ENTITIES
INTRODUCTION
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The Entities have been created over several decades. The first group of entities was begun in 1978; the second group in 1986 (starting with Calx); the third group in 1995 (starting with Totus); and the fourth group in 2001 and completed in 2005 (starting with Passio and ending with Zotheca). Each group was separated by a period (of at least a year) in which no entities were created. The entities are presented in the order they were created. They were drawn freehand on paper using pencils or oil pastels without drafts or corrections. Each entity was set upon a piece of wood and photographed digitally. They were then transferred to a computer without editing.
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Different entities use different kinds of imagery or graphic communication, though all of the entities belong to the same realm—even if there are many different modes of graphics--and should be contemplated as one realm rather than separately. This approach means that the one who contemplates the entities should ideally review them all before grasping any single entity. The notes too are meant to be read as a whole rather than how a note describes one entity. In this way, the one who contemplates sees all of the different aspects of reality that the entities present. Otherwise, there might be a tendency to think that something is missing in the note or in the entity. The only true way to view the entities, like their subject reality, is as a whole, despite the tendency to understand in pieces.
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A line, circle, triangle, square, or other elements that may resemble traditional geometric shapes, have no connection to mathematics, mathematical logic, science, or to any other field that might use shapes that resemble these figures. These shapes serve a different and individual purpose. The position of my initials on each entity does not imply necessarily the only angle from which an entity could be viewed or that the end of the image is the end of the event. All of the entities are from the same realm, itself without borders or limits, so that together they are simultaneous, integrating, integral, without levels, flowing from one action into the other, with interchangeable elements, and vibrant with energy and motion. Once we move beyond the traditional four-dimensional view (though the dimensional view remains, of course, real) into the unlimited multi-dimensional, our minds will recognize many other properties and energies, none of which can fairly be given a single label. Furthermore, the stream of inspiration is also an important ingredient of the expression, and must be included with the medium and content. That implies that the viewer of these images must always be involved, in some way, in that inspiration.
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Each entity has a Latin name, and both verbal and musical notes. Musical notes follow each entity. Simply click on the black triangle(s) that are after the comments on each entity. Though the Latin name does have a superficial connection to the entity, acquaintance with Latin is unnecessary. No single word can act as a doorway to understanding the entity. In fact, the names may trigger something quite unintended. No explanation in any language will be sufficient to understand this work. Thus, the Latin names, the verbal and musical notes on each entity, are neither detailed commentaries nor summaries. Moreover, the notes are organic and will continue to be edited. So there is no fixed system or stable point when understanding fossilizes or fully comprehends reality or even itself. Regardless how often or how much editing occurs, the notes will always only explore a tiny percentage of the events of each entity. They are triggers for the journey.
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Ideally, there should be no written or musical notes because the media for the ideas and form of the entities were never words or sounds, as inspirational as they can be. Language is so pungent with culture, ideology and the thought box of its milieu that its use may reflect, if the writer is not vigilant, only the limitations, views, and culture of the writer. (To what degree I have met this challenge, the viewer must judge.) Worse, at the core of most languages is a group of words that may reflect a different mind-set from what is needed here. To lessen such dangers, there are a few new words and a couple of old ones redefined. However, inventing words may lead to inventing language, a task that leads us back to the same place. Some words, in any case, cannot be replaced and may be misleading. Often I have placed them in quotations to indicate that the reader should be wary; as commonly used, they are not precise. As general terms clarifying reality and its actions, words usually used for physical descriptions (such as in, out, over, under, within, outside, inside, etc.) are troublesome, because they lead one to think that the subject being discussed has limitations or is solid. Sadly language does not have the same flexibility as music or image.
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Nonetheless, music has its own self referencing problems. Sounds by their form and style can inspire but they can also lead one down numerous unwanted paths. Each sound, like the verbal notes, hopefully will serve as another angle for the traveler who wants to view the topography of these entities. However, music, like words, cannot explore all of the topography of an entity. They are reflections on the entities. Moreover, I use the elements of music in the same spirit in which I use the elements of line, form and color. My use is not intended to refer to any other use of these elements (such as a specific tradition of harmony, style, or form). These musical works are the result of my meditation on the entities.
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In sum, the help provided by the musical and verbal notes is limited--after all, a thick volume of words or music could be created on each of these entities--but, if the notes are perceived in the right spirit, they may have some value. If the names and notes serve as catalysts, they may be quite useful. Nonetheless, it would be preferable for the user to contemplate the entities first without the notes. In meditation we can transcend the obstacles existence or any other sub-reality presents, and commune more easily with reality. If the notes support the meditation, they have done enough. The endpoint is to move with reality, in its profundity and many dimensions of clarity, so that the ultimate experience will actually not be clear, in the sense of logical clarity, but a kind of web in which real events are both known and felt. Finally, contemplation on the entities and their realm will produce for each thinker, on each occasion, individual and ineffable results, especially after contemplation of all of the entities, since each image has its own stream of inspiration and also contributes to a comprehensive vision, though there is no permanent single vision or answer.
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IN WINDOWS, TO EXPAND THE ENTITIES, POINT TO ENTITY AND HIT THE CONTROL KEY TWICE. ONCE ENTITY APPEARS, PRESS MAGNIFYING SYMBOL AT BOTTOM OF ENTITY TO MAGNIFY ENTITY MORE. FOR APPLE, CLICK ON ENTITY.
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PIANO PIECES CHOSEN BY ARTISTS PARTICIPATING IN THE INTERNATIONAL PROJECT TO RECORD THE PIANO WORKS CONNECTED TO THE ENTITIES ARE NOTED..
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Angulatus
One of nine in the series, Angulatus shows a reality filled with catalysts, if we are open to them. These catalysts are not functional in any spatial or dimensional way, but arise through improvisation and creativity. In Angulatus, these catalysts are always present, floating in being, awaiting an event. (Each of the entities in this series shows these catalysts.) An event is a combination of action moments (without any temporal quality) of real movement. Actions are reality at work in countless ways. Each catalyst has a creative event that spreads in unique directions. They may even create a shift from one plane to another. Angulatus reveals a dimension that bubbles with power and quest for identity. It expresses how forces within and without create other entities that challenge the natural qualities of the original entity. Lying deep within such entities are forces that may replicate and become powerful vectors that reveal many, not one, tiers of identity, and that transform forces of reality.
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Facilis
Facilis tells several stories. Vectors of reality both work together and separately when the forces are real and aware of reality. There are complete transformations, partial transformations, and transformations from one sub-reality into another. A sub-reality is a non-hierarchical face of reality. Each living thing would face a different reality, regardless how many times a life transformed, even if that life was from the same creative forces. Using as an example of four different real forces, Facilis demonstrates a few of the many journeys of that connection. Please note how real forces also disassemble events, and then produce other events.
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Ancillary note: Different sub-realities require minds working differently. Since participation in other sub-realities is not necessary for survival of a sub-reality, and since each sub-reality is self-sufficient in terms of survival, each being of each sub-reality may assume that there is no need to expand with a different mind to other sub-realities. Each being attracted to the sub-reality existence, for example, arises initially as a child within its mind environment. Other beings of existence attracted only to existence enforce its mind-set and unknowingly deeply help to influence the child. Their minds function with and grasp the sub-reality they know, which is, existence. Clearly, that sub-reality, existence, is of reality, so the beings of existence are not detached from reality, but their minds, if they remain linked only to one sub-reality, are limited to the elements of existence and may fail to participate fully in other sub-realities of reality. Many such minds—convinced that existence is all of reality, and that the validity of their thought processes (their logics, their intense synthetical and analytical approaches, and the rational means by which judgments are made in its own sub-reality (existence)) seem all at risk—might not accept that other mind environments are possible. However, these processes are not at risk; they are simply one mind path among numerous paths, just as the human mind-set does not repudiate the life and mental environments of other species.
Facilis 02:17 has been selected.​​​
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Familiaris
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Regarding Familiaris: Even vectors have transformations, and even their creative events of reality transform. However, they need not transform according to any scientific code or philosopher’s stone. Reality is truly “infinite” in the changes of its catalysts and forces. One X entity may break down into a few little x entities, but within those little x entities that big X resides. Often reality will transform because it wants to create a catalyst or vector that will transform something else in a unique way. These elements seem to have no direction or secure form, but, in fact, they each have swallowed the way of reality and influence the destiny of their bearer. So we should not be surprised if we plant one thing and get another in all aspects of our lives. In this as in all things we might mirror the universe. Lying inherent in each form are means to dissemble and begin again.
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Ancillary note: The word “infinite” is inadequate but irreplaceable; hence I always place it in quotations so that the reader will be wary. The problem with applying the concept of infinity to reality is that reality is simultaneously both finite and infinite, which means it is neither, so that while we can talk about some infinite quality of reality, that same real quality is also finite, as extraordinary as that may seem. The confusion lies in thinking that reality is ever only one, the other, both or neither.
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Tenax
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As in all presentations in this series, Tenax clearly explores various complex connections with reality, only a few of which are discussed in these notes. The key is that we can see many forces if we unite with a vector. Within each managed entrance point, there are countless escapes, a few of which are used as examples here. These fluid structures—even the most rigid of them—have inversely the potential to produce escapes into reality, especially for the immature. The catalysts of these escapes are vectors working along with and contacting the real core within each event. Vectors are not only points of conveyance, but real events in themselves from which not only entities arise, but other vectors. This entity also introduces the point, one of the foundational forces of reality. This image begins to show how points not only contribute to the creation of the various dimensions of reality, but also explain the shifts that summon new directions.
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Tenax 2:32 and 2:00 have been selected.
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Impiger
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Impiger continues to explore the point through several pools of real activity. Its focus, however, is on the relationship of the point and the vector, a complex, multi-dimensional ground to which we will return from various angles. Vectors bend and shift to accommodate points and points both break structures in order to modify them, and use structures to disguise itself in the sea of vectors. When points join in such a disguise, they can project every kind of offspring of reality. In the sea of reality, no force is sacred and no point or vector is dishonored. There is no garbage “in” reality. The entities feed each other and then reproduce the same food that they had just eaten.
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Impiger 02:42 has been selected.
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Absolutus
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In Absolutus there is more on points and vectors, with some detail on how reality uses its vectors to create events and shifts. These vectors, through contact with the emerging mass of reality, can even shift their direction. Points can arise from collapsed vectors and vice versa. Another paradigm is offered of the emergence of life through the force of points and vectors. This is not only biological life, of course, but the life force of reality. Vectors upon vectors create a “super”-vector that reality uses in its creation of ladders from one dimension to another and in the development of life forces.
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Simplex
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Comment on Simplex: Reality swallows but does not remove the identity of up, down, out, in, past, future, or any other standard idea of placement, location, or reference. The floating atmosphere of the images, in which no element has a permanent or meaningful place, is intentional. In reality, all "opposites" are from one limited mind-set, whereas the core of all things is of the same reality and has the same real elements. The deepest fundamental elements of all things then are one, though the one changes, and any real entity can spawn any other real entity.
Ancillary note: The word and concept of "opposite" is indefinable in any dimension of reality because it has no meaning in the universe(s). It only survives in a narrow mind-set that is no better than viewing the earth as flat.
Vicinus
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Comment on Vicinus: The spiral energy, which we have also seen in Impiger, has many and powerful attributes and transformational gifts. It shows itself in the vector and the point, but it also has a role in dimensional creation. The spiral energy has no origin. It has always been with reality, though reality (and thus real forces) uses its powers sparingly since it could create a seeming imbalance in the fabric of life forces due to its immense will to move life forces beyond themselves. Reality could easily handle such a shift, but the resulting life force would be, as in many that have died off over the eons, a doomed creature. “Incomplete” spirals, however, have a profound effect and are a link between life forces and reality because they hold within them a vector or, at least, the force of the vector without the necessity of participation. This entity thus shows several different connection points between reality and life forces
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Vicinus 4:32 and 2:56 have been selected.
