, "dead at twelve o'clock". 

      Set in Australia on Valentine's day, 1900, in Picnic at Hanging Rock what happens in this timeless time whilst the clocks are stopped, is the disappearance of two schoolgirls and a teacher, in their ascent up the "Rock". The timescale of the Rock is enormous compared to actual human lives, a point explicitly played out in the early dialogue when the girls are still approaching the Hanging Rock.

      As they approach the Rock, Marion, one of the girls who will disappear, declares "those peaks... they must be a million years old". Edith, who will start but fail to make the ascent, cannot stand such talk. Marion continues to point out that Edith's body is made up of millions and millions of cells, and that she has already lived for millions and millions of seconds. Such references to what is beyond the security of the finite and the personal, makes Edith giddy. Edith, in fact, only comes to be climbing the Rock in the first place, because she essentially "tags along" with the other girls.

      The relation of time to spiritual ascent is subtly but centrally reflected in Picnic at Hanging Rock. In the story, the girl who leads the ascent up "the rock" is Miranda. Joan depicts Miranda as the most spiritual of all the characters: 

      Why was it, Irma wondered, that God made some people so plain and disagreeable and others beautiful and kind like Miranda...

      Just before Miranda leads the ascent up the "Rock", her true nature is explicitly recognised by the French teacher, who says "Mon Dieu! (My God!) Now I know...", as she realises the beautiful Miranda is an angel painted by Botticelli, that she had seen at the Uffizi.

      Shortly afterwards, we encounter one of the twelve images of white swans in the story. The three girls have to first cross a creek. (I should mention here that there are, in Hinduism, also bodies of water that must be crossed in order to make the spiritual ascent to the transcendental). Later, the young man Mike who seems to have fallen in love with Miranda at first sight, remembers how Miranda crosses the creek with ease, unlike Edith who stumbles:

      Miranada, tall and fair, skimmed it like a white swan.

      In response to talk of the enormous scale of time, which Edith could not stand, Joan Lindsay tells us:

      Miranda, illumined by a calm wordless joy, merely smiled back.

      The calm, wordless joy that comes from spiritual illumination, is referred to in Hinduism as transcendental mellow.

      In contrast to Miranda, of those who ascend the "Rock", the girl depicted the least spiritually is Edith, whom the character list describes as 'the college dunce', and whom in the prose is also called 'as plain as a frog'. Edith finds the ascent too arduous, and fails to make it, finally running back down, screaming. 

      Irma, the beautiful and wealthy girl whom we have already mentioned, almost succeeds, but in clock time is found unconscious and alive on the "rock" a whole week later, as if she had been there only a few hours. Much is made of the fact that such a survival in the outback for that length of clock time would be expected to be impossible, but she is unharmed, except for a few scratches and bruises. 

      The import is again about time. In Lindsay's Mythic symbolism, time for those ascending the Rock is not the same as clock time. In fact, in the narrative, in order for the girls to ascend the "Rock", clock time down on the plain, has symbolically stopped "dead at twelve o'clock". When this happens, Miranda, Joan Lindsay's symbol of transcendental love, of course already transcends "clock time". Following the stopping of all the watches, when the French teacher asks Miranda for the time from her "pretty little diamond watch", she replies:

      I'm sorry Mam'selle. I don't wear it anymore. I can't stand hearing it ticking all day long just above my heart.

      In Hinduism, the higher the spiritual ascent, the more time elapses on the "lower slopes", until eventually, at the threshold to the transcendental, there is the Ākāśa in which everything is happening now, and will "go on happening until the end of time". However, time is also being. And every moment of being in our existence is made from an infinite expansion and involution of the Being, the Brahman. And so it is that even a single instant of "clock time" contains infinitely involuted time from higher in the ascent. In Picnic at Hanging Rock, all the events relating to the ascent of the girls take place whilst the watches are stopped "dead at 12 o'clock", but "clock time" time nonetheless continues, as it always must. 

      In the Hindu scheme this Ākāśa is "air", "atmosphere" or "ether", from which the "unmanifest one", the Brahman, the Being, descends through further "coverings" of the "egg". Inside the "egg", beneath the "coverings" and the Ākāśa, material existence with its "clock time" is created.     

      In the missing final Chapter Eighteen (now available as The Secret of the Rock), the girls who complete the ascent, remove their corsets (the constraint of their bodies), and cast them off the rock, but there, instead of falling, they too, remain, as Joan Lindsay says, 'stuck fast in time'. She says they are 'becalmed on the windless air'. In Hindu cosmology material existence comes from a descent from the egg of Brahmanda, through the Ākāśa , a word that also means air.  