Universus
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Though initially Universus may seem to show a sense of security and a feeling of organization and settlement, oddly enough, it concerns something quite different, the anarchic nature of reality in which change is always in permanence, and organization arises from revision and rethought. Identity is not lost in movement or transformation, but transformation occurs nevertheless. Reality rests, but has no resting place. It can never think that all of its work is done, and retire to some other place. It is always shifting, always a force of change, always spewing out forces, vectors and points, and always expecting another dimension or layer that it had known, and yet it provides substance to all. The three streams also indicate three micro visions of reality (there are numerous other streams), all of which happen and interrelate simultaneously. The separation of these streams is only a device and has no real foundation—no separation has a basis in reality. Some elements of the streams have appeared in other entities, but never in this “order” (an imprecise term, since the elements of the stream can be perceived in any direction, as well as revolved and interchanged without affecting the clarity). Please note that these streams have no inner limitation and will continue indefinitely. The entity is merely one glance through a vantage point at reality’s universe.
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Composite
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Composite is the first of a 11 paradigms. Please note that this series (or any series) is not closed, as if all is said, but offers paradigms of essential connection with reality. This series focuses intentionally on only two sub-forces of reality, shown with green and blue colors. Red is often the color of emergence in this series, though it is not the only emergent form. Nonetheless, colors have myriad roles in these entities. Though colors seem to be bounded by lines and borders, reality swallows and moves beyond lines or borders. There are not only limited objects, the unlimited exists and is real. Hence, we view boundaries as living energies that can be passed and seen through, that can increase or decrease, and that have “infinite” widths and unlimited shapes. The form has import too, not only the border. Finally, the seemingly empty space that pervades this and many entities is neither empty nor space, but, like the universe itself, simply because we cannot see or measure or detect or even understand what seems invisible or empty does not imply that powerful forces are not at work.
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Composite shows apparent paradoxes, that what is within is without, and the without is within, and that the within can create and transform the without, and vice versa. There is no “within” or “without” except in this sense, that is, that we recognize that in each element many different forces await to be without, and, even once substantial, the forces are moving toward transformation. We also see that sub-forces are miniature forces, “little” cosmos that can initiate, by themselves, shifts and transformations. Some entities seem superficially devoid of sub-forces from “within.” However, the sub-forces are without and are catalysts of these entities even though they are “without.” Meetings of sub-forces create opportunities for real forces that can interact with other forces and create new forces. So we are mistaken if we think sub-forces do not have a “life” of their own, despite their connection on some dimension with specific real forces. This thought proves how “loose” the elements of reality are. A parallel to the nature of the atom may seem appropriate, but the atom is a paradigm only of existence, not of reality. In fact, the same may be said for all apparent parallels to organic life.
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Sponte
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Here in Sponte are nine sub-force expressions of three energy forms. Note the energy forms within energy forms, so that no form is bounded by its own identity. Each form lives in every other form. Also, each form is creative and can nurture forms from throughout reality’s universe. Note also the diverse patterns of emergence in these expressions. Sub-realities, the realm that sub-forces clarify, has many different catalysts. Let us call one of these catalysts brown reality. Reality has numerous personalities and moods, and one of them we could label “brown.” Such personalities affect each other within the great mother of reality and can cause some shifts that may turn reality itself. So the meeting of brown reality with different sub-forces affects the form and its nurturing directions.
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Socialiter
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Introduction to Socialiter: Meetings of forces of reality have unexpected results because what lies within each force is not only its identity, but also the entire resources of reality. We might think that DNA could serve as a metaphor, but it applies to only one personality of reality; reality has more than basic seeds or directive elements that demand it behave or be a certain way. It reflects not only the unique but also the all. In fact, each meeting of the forces of reality is unpredictable. (However, the stability of existence remains, because it requires very little of the resources of reality to keep it running and on course, and because existence is a specific sub-reality, a group of forces operating at its minimal level of connection with reality.) Each of the paradigms of entities displayed here shows how the two meeting forces are both indeterminate and determinate. On the one hand, they meet with other forces that already reflect their character, and yet that character is subtly different. It is as if they require the other forces in order for them to develop their own identities. On the other hand, they project, through the meeting, the potential for new forces and directions, yet these directions again do include the character that was the catalyst. So we see a pattern with many possible meeting channels, such as identity, identity changed, identity catalyst, identity lost and found, and identity growing. In addition, there is no one means for a meeting to have an effect. It would appear that the character of the force found its way to the core without any giving of material or concept. Finally, note the different strands of emergent forms in these entities. Some of the entities seem to have no emergent forms, but in fact, the emergent forms await some stage of the meeting before they emerge.
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Naturaliter
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These entities, including Naturaliter, give a glimpse into the various threads of reality’s creative process at the sub-force dimension, and how some qualities, often applied to existence, will not be helpful in understanding reality (for example, the qualities of size, up, down, middle, and opposites, including truth or falsity). Note also how the “blue” sub-force permeates the entities as both an event and as an integral to the entity itself. Though the entities in this and many other entities may seem to be disconnected, in fact this is a matter of perception. If we look at the image with our inner eye, we can easily see how they all fit together, are individual and are constantly swapping individualities. “Brown reality” (see Sponte) becomes a catalyst.​​
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Naturaliter 2:24 and 1:33 have been selected.​
Poetice
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In Poetice the sub-forces show both a few examples of permutations and how reality is shot-through with them. “Brown reality” (see Sponte) emerges, now at the heart, capturing as it were the sub-forces of another mood. Another reality remains in its various creative expressions, and will probably soon resurface to be the dominant mood because its strength is clear in its skeleton form, unless the undefined elements assist brown reality. However, the two moods could evolve to another mood. The two emergent forms have projected their reflections in the sub-reality with its potent lines, and in the form in which brown reality rests. However, any of the permutations will next transmute into emergent forms.
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Poetice 02:04 and 1:37 have been selected.​
Consulte
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Consulte is another glimpse into an event of the core of reality, a kind of closer look at what was generating the events of the previous entities and their actions. The sub-forces search for integrated elements in order to open them to the opportunities of new combinations and energy experiments. One sample of integration is given, and one sample of the warm sweep of both sub-forces to move the elements into new patterns of mood and action.
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Continenter
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We see here in Continenter one of the most common outbursts of reality. Each property of a sub-force has a different action depending on its role, so the properties of reality do not have only one face. In fact, at every step of transformation, each property reveals a different face, and every property has numerous dimensions within it that are simultaneously occurring, which the color orange here implies. Primal activity and primal latency tell us a little about the innovative nature of reality, though we should not think of primal latency as inert or unable to act as a catalyst. Primal activity and primal latency are like a lake that seems utterly still on the surface, but actually has numerous and powerful currents in its depth. Moreover, no sub-force is “pure” of another sub-force, though each sub-force maintains its identity. Since each property is the combination of several properties, any other property may surface and create a catalyst for transformation and identity. Thus, we cannot ignore what seems dead or lost. The power of the latent is enormous in reality.
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Concorditer
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Comment on Concorditer: Though duality, sameness, opposition, singularity or chaos occur in existence, these facets do not necessarily occur in events of the sub-forces. There are “infinite” differences and variety that can arise from the meeting of sub-forces. Vectors do not demand direction; they encompass it, in the way the life-forms of the river have no life without the river, but absorb the river’s constant changes in direction. The vectors are the life, the history, of direction. When they meet with other vectors, they create a complex assembly of possibilities. Often a possibility is a combination of the sub-forces, vectors and some primal latency. Sometimes the possibility may appear to be sameness, at least at some dimension of its development. But the elements that appear the “same” are not the same, any more than any two elements of nature are the same, even if we name them in that way. The more we probe them, the more we discover their differences. We see that the angle and curvature of the two sub-force vectors is similar in this entity. However, even the smallest shift of these properties would shift the dynamic of the sub-reality and reality itself. Note too how the core element has its own identity, even though different sub-forces are connected with it. Finally, this entity incorporates a symbol of itself to clarify a habit of the core of reality, namely to reveal its quintuple reflections through the latent elements of its sub-forces. These reflections are dual, contrasting, emergent, abstract and original, and provide one explanation for many of the sudden shifts and forms that arise in reality. Indeed, as the reflections show, they were already present. The form as well as the substance of the sub-force willingly stretches its properties in order to allow other identities to emerge.
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Industrie
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Comment on Industrie: Existence is inventively inverted, despite the pull of vectors and “infinite” catalytic forms. Every potential that comes its way is incorporated into itself and released as a version of the same form. Within its “shell”, all appears quite structured and in line with its own logic; it makes all into an ordered cosmos. Since its “maker,” reality, has no end to its diversity and is capable of producing “infinite” sub-realities (such as existence), existence can generate many layers and seem, to its inhabitants, fertile, rich and the whole story. The link that any real being has with the reality, however, enables it to “see through” to and experience other sub-realities. Though it is difficult for a mind to break completely free of the layers of existence or any sub-reality, the moment will and does arrive when reflections of reality are sensed and perceived. As real beings of reality, they can spread open the threads of sub-reality’s garment and join with another sub-reality while fully united to existence.
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01:41 IS FOR RIGHT HAND ONLY
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Omnino
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Omnino shows another view of how a sub-reality attempts to monopolize all emergent forms and other sub-forces. The implication is that the freedom of sub-forces and sub-realities may have unexpected results. Here freedom has become the act of internal transformation only, using only the materials that it has. Even when the sub-reality becomes encrusted with emergent form, it manages to turn the condition into its own identity.
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Omnino 1:42 and 2:13 have been selected.​
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Mutue
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Mutue: No sub-reality survives autonomously, outside of reality’s constant will to grow and project its quintuple reflections in some form. If any sub-reality should seem to slip into autonomy, eventually it will be cannibalized by its sub-forces and contort into a version of itself. Sub-forces draw their nourishment from reality. When a link with reality is seemingly threatened, the sub-forces turn on whatever sub-reality they swarm. This creative state happens when the sub-reality is trying to harbor its own sub-forces. Reality recognizes the attempts, and draws the sub-reality to one of the reflections. When that happens, those sub-forces, individual and laced with the properties of the quintuple reflections, break apart the sub-reality. That creates the context for reality’s own attempt to fence in these urges. The sub-reality, however, needs very little to remain forever in its cradle.
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Conficere
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Conficere is the first of four in the series. Here through three kinds of transference (core, motivating, and mutual), action upon action, transference upon transference, not only to mutual elements but in the development of other elements, present nine simultaneous, overlapping and inter-contextual event-paradigms that will invert and present eighty-one, and then invert again and present six thousand six hundred and fifty one, and so on, with no specific direction or goal. All creative events are soft, that is, they are sensitive to even the smallest shift. The result need not be asymmetrical or symmetrical, any more than the river seeks some pattern when it moves around rocks to continue on its course; the river simply moves and we trace its path. The events and their forms have no structure or logic. They simply move on their course which itself may lead to its so-called beginning.
Intexere
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Intexere: Three of the process paradigms for creative events ( form, formless, and emergent) demonstrate the difficulty of articulating conventional properties for reality. All of these processes occur simultaneously and “within” one another, with no dominance or direction. They—and other processes not shown—are all different, that is, they do not conform to any standards set by any one of them or to standards set by some process that transcends them. It is as if each, to use a coarse scientific analogy, has a different DNA. Please note the properties that each of the paradigms has, the sub-forces at work, and consider that they all work within sub-realities and integrate any number of sub-forces. Contemplating these processes with awareness of other entities expands them and redefines their essential forms, as if we were watching an element continually reshape itself.
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Intexere 02:18 and 01:53 have been selected.
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Undare
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Undare: Integration has numerous initial potential paths, and then a score of secondary potential paths. To have awareness of any creative event, we need to take both kinds of paths with the event. The fundamental of any path is through absorption, transcendence, transformation, stillness, and transference, on the one hand, and the five reflections on the other (see Concorditer above). Yet there is no “knowledge,” only awareness. We do not “know” reality within a single sub-reality, we become aware of it and we join with its movements and actions. What we “see” in this path depends upon our willingness to take both paths, and our readiness to be open to a universe beyond the objects (knowledge and otherwise) that inhabit the realm of existence or of any sub-reality. Vast differences appear in detail and movement, as Undare shows. As the movement and action of this or other entities begin in our contemplation, we recognize that integration is occurring, and we are assuming a role in the process, since no one touches the real without participation in reality.
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Efficere
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Efficere clarifies the folding effect that is a first step in entering reality’s multi-dimensional and mysterious nature. If we use an analogy to art, reality has a property like origami, through which intricate sculpture is created by folding of the paper. If we unfold the paper, we have a single flat piece of paper of one thickness, material, and qualities. When folded by great artists, the paper acquires form, substance and beauty. Of course, this is no more than an analogy; reality does not conform to the symmetry, structure and other techniques of origami. Reality is also not only flat. There are no rules except that a multi-dimensional folding property is evident. Efficere demonstrates only three simultaneous folds and continues the clarification of creative event that were offered in the previous entities by adding six secondary potential paths.
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Efficere 1:43 has been selected.
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Una
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Una begins the series with thirteen entities.
Reality is not limited to any pattern or system by which it “thinks” or brings about clarification or lack of clarification. While it may appear to the eye of one sub-reality, such as existence, that all things conform to certain rules and formulas, in fact only one phase seems to conform, and then only for a dimensional flash. If our minds work in accordance with the eye of existence, then we will see no other way for things to behave and be. This state of mind can cloud an appreciation of the entities. In existence, we think of two major ways for creation to happen: through seeds or through accidents (or mutations or the result of a meeting of forces). This view tends to assume that there is a starting and contained point for creation, such as the seed. It wants to believe—in fact, cannot see how any other process can occur—that every event is “logical,” that is, it has an underlying system of thought or science (our thought and our science) that could explain it, if we only had the tools or the understanding. However, reality does not have a single beginning point in any creative event. Each event has “layers” of points in countless dimensions, each of them not only contributing to its own layer, but also freely contributing to other layers. If we were hypothetically able to separate a layer, we would see a dimension with countless feelers, connections and contextual resources, most of which cannot be seen by the eye and analyzed. Una, like all of the entities, can be read in any direction without loss of understanding. What we see in Una is that reality seems to make up its “rules” as it goes along, even when a sub-force seems eminently clear. There is no logic or reason why a sub-force would move from one event to another, even within these few sub-force paradigms. But reality does. Asking why is asking for a cause or a because without any rational system to explain it. Each of the six layers here given as examples merely illustrate how each could be the other without any explanation of how that could be. When we consider that there are countless layers, all folding, each layer somehow enveloped by the energy that is reality, we see how any process would fail under the weight of such complexity and simplicity.
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Una 04:43 and Una 01:41 have been selected.
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Intra
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Again we move into the inner creative processes of reality and particularly a sub-force through four examples of creative events, but the focus is quite different from other entities, such as Consulte above. The events of Intra explain catalysts, not movements. None of the elements illustrated here are substantive, but are catalysts that disappear soon after the catalyst occurs. Each of the elements has its own story and cosmic process, as do the sub-elements. Catalysts also nurture other catalysts. Also, note that the constituents of the sub-force are the same for the catalytic elements, but they are strung or twisted differently.
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Prope
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Prope shows a brief tour of an element, though, let us recall, there is no difference in identity from what the sub-force projects and what the creative event of an element projects. In other words, we are not looking at the “inside” of an element; we are looking at the maze of choices of every real event of reality. There are numerous choices, and only ten examples are given in Prope, though ten examples do not imply ten separate elements or unconnected events. Ten examples are separated for clarification, but these ten and many more are interrelated and touching in many ways. Finally, the borders of these choices are not-real, and can become the other. They illustrate how all reality is upside down, inside out, and "irrational," yet it can create a "rational" existence with any or all of those factors. Note, finally, how vector points may morph to be considered elements of sub-forces.
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Ob
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In Ob, we see again that countless events of elements are occurring every moment in reality and each one has a story, which in turn may be the story of the sub-force, the sub-reality and, of course, reality itself. The potential sub-forces of reality are as real as those sub-forces that have had their story told. A single vector can transmit through a potential sub-force of a substantive sub-force. What this means is that there is no significant step between what will happen, what has happened, and what is happening. The substantive sub-force may have little effect while a potential sub-force may project a much greater movement and event. There is no cause for this; it simply happens because all elements and all sub-forces never lose their potentiality.
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Ob 01:44 and 01:53 have been selected.
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Per
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Evolution occurs in existence and only in that sense is it real. Evolution is not a necessity in reality because cause and effect have meaning only in events of a sub-reality. There is a kind of change, but not change for the worse or better, or to the dictates of a particular “rule” (such as survival), since, at any moment, the changed element or catalyst could return immediately to its original position or to a position that aligns with some other real event. Hence, the viewer should not read the entities only from the top of the page to the bottom of the page or from left to right or vice versa. The line of thought can move diagonally, down to up, up to down, side to side, in a jagged line, or all directions at once. Per illustrates these and other principles. There is no qualitative meaning to movement in one direction or the other in reality. Any series and number of movements can be called an event. Moreover, we can retrace the movement’s steps and move through another series without loss or improvement. This observation may seem trivial until we try to practice it with any typical series of thoughts. We immediately see that we organize our steps or our steps have somehow been organized for us by our culture, and we seem unable to go back or track our routes and elements as we wish. The implications for identity are vast. When we accept that all events can move in any direction, then we begin to become aware of other movements and those aspects of life which we had not experienced.
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Per 01:19 has been selected.
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Undique
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What we see is rarely what we think. Our senses are asked to do far too much, on the one hand, but, on the other, we have yet to learn fully how to process what they give us. What we think also rarely is complete, because our uses of the mind are incomplete and immature, causing misinterpretations of what we think. Nevertheless, our mind’s events are still real, despite their distribution as existence or other sub-realities. In fact, thinking is by nature a real activity, though it need not be a profound activity. Reality itself does not only think; it has a bonding role that can ultimately enable us to commune with reality. Thinking is comparable to breathing. Breathing does not imply that the body is healthy or that the lungs or body is using itself in any challenging way. However, thinking, when exercised, may be a mode to something else, namely, awareness of, understanding of, openness to, and accord with, what is real and the way not to think.
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These ideas surround Undique, namely, the connection of thinking, not thinking, awareness, understanding, and accord in terms of reality. It shows six elements as paradigms of how thoughts can move through various dimensions on their way to accord with reality. These are, however, only paradigms. There are countless variations of, and variations of layers of, this same process happening simultaneously. In order to reach accord, they will transform themselves and other elements, or they will align themselves in some way so that accord is possible. They will make themselves open by shifting their nature, allowing a catalyst and/or readying themselves for the power of accord. They will comprehend all other elements in order to make themselves together into a force that wills accord. Accord lasts only as long as this comprehension lasts, and as long as this one event of accord can connect with all of the other events of accord. Then what I call not-thinking--a poor term but necessary to project a certain attitude--can flourish.
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Circa
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Accord itself continues to transform and work in different directions and even shifts its elements in order to form different kinds of accord until finally the original elements that were in accord may begin to reenergize once more with other vectors and catalysts and move away from this event of accord. Sometimes the accord is not as obvious as it, at first, may seem. It may seem to be chaotic when it actually is in accord because discord and accord are real. What may seem discordant and even destructive has elements to it that, in the forces of reality, will ultimately be in accord, since discord is a different form of accord, and vice versa. Here as in all areas of its events, reality has no set rules, or its rules change. Each of the functions of Circa shows a few examples of subtle variations of accord.
Circa also asks questions about the meaning of accord itself within reality. This function, found in most other entities, means that within the entity there is a mode in which it questions itself, and within reality, there are modes of questioning. The questioning sign in this entity is the non-conforming line in the one group of four.
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Cum
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With only a few routines, since a real event would involve the routines of “infinite” elements and sub-forces, Cum attempts to show in a paradigm how a single dimension of reality works, that is, how so many creative possibilities and events arise. One of the routines here is the path surrounding accord. Reality has an unfathomable treasure stock of routines that it continually can expand and contract, using both members of the routine treasure chest and other sub-forces of reality. This treasure chest of special routines arises from the creative life of reality. All “new” routines immediately are registered by reality and stored. Unfortunately, this process, as I have explained it, sounds much too mechanical and spatial. There is no thing or place like a treasure chest; it is a process that is part of the flood of processes that help identify any kind of reality. “Brown reality” (see Sponte), for example, could appear from a certain mood of reality that involves its treasure chest. The same applies to each dimension of reality. In short, the “egg” of reality is never determined by its nature, but by all of the forces of reality, including the forces of the egg, and the specific routines that arise. The quintuple reflections (see above Concorditer) are support for the routines, inspiring them with numerous variations and possibilities, and in this paradigm, contrasting reflection.
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De
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Unlike existence—in which we think what exists is more important than what is or what could be—in reality, what is, is what could be, and what could be, is. Potentiality is one movement that drives the motion of reality, but potentiality is not a guess, chance or possibility. To understand an event, we need to be aware of all of the potentialities. Since in each object is reflected the universe(s), each object can teach us a lot about potentiality. We might think that reality is like the ceramic tiles of a kitchen floor, where each square block fits neatly into another square block until they all comprise the area and the pattern painted on the blocks. However, there are innumerable kinds of “block” and “floor” in reality, all working at the same time, and yet all of them potential for use in series or simultaneously or in diverse arrangements. Indeed, they are already all of them in use. De typifies three kinds of potential. Dual potential is a very powerful combination of two different sub-forces to show potential, with countless combinations of this dual meeting presented in one event. Multi-dimensional potential is a potential of simultaneously different sub-realities in different dimensions. Focused potentiality is a revolving array of different potentialities within one sub-force, each member of the array providing the identity in a revolving series of countless events, each one enabling a sub-reality.
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De 01:39 and 02:59 have been selected.​
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Pro
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Pro fixes its attention on one potential series in sub-realities to demonstrate how even a single element can generate numerous events, each of which can generate a different sub-force. Note how vectors, sub-forces, elements and potentials each generate their own identities and movements. Imagine how this event would feel multiplied to “infinity.”
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Inter​
The theme of Inter is the transformation of sub-forces in form, substance, and in other ways not specified in this entity, because sub-forces transform in more than a few ways. This entity typifies transformation as an event for sub-forces in which four properties promote, and are promoted by, transformation.
The important exercise here, as in so many other entities, is to conceive of these events together, rather than as separate items in a series. This loss of order is a key catalyst of transformation and in our awareness of it. In other words, clarity occurs from effect of the content of the entity and the way our minds involve themselves in it, not necessarily by the thought imposed on it.
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Apud
Apud presents the reach of reality in nine phases, a few of which the reader will recognize from other entities. Of course, reality does not have only nine phases, but this entity clarifies how reality’s extension has several dimensions and is not one path or direction. These elements and sub-forces are tiny pictograms of a picture of reality in one event. All of these need to be “piled” on top of each other and folded in countless ways to grasp the way of reality. If we examine any of these phases, we see signs of potentiality, discontinuity, folding, reflections, routines, processes, absorption, transference, transformation, and so on.
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Apud 01:37 has been selected.
Ad
Each sub-element is a reality of potentiality, because if we unfold reality we get element; and if we could see into an element, we would see reality. Nevertheless, there is no hierarchy of “particles” or functions in reality. One is called element, another sub-force, another sub-reality, and another something else, not because of its size or importance—neither “size” nor “importance” has any meaning in reality—but because of the event at that phase. Sub-forces become elements, elements become sub-reality, and realties become sub-forces, or any of them may become any of the others.
All of them are together an emergent being. We note in Ad how the core and the extremity—if we could understand these words only as descriptions, since Ad if expandable, the center could be a pit or a pinnacle—are both emergent, because the core and the extremity are folded into one event that creates the phase. Unfortunately, the circular nature of this entity may confuse some of us into thinking that the form of the element is spherical or round, or has some connection to these shapes or geometry. However, this form actually gives the entity the opportunity to present its diverse ridges of many forms and configurations, none of which describes it. What is shown is the density, intensity and power of each factor of reality as it folds and unfolds and interrelates with each of its ridges as they soften and slide into other ridges, creating other events around it. Without this folding and unfolding, the breathing of reality would not happen. What we see in Ad is reality exhaling and stretching to create and allow emergent form to emerge.
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Ad 01:34 has been selected.