      The girls (and by now one of the teachers who has followed them) have arrived at a place where there are 'no shadows', and 'the light too is unchanging'. The spiritual allegory is clear.

      There is even an "egg" in Lindsay's prose, encountered before reaching the light:

      Miranda had been the first to see the monolith - a single outcrop of stone something like a monstrous egg...

      In the Hindu picture everything that unfolds in time and space is the playing out of the lila of being, of countless beings who in Reality are expansions of the Brahman, the one Being, all taking their appearance and dissolution according to the eternal Churning from which all things emerge and disappear. Beings emerge to take part in an ocean of streams of stories. 

      If we know the Hindu picture of time we are not surprised to find that in Picnic at Hanging Rock, after the disappearance of Miranda, Irma remembers:

      "Miranda used to say that everything begins and ends at exactly the right time and place"…

      or that before the ascent as Miranda walks away from the plain towards the Rock and the ascent, she turns and smiles to the French teacher, saying: 

      "Don't worry about us, Mam'selle dear, we shall only be gone a very little while".

      The disappearance of the two schoolgirls and the teacher simply cannot be translated back into "rational" actuality or fact, or "clock time". Really, that is the whole point of the story, and why it is a mystery. 

      Translation back into "rational" actuality or fact, or "clock time", cannot be done even by reading the missing Chapter Eighteen (now available) which reveals, in entertaining Mythic symbolism, what was at the top of the ascent. This chapter, the publisher shrewdly left out of the book, turning Joan's own brand of mysticism into a more conventional but compelling mystery woven with elements of the supernatural.    

      Ever since its publication, Picnic at Hanging Rock has provoked controversy as to "what happened on the Rock". In a note at the beginning of Picnic at Hanging Rock Lindsay states:

      Whether picnic at hanging Rock is fact or fiction, my readers must decide for themselves. As the fateful picnic took place in 1900, and all the characters who appear in this book are long since dead, it hardly seems important.

      Here we are handed the answer. Lindsay is leading the reader here. But few, it would seem, take the clue. In truth, every human being who has ever lived is consigned to this status, because all human beings die and soon become long since dead. But the world believes in "clock time", and clings to the notion of personal importance. 

      The truth is that the status of persons and their role in the endless stream of stories of persons, whether you want to think of it as fact or fiction, is, as Joan Lindsay knew, unimportant in the illusion of time. Even though it creates the history of the world, in "clock time".

      Unlike Joan Lindsay, most people do believe clock time to be "reality". And so when it comes to Joan Lindsay's Picnic at Hanging Rock countless people have endeavoured to find out and satisfy themselves as to the "facts" of "what really happened on the rock". They believe in an actuality, unfolding in clock time, without ever understanding that the actuality experienced by human beings, is already a fiction, a myth, even as it is happening.

      Like Joan Lindsay's "timeless clockless summers of a dream" that she speaks of in Time Without Clocks, it is only above the interpretation of things according to "clock time", that we begin to see the truth behind the human experience of being.  

      The great scheme of things in both Hinduism and Buddhism is one in which anything that seems to exist only does so in the context of what Hinduism calls the lila - a play of being - of which it is a part. In Hinduism every moment of time-bound being arises from an immeasurable expansion and involution of the one Being that Hinduism calls the Brahman. In the West, we call it God.

      The result, in the Hindu picture, is that every moment of time in our little human experience of being is already created from eternally preserved, timeless stories of being in which we are participating, derived from the "ether" or "space" of Hindu cosmology, the eternal Ākāśa that is above "clock time" .

      And so also, does Joan Lindsay in Picnic at Hanging Rock say:

      There is no single instant on this spinning globe that is not, for millions of individuals, immeasurable by ordinary standards of time: a fragment of eternity forever unrelated to the calendar or the striking clock.

      In Picnic at Hanging Rock as it was published, minus that last chapter (Chapter Eighteen), and with a few adjustments necessary to make the edited version work, during the ascent of the girls the prose reads:

      So on a million summer evenings would the shadows lengthen upon the cracks and pinnacles of the Hanging Rock.