Demoror
Demoror may seem to have some peculiar characteristics: Three lines that meet nowhere, two objects that are trying to be opposite, a vat open in both ends, colors mixing with black, and a blend of forms that seem ordered yet out of order—to name only the most obvious. Yet despite all of its discontinuity, the two objects seem to belong with each other, the lines seem destined to enter the vat, and the forms within the objects give the objects their identity. If the lines continue, they would seem never to meet again. In fact, they will meet, because they only seem straight. The forms within the objects seem solid and permanent, but they too will unhinge and float into other arrangements with other forms. In this particular meeting of reality, there are five factors: The entity, reality, the receiver, the relationship with other receivers (and other sub-forces and sub-realities, and other sub-force elements), and the energy of the meeting itself (that is, the mysteries of how the meeting happened, the effect of the meeting, the process of the meeting, history of these kinds of meeting, and the influence of other meetings). In each of these factors, there are more fifths, and in them, other fifths, fifth upon fifth emerging from the creative muck of reality. When we see fourths and thirds, we see in this event the creaky creative work of sub-reality, but lacking one or two indicates its interactive weakness (i.e. existence). In addition, we note in Demoror a common sight in the entities: the mix of the dimensional with, for lack of a better word, the symbolic. The symbolic presents double abstract images that are flat, without reference, and yet raise the dimensional to a deeper level, to transcendence. All of the entities are effective bridges for meditation, but Demoror is an event to use as a window to many other entities and for beginning meditation journeys of reality.
Palla
Here in Palla we see the expansive power of different kinds of freedom. Each dimension of reality has free forces that enable any one to be real and be in accord with reality. There is no single path to this freedom, but rather “infinite” modes of freedom, each creating its own energy and attraction. The word “freedom,” unfortunately, does not clarify this event, because the word often implies libertinism, rebellion, selfish expression, and political and social conditions of society. Freedom is being in accord with reality in a unique way, even though that event describes practically all qualities of reality. All qualities of reality are the same, yet each of them is remarkably unique. Freedom of sub-forces uses its strengths to grip on the real, since once a grip on the real is achieved, freedom has a beginning hold. Note how each of the grips, except for the last, achieves freedom in accord with another and that sub-forces and sub-elements are constantly seeking freedom. Note also that each of the elements that achieve freedom has developed soft ridges indicative of creative force.
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Palla 1:30 and 2:02 have been selected.​
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Plango
The event concerns something that has no parallel in existence and defies logic and the tyrannical logic of language: the overcoming of “death” and new life. Certain attributes of this entity and its purpose are evident: the round winding of objects that are not round or spherical, and the combination of both the spherical and the box to create more of the same. What, however, are the cloudy coverings of the cycle and why does the combination of them produce the same again? Though reality does not “die,” sub-forces of reality do seem to die. However, to reality, nothing dies, ever. There are no masks, only an obscure journey to another kind of being of reality. The journey requires transmutation and acceptance, but in the end, it leads to new life and new, though not always different, participation in reality. So “death” has meaning in reality, but within the processes of birth and rebirth (approximate terms), which are two of reality’s countless modes. The cloudy covering has at least two roles. First, it is actually integral to the substance of the journey and, like the food that is given the seed before its perilous journey to become a flower and beautify—the process requiring a lot of “bees” and other pollinators in order for the journey to find its purpose—the cloudy covering feeds the final absorption and transference. Second, like other entities, movement is critical for an awareness of the import of Plango. What we see in the cloudy covering is actually an image of movement. Each of the entities has a dance-like appearance because dance has its own level of communication. Look carefully at the individual elements of this entity and you will see dances occurring. The dances reflect the process of birth and death too, but they also have their own messages, which other entities also explore in their own ways.
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Ancillary note: Lest the reader interpret this previous paragraph as a reference to reincarnation or some other religious idea, perhaps a few more words will clarify. If we may draw a natural parallel, the process of reality is more like the perennial than the annual; and since all of reality reflects reality, all of reality is more like the perennial (though, of course, this is only an example since reality is not like anything). All of reality includes, of course, all that is called life, and all that is not called life. However, grasping how all of reality is like reality is the obstacle. We see the flower disappear in winter and return in spring. How does this occur, unless the perennial flower has died in a sense? It is not growing, it is not in bloom, and it is not absorbing the sun, air, moisture and nutrients of the soil. It is once more a bulb, a state of sleep at best. So too all sub-realities and sub-elements also “disappear in winter.” They too return to the bulb of reality and they too will arise again come spring. However, unlike the flower, which is only one pattern of one sub-force of reality, the elements of reality can be much more creative. They can and do return in diverse forms and ways. They may disappear as one element and return as another. No element of reality ends permanently.
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Rarus
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The breakdown of dimensionality occurs when we have a certain accord with reality. There is a huge “wall” for us, a border, that must be crossed before we leave behind dimensionality and enter reality. One of the biggest obstacles for awareness is dimensionality, because as long as we think in terms of borders and defined limits, our mind takes on a structure that is applied to everything we think and do. We who think in dimensions then cannot transcend this dimensional universe. The line that sweeps across the page in Rarus might as well be a wall a billion miles high because no one obsessed with a dimensional attitude can scale it. Nonetheless, dimensionality has an extraordinary and impressive toolbox of potentials. Any of them are functional within its structure and can achieve results. But if we break a dimension down into its parts, we are left with a tiny existence within a phantom box. All we see and know are the happenings within the box, even if that box assumes many different forms and has many inner faces.
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Propalo
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Many factors influence how sub-forces and vectors bridge the endless options that lay before them. Bridging is the capacity of a real element either to form or to transform sub-realities, which is the endless task of reality as it creates real experience. Experience is a significant factor. Another is the character of the vector and sub-force. Character would not seem a good place to start, but vectors and sub-forces (as well as point and elements) are real and living, and acquire tendencies and attitudes as any other living being. In Propalo we see various stages in the lives of different vectors and sub-forces as they face the task of bridging or forming sub-realities. Here they face many variations of two paradigms of bridging, each meeting offering an opportunity for contribution to reality and information about the task. The two forms moving toward each other are two sub-realities. A vector has already bridged and will begin to transform the sub-realities.
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Sono
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Here in Sono is a glimpse of a meeting of real elements at the infinitesimal level. Slowly the sub-elements are folding into a spiral to transform themselves into another element, which, in turn, will meet with others that will join for transformation. The mind of this joining and transformation seeps back and forth until the new element, the new being, arises that flows with the unorganized flow of reality. Elements that merge and transform are mature. They have experience and their seepage is potent and unifying. Elements that are young and new, with their tiny vestigial seepage, seek other young elements in order to grow. The pattern is a foundational pattern that we could compare to (but not equate with) mating because an “embryo” does arise. Even though these two elements may be young and immature, still both have the imprint of reality. Note how reality affects each element differently and produces a corresponding different wave pattern. The strength and kind of this pattern determines how it joins with another element in order to produce a new being. The key factor is whether information of one merges with information of the other. Since reality is the source of both information links, you might think that any two elements can merge and cause to arise being. In fact, the odds would be impossible in existence for two such elements to emerge. But with the myriad movements that occur constantly in reality, the odds are far less. In Sono, there are three immediate signs of union: the similarity in element pattern, the similarity in particles and the clear sign of strength of will in the shape of reality’s pattern. Even though the pattern in one element is angled abstractly, and the other element flowing serenely, they will merge, because all edges will soften and conform to the drive for something emergent. The seepage needs to push back the line of particles in order to make the union and collapsing occur. This bent line of particles will always shape its identity. We see in the emergent rawness of the union a symbol of innumerable unions, transformations, and links from the folding.
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Sono 2:24 has been selected.
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Margo
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Reality is vast and not only an organic progenitor, yet paradoxically it is a progenitor, and we often can see why it is the “mother” of all things. Its “children” have many and complex ways of surviving and enabling others to survive. In fact, reality is an open cooperative and creative factory (though only in the sense of including both creatures and elements that are not created) where mutual aid is natural and spontaneous. Constantly elements “die” for one another and for the child of reality. All of this and much more we see reflected in the nets of reality. A net of reality is a spawning ground for real elements that create or contribute to creative work. Nets shift and assume many different natures and functions. Margo presents one view of a net. The net spreads open and reveals countless web-elements waiting to be and contribute. There is little we can predict about them, since they are themselves of such a high number and so diverse (though they deceptively may seem alike) that we will never know which things we want to understand and which things we would prefer to let go. What we do know is that if we scratch the surface of any net, we will uncover these elements crawling around like insects inside, both reflections of the net itself and yet individuals of reality. The core element, ready to burst forth into some action or thought, the net squeezes out of its being into what may seem to be nothingness. Nothingness is what we once thought outer space was. Now we know that numerous particles and waves of energies are present that previously we could not detect or did not bother to measure. Nothingness, let us say, is, in fact, what we cannot measure with our senses or our instruments, but nothingness not only is real, but also is potent with the machinery and catalysts of reality. Nothingness surrounds and is integral to all of the entities.
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Margo 01:25 has been selected.​
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Calx
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Calx presents an image of some of the workings of a vector, using as its source one of the quintuple reflections (see Concorditer), the emergent reflection. Not all of the potential and emergent forms can be graphically presented, but this image gives an overview of how a vector in a task will move through various phases and emergent alternatives in order to arrive at an option or offer itself as a transforming agent. Five phases of options are shown among many possibilities: direct, gathering, cyclical, experimental and multi-layered. Note also the four variations of emergent forms that influence the options.
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Calx 04:10 has been selected.
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Tragos
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A vector is one of the most powerful forces of reality because it continuously moves from potential to creation to catalyst to transformation to emergent to core, and so on, thereby functioning as a carrier of the real information and flow of reality through a variety of cycles. Tragos presents an impression of these cyclical properties as well as showing how vectors need never be only a single force, shaped by a single identity, but have within themselves countless points, vectors and identities that may capture information and re-form themselves.
Vix
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In one way, reality’s realm is like the crystals of the sands of the shore or snowflakes: each crystal of its process has being and individuality and is only separate. But in other ways it is unlike sands or snowflakes, because every crystal of reality has within it worlds of other crystals that have implosive behavior, is intermeshed with others, and achieves its individuality not from separation but from energy and function (which sometimes may appear like separation). If we imagine a pool of endlessly changing colors in which often a color bursts forth but then quickly returns to the changing colors, we can move a step closer to grasping this quality of reality’s realm. Vix focuses on this process in several ways. Each real crystal has a variety of possible functions, depending on the crystal, the paradigm, the dimension, the reflection, and the transference. Then we see the energies of the crystal.
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Vix 2:37 and 2:40 have been selected.​
Globus
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Globus portrays four actions of three sub-realities of reality, each sparked by an emergent form. We see how sub-realities—when functional and not striving to be independent, as in some sub-realities, such as existence—cooperate and merge with each other in order to act and create. However, existence is real and free (all elements of reality are free); but wills to remain independent and rarely acts or creates with others. This behavior leaves its sub-forces to reconstruct repeatedly with the same materials, like children using the same blocks. Using the same blocks, however, is not boring because there is enough in even a single block to entertain and even baffle a mind for a hundred thousand years. Moreover, we can learn something of reality from the single block. Still, much more can escape and confuse us and cause misinterpretations. Here in Globus we see how the actions of cooperation can create diverse emergent dimensions. We may wonder what effects such actions have. The effects influence how we grasp the interactions of every being and force, how we understand our own being in reality, and how we think. For thinking is similar to tuning a cello: Even if we only use two out of the four strings, we need to tune all four because the two strings will not be in tune unless the other two are in tune also, because all strings sound when each string of the cello is played. If we are to think clearly (and end with accord with reality), then we must pierce several sub-realities.
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Globus 1:15 has been selected.​
Excubo
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Excubo focuses on one action and its varied stages of creative force, including primal activity and primal latency, within process paradigms. The exposition of a single sub-force requires the cooperation of many different elements and sub-realities. This cooperation yields new energies and evokes potentials that are integral to reality’s nature. In each subset of these energies is a base form that is one of the myriad base forms of reality. Nevertheless, each base form is actually only a base and not a permanent cast. In fact, base forms change constantly, which means that they metamorphose from one base form to another, depending upon the effects of the cooperation. However, once a base form emerges, it continues to its various ends, some of which are projected in Excubo and, of course, in other entities.
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​Excubo 1:31 has been selected.
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Dilogia
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In Dilogia we enter into the midst of the generation of the real process, exemplified in (though, of course, not limited to) three actions, five energies (sometimes in combination) and three types of emergent forms (each with its own sub-process), all of which are interconnecting and interrelated and actually generating each other. However, what emerges from the generation is no more important than the process itself of generation because on each generation real memory arises to add to the alternatives. Thus, though it may appear that the emergent forms are generating identity alone, the combined memory of all processes influences the actions and the ends. Note also how one kind of energy may generate another kind. There are three main considerations: First, the actions are aleatoric while in process. Constant combinations appear and merge with each other and there is no certitude of their ends, except that they will continue. Second, each emergent form has identity once it emerges. That means that the effects of its processes evolve from this identity. Third, these actions are actually gyrating through different configurations and forms, beside each other, on top of and below each other, through each other, and so on.
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Dilogia 01:15 uses quartertones. ​​​The performer must have access to a quartertone keyboard.
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Cibus
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Cibus shows one view of a real crystal in some of its myriad potentialities and forces. However, like all of the entities, we need to imagine it in motion, not because motion is a special property of a real crystal, but because it more accurately conveys the shifts in this process. Imagine the four aspects presented here transmuting through many creative options, as well as other phases, and where one option now appears, another will appear. Here we also note again how the sub-forces of reality transmute together in great waves and bursts of energy and denergy. Denergy—represented by the center graphic—is the process of unraveling, breaking down and rearranging the empowering elements and inertia of sub-forces and base forms and revealing in them unused and new areas, as well as drawing upon its own muscle. Denergy is as fertile as energy, but, could we detect reality’s energy, we would need another instrument to detect its denergy, since it explores options and actions differently. Few areas of reality are mysterious, in the sense that reality hides its processes or in which we might suspect some unknown force is lurking. However, denergy has many aspects and traits that defy discussion or allow for any verbal description for someone using language permeated with existence, since one of the properties of the sub-reality existence is that its denergy is inert. Existence thus is alive but in stasis, like dry yeast. Since the permutations and organic options of existence are set (even though the options are very extensive), and not unraveling, every aspect of existence can repeat, including, of course, human behavior and history. Thus, repetition is not unexpected in existence, but many other options and actions are possible in existence.
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Cibus 1:06 has been selected.
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Trames
The unraveling that occurs with denergy begins at the core of many simultaneous actions and options, pouring forth through the planes of many (though only one plane shows itself in Trames) dimensions until it simmers in the great and potent “pot” of reality’s resources and new directions. The direction of the pouring is multi-dimensional, so that it permeates many different planes. Reality wastes and loses nothing. Every drop of its juice in every sub-force will find its pot and enter into a function in some energy or denergy.
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Totus
The exploration of creation from nothingness—a term that must not lead us to think it means emptiness—begins with layers of collapsing into an emergent form. Form is one reason why a creation occurs, because numerous kinds of collapsing occur before some form emerges. Note the subtle emergence of creative and form-making activity, seeping around to the bottom left, then moving around to a more defined condition on the right. The amorphous colors here, and the undefined and ornate angles and curves, is the stimulation of reality.
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Totus 01:32 has been selected.
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Aqua
Aqua presents a paradigm of interconnection and union without loss of identity, a stream of real activity and connection between sub-forces. Though identity remains, each is connected to the stream. The connecting key is presented by the little “bubbles” running across the stream. The stream expands and contracts, depending on both the level of intensity of the intuition and whether someone has entered the stream. With no intuition or with obstruction, the stream is a river awaiting someone to wade into it. Aqua represents only one of countless streams. When someone does connect with the stream, the stream expands and fills the sub-force with a real experience of elements that we have seen previously. Note that the sub-force is not really represented because all are of reality. The stream is, at all times, available, whether we do or do not experience it. Note also that, at different points, a different real experience occurs.
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Aqua 2:20 and 1:05 have been selected.
Ignis
Creation is amorphous. It emerges out of nothingness and coalesces into diverse sub-forces and elements, some with what appear to be some kind of symmetrical shape, others without. It is common for us to examine nature and assume nature is symmetrical, but nature herself is not only symmetrical, unless we redefine what we mean by that term. Reality experiments with all of the rules and abides by none of them. There is a roughness about reality’s sophistication, as Ignis illustrates in its unraveling of a single base form (see also Excubo) in one aspect of an expansion, but reality’s sphere is so much broader than a single base form that it may seem impatient with this or that aspect. That is why one of the effects of reality is discontinuity. Reality seeks continuous anarchic balances, but on its way to each balance there are many more façades of discontinuity, so many, in fact, that we might conclude that reality prefers discontinuity. Ignis again demonstrates this façade of discontinuity along its path of integration (see Undare). We see absorption, transference and transformation of the amorphous experimental material of the base form in no definite order, seemingly haphazardly thrusting out alternatives and withdrawing them.
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​Ignis 4:34 and 2:05 have been selected.
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Sacer
Sacer shows several degrees and development of nothingness in which we see (and in one degree do not see) faint possibilities or arcs awaiting. As noted previously, nothingness is not emptiness or uselessness. I like the English word ‘nothing’, because it can imply that nothing is no-thing, that is, no individual, identifiable, or specific object. ‘Nothing’ does not mean that objects are not potentially there. It means that much is there, but objects are obscure and nebulous, are not actual ‘objects,’ and cannot be named or known. Nothingness is indeed fecund with resources and possibilities. Note that nothingness in its degrees and waves of movements has its own process. Indeed, like the plates that underlie the earth’s surface and have enormous effects on the surface, the movements of nothingness have far-reaching ramifications for all aspects of reality.
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Sacer 2:56 has been selected.​
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Comitia
Comitia shows one development of a single arc (see Sacer) into a base form, and gives the impression that the process is linear and defined, even though that aspect is only one of many aspects that the development might follow. An arc is constantly jumping over fecund gaps in the amorphous nothingness between one possibility and another until some kind of critical meeting occurs, so called because it actually begins a continuous process into a base form. The meeting issues in another development that can move in diverse directions or withdraw. The base form absorbs all of these developments and becomes its character.
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Porta
Porta presents six different though interconnected base form processes and developments from critical meetings as they mix and form the basis for the creative spark that illuminates shifting potentials of reality. This entity is an example. A base form could have one or countless processes and developments. Each of these processes and developments has a character too and each produces, as they interrelate with countless other base forms, and the corresponding sub-forces, other processes. The different base form designs of this entity are nadir, hub, distribution, sponge, anchor, and chain, with possible developments of each (anchor and chain only show one paradigm). Each of the designs connects with the others and may even, in some base form, lead to others. These designs are energy grids, that is, they are energy formations that determine the developments to come; they are the patterns for functions that, in turn, give sub-forces and elements their character and abilities. In other words, some processes do end in function and action, while others are steps. The base form designs are multi-layered steps.
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Vinea
Nothingness has textures and integrals that enable it to produce abundant crops of arcs. Here in Vinea a symbolic cross-section of nothingness illustrates its many-faceted “soil.” Please remember that this is an image of a process that has no set structure. Nothingness morphs from one “thickness” to another, with no pattern, no measurable dimensions, no universal rules—meaning that each event has its own rules that may or may not apply to the next event—and no force impeding it. This anarchic foundation is accentuated by the configuration at the so-called underpinning swirl, the core of nothingness, the waves of acts of immense grasping and curiosity, oscillating between singleness and mutuality, at one moment bursting forth in authority and then next searching for cooperation.
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Vinea 02:16 and 3:53 have been selected.
Passio
Passio presents a matrix of a single action (see Angulatus) with its qualities. Different actions will have different qualities and different interfaces. Imagine that all of these elements are enmeshing with each other in a non-dimensional web, and each has a powerful capacity to draw upon each other. Lift them off the page and see them float in the mind’s eye and watch how they will create myriad energies. Open up to a vision in which each of these qualities is soft and malleable, now liquid-like, now solid-like, now something that is neither, yet all powder kegs of catalytic force, so that in response and interface create other elements that encompass a full range of mind-sets and intuitive insights. Imagine too that each has something akin to (although not) feeling (in contrast to emotions) and well-being. Action drives the substantive (in contrast to the potential) shifts of reality. From the core of nothingness (see Margo, Sacer, Vinea) to the sweep and curls of innumerable sub-realities (see Facilis), the machinery of reality is action. However, the action of reality is not only substantive movement or something acting on something else. Action emerges from character and strength. It expresses what it is. Its qualities work together in groups and have the character of grit and wonder, purpose and improvisation, beauty and multiplicity, expansion and fecundity, inversion and imagination, and empathy, all of the nature of inaction.
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Passio 01:35 and 02:50 have been selected.​
Ars
The individual moves within its own realm. The community moves within its own realm. Yet the community and the individual are faces and projections of action. There is no pattern to these movements in reality, though existence attempts to fossilize them in politics and law. The individual and the community continually meet events in which a leap is needed in order for their identity to survive. This leap of identity sometimes loops back, but sometimes it seems to hesitate with transformation, as we note how one thrust action anchors, seeming to resist spiral energy (see Vicinus and Sono). In any case, the relatedness transcends both the individual and community and creates initially another force with five dimensions. These dimensions, which intentionally shall remain unnamed—because they vacillate in identity—have no identity or goal. Like the products wandering in the cloud of the universe, without a goal but interacting with others and eventually corresponding with other universes, these dimensions provide a link and a peephole to otherwise obscure sections of reality. Within each of them is the core, spinning on a point, a vacillating substance that is generating continual emergent forms. Those forms provide the energy and denergy (see Cibus) for the “muscle” of relatedness. On the one hand, the individual and the community join and empower each other when they cooperate with the leaps. On the other hand, this work of mutual aid, this help, while powerful in this small way, is also an art of such great intensity and challenge that it fosters numerous remarkable interdimensional sensations and insights.
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Dialogus
Dialogus explores in capsule one of the forces of experimentation and gives a peek into a mode of a core cell of reality. All modes spray out from each event, the disjointed and separate are fertile with strains of other activity within them. Not one element is only itself, but reflects within it something of numerous other elements or aspects, and, from a superficial view, what may be in contrast to others. No abstraction is absolute of itself (a statement that itself seems a contradiction), but each lives by exploration amidst stability. This multifaceted, multifunctional and multidimensional prong of each mode of the core cells reveals how limited a single view of one sub-reality, such as existence, can be if that sub-reality does not continually bridge to other sub-realities and fulfill the potentialities within it.
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Ancillary note: Reality is more like an experimenter than a gambler with countless hands throwing countless dice. It would be neat and comfortable if reality’s events were rational and logical according to a specific thought toolbox (including chance), yet no one who has looked beyond one sub-reality would believe that there is a permanent logic or reason to reality. Reality is more art than reason. What makes life special is that it is creative and, like all of reality’s works, experimental and extraordinary, but it is not permanently special and unique, because reality continues to create and has created before life, as we know it, began, including profound other-than-life templates. The next experiment will not be better or worse; it will be another reflection of relatedness. These experiments result from a dialogue of “infinite” aspects on “infinite” dimensions. The experiments transcend mind and thought—mind as we understand it is only one experiment—though mind mimics reality in that it, like reality, actually decides and is not driven totally (as an automaton would) by will or instinct. Thus, as profound as existence can be, something much greater and deeper is occurring than what existence claims, even though reality, as noted many times in discussing these entities, has no specific universal plan or pattern, even if plans and patterns can arise in its sub-realities. What is occurring is profound dialogue among “infinite” forces at every dimension.