      We can see easily this was substituted for the opening of the missing Chapter Eighteen, which rather more explicitly reads:

      It is happening now. As it has been happening ever since Edith Horton ran stumbling and screaming towards the plain. As it will go on happening until the end of time. The scene is never varied by so much as the falling of the leaf or the flight of a bird. To the four people on the Rock it is always acted out in the tepid twilight of a present without a past. Their joys and agonies are forever new.

      This is clearly Joan Lindsay telling us that what she has been describing in the story is the playing out of an eternal, archetypal "image" that persists beyond its playing out in time. If you are familiar with the Hindu corpus it is easy to see that this is Joan Lindsay's own description of what also appears in the fabric of Hinduism, as the timeless "memory" of the Ākāśa at the root of what we experience as time.  

      Finally, we could mention how in Picnic at Hanging Rock, Irma, having already ascended some way up "the rock" (the spiritual ascent), looks down upon the picnic ground, the plain below, and says:

      "Whatever can those people be doing down there like a lot of ants"?

      By now she is already looking down from a higher place, beyond the unfolding of events in "clock time". From her vantage point, she hears

      ... a rather curious sound coming up from the plain. Like the beating of far-off drums.

      Later in "clock time" the drag driver Mr Hussey searches for the missing girls, beating two billie cans with a crowbar (statement made to the police by Mr Hussey).  

      As Irma looks down upon the plain, she sees the truth for herself, the answer to her own question about what all the people are doing down there. Looking at the people below, like ants, she goes on to see, from her position here, higher in the ascent:

      "A surprising number of human beings are without purpose. Although it's probable, of course, that they are performing some necessary function unknown to themselves".

      What a strange observation. Or is it? Not really strange at all, in the context of Hinduism. Indeed, Hinduism even has its own word for this very state of affairs, in which all beings, through their lifetimes, are moving, unknown to themselves, towards the circumstances necessary for their own ascent. The word is karma.

      All cultures and religions have their own attendant "language", their own cultural way of expressing spiritual matters. In Hinduism, the Puranas have their own Mythic symbolism, and there is a certain fidelity between the nature of the mind that arises in the culture, and the nature of the Mythic symbolism. The same is true of any culture, and its expression of spiritual matters. It is always expressed through the fabric of the culture and the religion. 

      What happens then, in the modern world of scientific knowledge? There is a mind, or an aspect of the mind, that arises from even in the age of modern science, where the need also arises to speak of spiritual matters. The nature of spiritual Truth doesn't change. What changes is the nature of the expression of language that undertakes to talk about it. There is absolutely no reason why Mythic symbolism with that aim, should not arise even in the context of the modern, scientific world.

      This indeed happens in Picnic at Hanging Rock, which, although the story is set in the year 1900, was actually written in 1967. We hadn't yet landed on the moon, but we were well into the age of understanding of quantum theory, and the Theory of Relativity, which, since 1916 had predicted the existence in the universe of what we now call black holes - points in the space-time continuum that amount to a "hole in space (and time)". Whilst we had yet to attain empirical evidence of a black hole, the term itself was popularised by the American astronomer John Wheeler in the fall of 1967.

      Whether Joan Lindsay had heard of the term, or whether her reference to a "hole in space" in Chapter Eighteen of Picnic at Hanging Rock, actually pre-empted it, has not been established. But either way, the coincidence between John Wheeler's coining of the phrase black hole, and Joan Lindsay's use of the concept of a "hole in space" in the Mythic symbolism of Picnic at Hanging Rock, is something that in itself undoubtedly happened. And the reason anyone might notice it in the first place, is because of the "cultural fabric" of the times in which we are living, that derives from scientific knowledge.   

      One thing is pretty clear though: Joan Lindsay's reference to it is not science fiction. It's Mythic symbolism. Mythic symbolism that is entirely appropriate to the overall cultural fabric of the modern Western world. In the narrative, Miranda, Irma and (by inference in the narrative) the teacher, are literally said to be arriving in the light. Miranda has already said this is happening, and the teacher says:

      "The girl Miranda is correct. I can see her heart, and it is full of understanding. Every living creature is due to arrive somewhere..."

      The "hole in space" Lindsay writes, is:

      ... a presence, not an absence - a concrete affirmation of truth.

      She goes on to write:

      She had passed a lifetime asking questions and now they were answered, simply by looking at the hole. It faded out, and at last she was at peace.

      The spiritual context is clear. To some, for a narrative dealing with spiritual matters, Lindsay's prose in Chapter Eighteen might seem rather lighthearted, and even funny. But then, that was probably the intention, and we could say the same thing about about some of the material in the Indian Puranas.