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Lex
Within emergent forms are the catalytic elements forming, reforming, deforming, and informing each with a flow of their own. Each interrelates and infuses the other, so that, as they intermesh with others in the fluid swirls and pools left from their interactions, several potentialities arise and coalesce into creaturely sub-actions, that is, tendencies that lead to actions. The analysis of this flow—if, indeed, it could be analyzed—is not presented here in Lex, but the events themselves. The potential growths and moments occur sporadically at the fiery nodes and from the nodes streams of activity arise that lead to other nodes. Note that activity need not occur on the streams only; but could emerge because of the presence of several streams around it. This flow works through an agreement that is inherent in the bowels of reality. Though patterns that issue in plans, structures, and rigid limits are real, they are only a wave of reality’s power and do not describe the countless kind of actions involved even at the most microcosmic level of reality. However, agreements and compromises do arise within the bowels, just as streams navigate around rocks to make their way. The pattern of the rocks, while spontaneous, still make a pattern and the stream must respond accordingly. Obviously the “rocks” of emergent forms are not “obstacles” and the patterns change constantly (unlike the rocks of a stream), but still the elements reach consensus continuously and nodes arise and do not arise. In Lex we see such movement and non-movement, dead-ends and nodes, as well as the continuity of the stream.
Compitum
Like the eyes of birds, our inner eyes need to see every entity from all sides and angles at once. But we also need to be simultaneously looking in and looking out, from the top, from the bottom, where the entity is both transparent and solid. Otherwise, when we approach an entity like Compitum, we will miss its view. In Compitum we see one moment of a node’s nature, looking in and out simultaneously, with the stream flowing by and in several elements, resulting in several reactions, in several layers. The layers of streams have created three reactions that will, in turn, affect the stream and themselves. In each of these “holes” of opportunity of the node, we peer in at the crossroads of impending movement. Note how the different layers take on the identity of the hole itself, because nothingness has a nature and a force (see Margo). The different shapes of these holes indicate different positions and angles in terms of the streams and the layers. Imagine that we are looking upon an uneven mound that is fluid and shifting in its height, allowing several simultaneous opportunities to see within it from different strata.
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Flumen
Flumen: Without order, structure, direction, position or dimension, each of the streams flows asymmetrically and incorporates one potential after another as the stream moves within the “infinite” real domain. Note how the stream can arise out of “nothing” and end in “nothing,” as well as the potential lines that sweep it. Because the stream responds to reality, not only to sub-realities and to sub-forces, its designs are indeterminate and shifting. Nonetheless, they will on occasion coalesce into a hole of nothingness from which more shifts and more avenues for potential lines arise. These lines do not separate one element from another; they make fields of interplay, such as what happens when a chemist experiments in a safe zone in order to see different reactions. The interplay continues in a field with various players until some pivot is reached in reality, or until a hole of opportunity begins the process again. The factors that work together to create a pivot is difficult to outline, since the process is anarchic and without any rules that make rational sense. However, we do see rhythm, though the rhythm is not definite or regular either in thought or in process, at least in familiar terms. To grasp it with any assurance would require a sense of the whole of reality, from where the rhythm emanates. We know that in each node we sense reality’s drive to coalesce and rid itself of a form or process that does not meet reality’s flow. In this way, reality is more often making holes of potential than accepting pivots that safely provide passage for enumerable sub-forces.
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Flumen 1:54 has been selected.
Stillicidium
Each of the nodes of reality is actually an endlessly changing device, swirling and explosive with numerous portals of choice. As the wave of reality’s flow touches upon the node, different potentials fire up and offer themselves. Continuously the drops of reality, formed by this process, fall like profound thoughts from a brain and make up the surface of reality’s actions, and spread. Numerous processes lie within the process that generates the drop. In Stillicidium we see one of these processes with one form of organization. In each of the “compartments,” some of them seemingly empty, there are, in fact, numerous potentials, an ingredient and/or a potential dominant factor lie waiting. The factors are sometimes the same, but even the same factor will behave in the process quite differently when it contributes to the drop because of its unique compartment. In other words, the compartments are not holding areas or vehicles for separation—there are no real dividing lines or borders in the compartments—but have a life of their own. They influence the factors that move within them. The compartments also exchange factors. This process, which does not reflect forces that drive physical processes, is difficult to imagine because we constantly see in terms of physical existence. Here there is no physical analogy. What moves reality are forces that would seem to have no substance to them, but in fact are powerful drivers as well as integrals of the real. So reality itself, though encompassing the physical realm, is not defined by that realm. Rather its primary (reality reaches into every realm) force lies in the heart or essence of the realm. Obviously, the heart of something physical is not separate from the physical. How could reality encompass the physical without being touched by the physical? Actually, we should ask: How could the physical be physical without reality? In other words, though reality gives the physical its essence, reality is not defined by either the design or its physical construction. Its connection is more with the identity and the essential qualities that go into clarifying the unique nature of each thing. So the drops that fall from the nodal process, each unique, each driven by abstract essential factors, can provide innumerable insights into the world when we see them in our meditations.
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Stillicidium 01:51 has been selected.
Permutatio
In Permutatio we see factors of one kind moving from one compartment to another, sometimes remaining the same—though in a different compartment—and sometimes immediately warping into something different but with the same nature. Even if they seem to remain the same, however, the environment of the compartments will transform them. Note how the so-called walls of the compartments are transparent and passable. If we think in terms of many dimensions—not only of the common four of physical existence—we can appreciate the variety of material that each compartment could review in any event. There need be no solidity or structural refinement in this process, no seed, no necessary evolution or development, no clear transition from one to another stage, and no progression of any sort. We may want to know how things happen, what caused them, and what the steps occurred that created the present situation or context; but, in reality, these are questions and matters that apply to only select sub-realities, such as existence. Non-dimensional thinking—though the word “thinking” is too anthropomorphic—has no boundaries or orientation that applies to every event, so each event has so many nodes that no single explanation could suffice to describe the event. Even in this snapshot of a corridor of a compartment we cannot clearly explore what may happen next in the factors moving within this environment.
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Ancillary note: It may appear that uncertainty and instability rule in reality, since reality "changes" so much, has innumerable elements that vacillate, has so little that at any point relates to existence, and, above all, transcends not only our thought but our being, that no amount of concepts, terms and processes will help us to comprehend it. Actually, that method—the attempt to understand or comprehend something—is less helpful when dealing with the entities and reality. As I noted initially, these entities demand a quite different approach if we are to expect insight and union. That approach, often encouraged in meditation, is not to intellectualize or rationally analyze but to allow the entities to inspire or reach a point in your intuition where some other capability of us all—and we all do have this gift—will open up reality’s secrets. Simply contemplate the entities without trying to understand them. I agree that our society and educational systems do not foster this ability, that we will need to work hard and ignore other impulses, but be assured that each of us will succeed.
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Murus
Here in Murus is a peek into two walls of node compartments and their individual natures. We see that both are passable and yet barriers of a sort; both have their own internal forces that would influence any factors that pass through them; and both have at least one mutual element of communication. All of the “corpuscles” and “oxygen,” as well as myriad other fundamental elements, of reality pass through them. From one of its countless sides then, reality is like a shape- and nature- shifting organism that breaths and functions through its nodes; the compartments and its walls process and present all of the different transformations of this organism. However, unlike the functioning of an organic organism, there is no waste; nothing is discarded, nothing is ignored, since reality is not like a machine that has limited function or like something flawed that will self-destruct or die if it consumes something or attempts the wrong event. Each of its experiments neither improves nor degrades its life, but is its life. Nevertheless, these walls are walls; they do navigate elements and do not exist only to be another layer of catalyst. Note also that there is no assigned route into or around these walls, since the walls are not meant to resemble walls of a room or any wall that is part of such angles. If we continued to turn our minds in many directions at the same time, we would then see that not only do the nodes change, but also the walls of the node compartments change. Walls are connected by special links, shown in this entity by the orange (though no actual link is visible, since walls do not link as a fence might link. They link and unlink by other modes, such as purpose and harmony). These links participate in the exchange and Murus shows a snapshot of an early section of the process. In the midst of transformation and formation the walls’ participants arise, but have little permanence.
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Fluxio
In Fluxio the workings of five different stream flows appear. It may seem surprising that the stream has numerous dimensions to its flow, but not only the node’s workings affect the flow, but also the flow itself has varieties and modes. These modes of the flow do not always affect the course or the nodes, because they can act more as helpers than as contributors, though they will always contribute in some way. However, in certain events, the configuration has immense importance. These five (out of many) forms of the flow, working together and simultaneously, reveal the challenge of pinning down a node’s identity or performance, since there are many ways that the configuration may affect the node. The blue triple layered form of flow, Santiago, will produce nodes on many more dimensions with similar effects on compartments. This depth in turn will create kinds of being that are much more fertile. The tri-colored form, Parallel, where separate mini-streams interrelate to influence each node, has an effect of creating an ensemble of universes for every nodal event, resulting in many fascinating explorations. The Donut (the hole is sometimes there, sometimes not) flow has “infinite” form shifting and can, along with the sphere—its sister brain—present more dimensional experiments. The Angle flow—only one angle is shown here—is powerfully unitive and muscular, so that it tends to unify the nodes, despite some warpage, and flow more quickly through many options. While all of the above forms are different and creative, the Arrow flow is unique because most of the nodes and their compartments may transform themselves into the force of the Arrow flow.
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Viriditas
In every element of reality, a streak of something unrefined awaits, giving the element its potency and attraction. When elements interact or follow an integration path, crisscross and make a sub-force, then interact with other sub-forces, the fresh cores are the striking zones and vectors of actions and events. The weaving results after the fresh cores intermesh. A glimpse of that fresh core is realized in Viriditas. Seven units of a fresh core of an element mesh because of the attractions. Note that a fresh core has no specific form or pattern, but is like a little rip in the fabric of the unit. These rips are not the node holes that we have discussed previously, but are the means for the fabric to make it stronger, like the tears that occur in muscle building, since these rips immediately disappear and others arise. The space in between is not emptiness, but holds aspects of elements unrealized. The colors in this entity, as well as the thickness, length and kinds of threads are interchangeable and would reveal a different fresh core at any other moment.
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Viriditas 01:41 and 01:46 have been selected.
Animus
The events of entities are events of reality. Each entity reveals aspects of processes that are interrelated. Moreover, since no event of reality can function without all of the other events, qualitative and comparative terms are useless. Most entities present one or a few events. Animus presents many events in unison that focus on an aspect of reality that requires multi-dimensional and interdimensional thinking, and presents a leap beyond existence’s logic and the modes of any single sub-reality. We examine our planet and we see a consistency and continuity that we can largely map, even if we do not fully understand most aspects of it. Even plants, which seem like creatures from another planet, follow the paths of the same life pattern. All of our rules conveniently apply. Animus, however, has no connection (other than that it is real) to such a pattern or its rules, whatever they may be. It shows not a specific organic life, but the form of life, if you will, which could reproduce a creature that might not survive on this planet, but might thrive elsewhere or also produce a model for a new species for this or another environment. However, beyond this reproductive organic aspect, Animus is one event of the life that is reality. There is no analogy to earthly processes that could accurately illuminate this entity, but in the crudest sense it functions like the sea, if we could see the sea as a massive reproductive and ever-shifting and creative form (rather than an environment for organic and inorganic substances) whose elements seem to have no relation to each other but “live” within its bowels and still are intimately functional. The ten paradigm-elements presented in the entity bear upon each other both as content and as forces with specific identities, even though each is individual. When we tip or fold this view and see it from another angle, we see how the roots of these individual elements have both another process to show and yet seem tangled up together. This “mental” (for lack of another term) cell of reality reveals several strands of—for lack of any dictionary phrase to describe it—discontinuous synthetic pragmatic contemplation. This phrase means that reality does not “think” or “strategize.” There are no roads or paths to travel that would explain what it has done or might do next. Immediately what is, is done, and what is done, is known, but what is, what is done, and what is known have no necessary effect on or even connection to the next event, and yet they do because they are real. Yet despite the discontinuity, there is an abundant feeling of order and harmonious combination. Note also how different elements crisscross and interact but do not interfere with one another. While the elements may seem haphazard and leading nowhere, in fact they are completely enmeshed and feeding this event.
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Animus 02:21 has been selected.
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Permixtio
As noted previously (see Facilis), the mind of existence is only one mind-path of reality in a sea of mind-paths. Different minds are partners with different potentialities and different architects of form. Three of these architects in embryo are shown in Permixtio and the following two entities, each of which occurs from numerous catalysts and the appearance in those convolutions of the same form. We see an initial phase as each begins to draw together its formal essence and project the possibilities of the form. Each stage produces a different phase, so no architect limits itself to one station. By comparison with the other two architects, we can begin to clarify the station captured of each in the entities. Here we see underlying six movements, three of which are more defined, even if their direction is uncertain, and three of which are undefined and direction uncertain. Definition does not imply finitude. None of these architects has limited resources or has an end to its work, but has “infinite” choices before it. The key ingredient for Permixtio is the balance of definition and lack of definition. Such forces in reality are complex, much more complex than this entity appears, because this architect is capable of blending disparate elements to form a sub-reality and its mind at every station.
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Incompositus
Unlike Permixtio, Incompositus is undefined. Its energies are never settled, and yet the station never collapses. While all may seem disorderly and unrelated, the connections on numerous levels are evident and the logic of its form is clear. Because it never balances, but continues to bubble with potential, it is a simpler form and the results, however complex they may appear, are also simple. Nonetheless, this simplicity is not impotent or unsophisticated. In fact, many elements of this entity may move to Permixtio and contribute to its balance.
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Definitio
The architect of Definitio builds at its formal core defined energies and defined potentials. We see how these definitions evolve and, though extremely intricate, dense and sub-layered. Once again, however, we should not conclude that this form has in some way a real limitation. In fact, the stations of this form have so many layers of potentialities that the effect might be unnoticeable to many minds of this sub-reality. Perceive this entity as if we are only seeing the top layer, or a side view of what extends beyond, or as if it might collapse in the middle and fold under. These are not hypothetical. These are a few real perceptions of this entity.
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Populus
Forces of sub-realities—one of which is human being—relate in creative ways, depending upon the sub-reality and the will of the force to bond with reality. The terms “sub-realities” and “forces” are not terms of separation or boundaries, however, but terms that clarify activities of reality. This point seems important when discussing human being and its organization. For all forces and sub-realities are real, that is, there is reality and only reality and no element or quality is not real. The sub-realities and the forces may construct boundaries, but they are simply being imaginative. Reality is one and many, but the many to reality are indistinguishable. Nevertheless, reality is creative and that creativity includes freedom, though freedom is not the only choice. Forces, sub-realities, elements, etc., may or may not choose freedom, because freedom is one of those choices that requires activities and awareness of more than one sub-reality for it to function. As we have already seen in discussions above, to move beyond one sub-reality is a struggle for humans, most of whom seem to prefer one sub-reality, existence. Movement only within one sub-reality will foster organizations of human being that lack freedom, since, however varied every sub-reality is, each has limitations. Limitation projects limitation in thinking and being. There are no best or worst ways for forces to relate and prosper, despite what any force might desire. Populus explores the growth of community with freedom by showing an activity and an awareness of two sub-realities. Note the complexity of nodes in this meeting. There is no clear-cut interlocking in the way we might see from meetings of elements of a sub-reality. The central element in this entity, what we might label grossly the “community will,” strains forward to enable activity and awareness between the two. It is taking a risk, a leap into the unknown, in order to find freedom.
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Populus 02:21 has been selected.
Consul
Like all entities, it is critical to contemplate Consul from several directions and vantage points. Community prospers and steps out by finding harmony in difference. There is no accident in this arrangement because reality, as we have seen on many occasions, is, among countless other things, a melting pot of both discontinuous and harmonious harmonies. Its steps are each different and yet, when perceived in a real context, such as we see in Consul, completely present and simple. Each step is real and in union with reality, connected, different yet the same. Those forces that try to seek within their own styled limitations, so that they attempt to foster a mini-existence that lives by their rules, have limited their connection with wider and deeper real principles (even within a single sub-reality) and strain to create a harmony that is self-imagined within a abridged version of the sub-reality. Since the clash of this mini-existence has differences that are limited and lacking full openness to reality and, more importantly, are driven by self-interest, since no connection with other sub-realities occurs, and since rarely do these forces probe even the creative potential of the sub-reality, the result is conflict without resolution and development in endless similar variations. In this entity, however, there are several simultaneous directions of steps, none fixed, all interchangeable, and yet any functional. The movement of any of them could transform into another and each of them is in process rather than fixed. That process is what helps to build community. The more we crave new patterns, the more we exercise the will for change and difference. That attitude creates harmony and awareness of other sub-realities, a key step toward freedom and other multi-real choices.
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Consul 1:21 has been selected.
Libertus
The experience of freedom is often quite different from what we think of freedom. In fact, what we experience feels like clarity or certainty because freedom is moving with reality and depends on the degree to which a force can merge with and reflect reality. Being free in this limited sense is living with reality. The reason for the confusion about freedom is perhaps that the word "freedom" is tainted by its political history. This view assumes, as do many other arguments, that we can envision all from a very limited viewpoint. In this, and in many other ways, we are like the fish in a saltwater tank who lives as if the whole life of the ocean is known by living in a tiny tank. Their life, the fish believe, is the life of the ocean, even though they bump into glass walls, false plants, and filtering equipment and may be aware of other patterns and notice that something functions other than the tank, not least, the feeder. The objects, often even the flowers and life forms in the tank, were manufactured for the tank. The tank is nonetheless real, but the tank is limited. We cannot know our lives and freedom without accepting our real responsibilities and seeking ways to flow with reality beyond the tank. This responsibility includes, but is not defined only by, political freedom, which I prefer to call liberty. The sub-polis—the organization of forces within a sub-reality—is like all aspects of a sub-reality: it reflects the movements and the goal of the forces of a sub-reality, beginning with the degree of mutual consent/aid. Liberty depends upon mutual consent and common vision. Usually mutual consent and common vision implies leaving each polis to its own liberty. For example, if we wander into a jungle of other species, we may be attacked because we have invaded and disturbed the jungle polis. To these creatures, we are either food or we are a danger. A similar disjuncture occurs in human culture. A man who holds a gun to my head and is about to shoot because he thinks that I am in some way a danger to him will not stop because I tell him I am a pacifist. If I am a pacifist and he is not, then we are either not from the same sub-polis or we are in a state of crisis. Thus, assuming we truly want freedom--not at all certain--the values of a human sub-polis—too often determined by a small self-interested group—need to begin with liberty at the grass roots level if liberty is to prosper, since other values will limit liberty. Libertas, a view from the nature of the sub-polis, presents the early stages of liberty at the foundations of the sub-polis. Constant strains that disturb mutual consent interact with powerful softening elements to enable all forces to find harmony without loss of identity. We need to see this entity—and others as well—as if the elements are floating and the elements shift and change shapes. The view we have is only one event of those many events of transformation, as consent or crisis attempt to emerge. The crisis motions are seen in the limits, the dominant feature in this glimpse, whereas the consensual element is in the forces pushing against the limits. The limits are not, of course, boundaries—the nature of a single sub-reality—but tendencies and activities. Other elements, two within the crisis activity, one with liberty, indicate three formed identities.
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Libertas 2:04 has been selected.
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Ripa
The next three entities present some microcosmic inner workings of liberty and its relation to freedom. Ripa and the next entity show, among other things, how the crisis elements never disappear, but remain alive at every event, regardless of how strong the will for mutual consent seems. Thus, crisis is not a destructive or obstructive movement, but a necessary ingredient to the waves of the sub-polis. Ripa presents liberty with strands to freedom and strands to the sub-polis. The strands to freedom are a series of at least seven waves, which we can describe (though inadequately) as source, drive, return, difference, cohesion, anarchy, and vision. The strands for freedom are those that lead ultimately to the greater polis and beyond the sub-polis. The strands to sub-polis are four, though the lesser number of strands should not imply less activity or substantial influence. These four we can describe (though again without any claims to precision) as pivot, integration, freshness, and resource. All of these strands are strands of identity, not action or experiment; they reflect the nature of freedom, of liberty, and of the sub-polis, are signs of real experience, and show what moves the energies that flow beside the strands. Unfortunately, the names used to describe them give the impression that they have a single dimension to their activity. In fact, these strands continually shift their identities, and what one strands does in one event, another does in another event. Furthermore, there are more strands than the eleven identified in this event. Another event would reveal a different group. There is no clear direction for these strands, and they give the impression that they are off balance and bent. Their interrelationship is also obscure, though we know that they are working together. Freedom and a single sub-polis, in any case, are uncertain bedfellows. Indeed, they must work hard at clarifying directions, and especially of extracting from another sub-polis, though this process does not limit either of them.
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Deliquare
Clarification does occur, to an extent, in Deliquare, a cross-section of the strand integration (though another strand would be quite different), but its effect is not yet settled. The crisis element in this entity is found in the large "space" at one end (note such a space also in Ripa, Fluxio, and Stillicidium, among others), though the crisis element is not emptiness. In fact, the crisis element is often the most substantial material in any strand cell. We see several different forces at work in Deliquare in the connection of freedom and the sub-polis. These forces range from the rigid but tri-layered organizational force to the inversional and improvisational forces that require creative but not self-interested choices to the forces that are “proud” (here seen in bright yellow). Note how the rigid force has a force between it and the improvisational forces. This force, the cushion, has an intricate role in the use of crisis and in finally settling the balance of freedom and the sub-polis. Cells that do not have the cushion do not settle, but are like gyroscopes, spinning endlessly while they wait for that one element that will direct or stop them. Nonetheless, even settled cells of strands are not permanent. The proud force, an element that arises in all cells of reality, has an effect that uses crisis elements and seeks similar type forces. While this effect may seem binding and develop sub-polis more quickly (at times, it does), it also can ultimately (when all of the strands direct toward the sub-polis) create strands, in some sub-realities, of fragmentation. Obviously this kind of binding, while real, is an alternative that is more unsettled than other alternatives and will be less enduring.
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Deliquare 01:35 has been selected.
Discrimen
The crisis element of strand cells has the common role of encouraging determined elements and discouraging less determined elements. However, the crisis element will relent for determined elements and allow itself to be used for their purposes. Thus, while a powerful element, it actually causes changes because of how the forces in the cells use it. The absence or size of the cushion force especially influences the result, because the cushion can delay the proud force from its natural propensity to cause unity of like forces. Discrimen shows one aspect of the crisis element, namely, the workings of various forces on the crisis element material. Though the final choice of the crisis element is hinted at here—the “necklace” that reflects the movements within the element—the entity also shows the various attempts by different forces to merge, involve, attract, and especially to form the crisis element for their own purposes. We see how the crisis element can block and redirect so that the inner movements of freedom and the sub-polis have many elements that unsettle one or the other, enabling the sub-polis to continue to respond to reality and to maintain a settled community and possibly join up at some point with the polis.
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Saltus
The way that the sub-polis survives and fulfills its connection to reality is by interacting with other sub-polis and revealing those connections, forming freedom, and becoming polis. A sub-reality cannot be unified through its own resources. It reaches some form of harmony because it extends itself outside its community and interfaces with other sub-realities. By reaching out to more and more sub-realities and experiencing beyond its field, there is less chance that the errors of chauvinism and self-interest will prosper. If we see only from within our own sub-reality, and, even more, within our own groups and nations, we face an ever-increasing and diminishing source of life, because such groups and nations are, by nature, on a path to extinction. One avenue of survival for the sub-polis is to interconnect with several logics and nodes (see Lex and entities that follow) through a process of leaping. Certain elements within the nodes of the sub-polis leap to interact with leaping elements in other sub-polis. The interaction does not occur with every element. It depends upon the strength of leaping in each element. The more leaping elements, the more likely a sub-polis will interact and survive. There are many kinds of leaping elements and the leaping elements do not need to be similar to interact. Saltus explores a few leaping elements and an interaction that occurs between two sub-polis. Note too how the leaping is layered so that numerous leaps occur at the same time.
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Saltus 03:01 has been selected.
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Compages
One leaping element is presented in Compages. Please note the various handles of the vines of connection that stick to the vines of other leaping elements and cause an interaction. Each element has many sub-elements that both accept and offer in several dimensions and begin the process of sub-reality interaction. The long “body” of the element is a series of identical segments, “infinite” reflections of the work of the element—spirals of action leading in every dimension—so that it fulfills both its work with the sub-reality and is leaping toward other sub-realities. The work in various sub-realities is one of the unique powers of the leaping element. These leaping elements are one of the actions when sub-realities intentionally interact, in contrast to their unintentional interaction of base forms (see Excubo) as participants of reality. Hence each sub-reality, each sub-polis, and each node has, in certain circumstances, a kind of organic being, alive to its own needs and the needs of others, and, on the other hand, has a life of reality that, in a much different way, is also vibrant. Those circumstances arise when sub-forces of one sub-reality are open to other sub-realities. Without that openness, the sub-polis, as noted above, is alive but stagnant. In any one event—and an event of reality may extend in “infinite” dimensions—a sub-reality may enter stasis, and in any one event, a number of sub-realities will be in stasis while still participating in reality. Thus, real activity happens on different dimensions, only one of which may be stagnant. Stagnation arises often because intentional will is hampered in some way.
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Infans
The interaction of sub-realities, whether in polis or in myriad other ways, has many alterations due to five dimensions. The intentional dimension was discussed in terms of the leaping elements and sub-polis. The unintentional dimension has been discussed many times in the work of the base forms, the nodes, the vectors, and elsewhere. In intentional and unintentional interactions, reality and its sub-realities and sub-forces are dependent upon each other. Though reality is one and many, and all actions are real, what happens, happens because of what is real, that is, the nature of each thing has a meaning and role in reality; it is not simply thrown off to lead a life of its own without importance or influence. A third dimension is the transcendent--an accurate but possibly misleading term because it means something quite different in discussions outside of this work. The transcendent dimension does not surpass the other dimensions in importance or influence, since there is no hierarchical aspect to reality. One and all are both simultaneously integral to being. The transcendent dimension is the product (for lack of a better term) of the other dimensions, so it is transcendent in that it has been placed aside by them, in another sub-realm of reality, because they see no function for it in their dimensions; its function transcends their survival needs. It is valuable surplus. Function is reality’s “design engine.” No action or event is without function. The function is clear to the other dimensions, but they do not need to enact its function. These transcendent functions and their transcendent dimensions become one of the forces that create sub-realities; they are unique, alive, powerful and willful. The infant state of such a series of functions/transcendent dimensions (pre-sub-reality) is envisioned in Infans. More than one of these functions are present and together they represent a nascent sub-reality. We see here the nascent functional patterns and designs, each ready to spring out, interact and form forces and sub-realities. Interaction is imminent.
Inlecebra
Inlecebra envisions a fourth dimension of interaction of sub-realities. Every sub-reality is a “living creature” with its own dimension of attraction and needs so that sub-realities can attract, desire and even seduce one another through a series of intricate and fragile elements. As noted elsewhere (see Facilis), no sub-reality needs to interact with another sub-reality. Though intertwined unintentionally in many ways because they belong to reality, sub-realities are independent, self-sufficient and can stagnate with their own resources, even if they have elements primed for interaction with other sub-realities. This dimension is fragile because any action can impede its work, and its potency depends upon many circumstances for it to function. The waves evident in this example are only one event of this dimension. Among these waves are elements of attraction, each one showing off its potential interactive potencies. These elements are the potencies that have appeared in this event. The number of potencies is less important than their performance. Each element has its own character and method of seduction. One possible impediment—it has already seeped into one of the waves—is evident that may arise and prevent the interaction.
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Inlecebra 03:24 has been selected.​
Inicere
The most common dimension of interaction, the fifth dimension, results from “mystic” elements of reality, so-called because it is “outside” of the realm of sub-realities and arises from reality rather than from the processes of any sub-reality. To a force of a sub-reality, it may seem strange, other-worldly, or unnatural, but this is a misinterpretation. What appears unusual, even miraculous, is a common element of reality that emerges from reality and may apply to many sub-realities rather than one. This dimension indicates that reality is far more than the sum total of the sub-realities, though words such as “more” and “sum total” do not accurately describe reality’s process (the word “process” itself is inadequate). In fact, other realms of reality are different from but are complete parallels to the realm of sub-realities. This “mystic” dimension inspires the sub-realities to interact through a revelation of forces in them so that they use powers unknown or unused previously. We might compare it to the use of the human brain. We suspect that the human brain has much more potential than any human uses. Suppose some force was able to turn on this unused potential so that a human could use it. As we view Inicere we see the several sub-realities near or crossing each other, at times seeming to end in nothingness, but not interacting until they meet the fifth dimension at which point they merge and create a being of their own without losing their own identities. In one case, the effect is radical, even though the nature of each sub-reality does not shift. This process is shown here as an abstract cycle since the pattern is continuous and does not begin until inspiration occurs. Representation of these events could also lead us astray, not only because these real forces and processes are not spatially dimensional—none of the entities is dimensional in that sense—but because it might encourage us to think the process and its elements need to develop or happen in this or a similar natural pattern. What we call nature—especially the way nature functions—has real function only in certain sub-realities; nature is not universal any more than what the ancients believed was universal is universal today. We are the products of our instruments and our constrained minds, encased usually in one sub-reality without interaction with others. Note also that unknown elements—that is, elements that are unknowable—also function in this event. In fact, out of the mass of this unknown arises the dimension that inspires a sub-reality to interact with another.
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Quinque
Interaction has a real function not only for the forces that are of a sub-reality, such as the human race, but also for reality itself, where many layers of this process occur. It is difficult, however, to talk about function without clarifying its nature. Function is reality’s communication across all lines of activity. The dimensions of interaction are one of the means by which function operates. For example, the nature of each dimension can shift according to its function. An example of this process is presented in the entity Quinque, whose name refers to three ways in which five forms of interaction interact, as odd as that may sound. In other words, the interactive aspect of function in all of its dimensions creates forms that interact with other forms created by interaction. (Please note that this entity is one example of a single event, not a standard or rule that all interaction must follow.) Quinque may give the appearance that one form dominates, and in a single event that may appear to be the case, but in another event the so-called dominating form will not seem to dominate. What Quinque shows is that interaction of reality shifts interactively, even though it is stable; its nature is turned in on itself, where the forms of interaction await. In its being are elements that enable it to interact with others. Quinque shows the forms of interaction rather than a single interaction between sub-realities. This microvision indicates that function has two obvious traits. First, it is adaptable, not fixed. There are many functions for each event, and many events for any function. Second, its adaptability has several layers rather than one. Thus, any function will function with many sub-realities simultaneously. Not only is it multi-tasking, but its multi-tasking has many layers of kinds of multi-tasking. This trait allows function not only to be a bridge to interaction between sub-realities, but also a foundation for interknowledge of sub-realities.
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Quinque 02:26 has been selected.
Interpres
One mode of function’s interknowledge is introduced in Interpres, though the box-like projection in this abstraction should not imply that a geometric-like shape or figure applies to interknowledge. However, what the entity does show is that reflection of function—one of the layers of multi-tasking mentioned above—allows for interknowledge. One sub-reality can share in the knowledge of another sub-reality because function reflects its knowledge throughout reality. The reflection is itself like variations on one theme in music. Though the theme of knowledge may be similar, the variations are multi-layered and multi-dimensional and provide many more real insights than a single point of knowledge, in a single sub-reality, would. However, sub-realities do not simply share in these passively; they contend for them, if they will. In this sense, function has a role like a mediator of interknowledge ideas. Clearly this interplay depends upon the forces of a sub-reality willing to move beyond their own sub-reality, and then, willing for these interknowledge ideas. This interknowledge is a food that enables sub-realities to grow and attain “more” of reality.
Textum
The food of interknowledge is striated with different kinds of benefits, as represented in Textum, a rich texture of speculations, visions and “realties”, that is, realties belong to a plaited fabric of countless lines of real-life thought in contrast to knowledge whose source is any single sub-reality. Note especially the slight shifts in texture in the entity. We see changes in the striations in those events where an interaction has occurred and the sub-realities contend for the interknowledge. Constantly interknowledge is growing, shifting and interwoven with itself to encourage sub-realities. However, once the feast of knowledge occurs, more shifts arise, in diverse directions, filling up that area with more variations on the theme, weaving new possibilities, and issuing in new thin striations that will fatten as they deepen in their absorption of reality’s nutrients, realties.
Textum 02:07 has been selected.
Volare
Each thread of interknowledge has many components, three of which Volare illustrates. Components in turn have capabilities. One of the components, with three capabilities, has various means by which the will of sub-realities and their forces may snatch them. These means are integral to knowledge itself. The three capabilities illustrated here are compound, two forms of softening, and elevation. Compound results from bridges that extend our connection with what we are knowing (this interknowledge concerns the continuous process of knowing rather than the event of knowledge). For example, we know some things about an object when we know an object’s qualities. However, qualities have dimensions beyond what we perceive, and qualities that we cannot perceive or, even if we can perceive them, we cannot grasp through singular cognition. Moreover, there are countless realms of sub-realities with individual knowledge systems. Other objects, however, can complete some of the gaps in our knowledge, assuming we have learned to know through integration rather than singularity. Singular knowledge limits us to the object for understanding the object. Integration brings other qualities, objects, the environment, our intuition, our knowledge experience, interknowledge and other real factors into our knowledge. When we add these factors into our knowing, we are then able to use the compound capability. The compound capability bridges consciousness, intuition, analysis and projection—the four states of mental inertia—and they together form one unit. Projection knows something by projecting its feelers into reality. The next two elements represent softening. In the process of interknowledge, different elements merge that may obstruct the process because of unwillingness. These elements had been strong enough to keep the force from exploring beyond the sub-reality. The softening capability shields the process from them through various screens depending on the need and the will. Elevation has the effect of telescopically expanding the “sight” of the force or sub-reality so that its interaction is less arduous. The effect on interknowledge is profound because many elements are avoided in that event, allowing the process to clamp shut with the essential interactive qualities. The other two components of this thread refer to the vector (see Angulatus) and freedom (see Libertus and following).
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Volare 01:23 has been selected.​
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Dignoscere
As function operates, many and certain elements of sub-realities meet, though no interaction is planned or structured to happen. For this reason, interaction, interknowledge, and intergrowth may not occur, even with a great will. Discipline of elements—the “control” aspect of reality—is everywhere evident. Reality has as many ways to interact as there are elements to interact, but the form of discernment is similar in all interactions. The combination of discipline and freedom creates function that is practical in every interaction. For example, Dignoscere offers one glimpse of this multi-layered process. What might seem chaotic at first is, in fact, with contemplation, quite disciplined. Yet the process of searching for interaction happens only once in Dignoscere, despite the range of attempts, partial interactions, and opportunities. Many factors have to work together for the process to create. Like archery, where many arrows are released to the target but few hit the center without the appropriate concentration and physical coordination, interaction will continuously occur if someone can “hit the center of the target” continuously and communication can happen across all lines. However, to “hit the target” requires the simultaneous cooperation of many different activities and factors. Function always is finding new ways of distinguishing one attempt at target from another without wasting the “arrows” (as happens, of course, in archery). This attribute shines clearly in Dignoscere, where each wave of possibility returns constantly to reach the target. The wave itself eventually creates another wave, a larger wave, of arrows within arrow that move toward another target, so that the process of interaction and interknowledge will function on several dimensions and degrees of approach. So we see here both the “minor” wave and the “major” wave simultaneously moving in their own paths (which need not, of course, be straight) to their meetings.
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Germinare
Notes on Germinare: Intergrowth happens through a diverse interaction of many realties, each impending upon one of the “infinite” nodes. Many different kinds of growth occur simultaneously, each fully fertile and producing individual directions and interknowledge. This simultaneous variety of growths may be difficult to imagine, because in the natural world we tend to see one seed producing what that seed innately has. In other words, once the seed has been created, its properties are fixed. Outside factors may influence it, and it may respond, but its own initial fundamental nature has been determined. In the process of intergrowth, however, the core material has countless natures and possibilities, and these continuously change too, so that no one point of intergrowth is determined. Moreover, the so-called outside factors—if we continue with the example of the natural world—are much more influential; in fact, they are part of the core material, since no border occurs between what is “inside” and what is “outside” reality. Furthermore, the elements of growth are connected and influence each other. Another general factor in the intergrowth process is sententia. Sententia is the push and pull of the innards of reality, the “mind” of reality working on its elements. When it “passes” realties, it affects them, informing each of them with its vast ways, so that not only do many more options arise, but also an order occurs with each opportunity and option. Thus, sententia manipulates unintentionally the core material and creates layers of growth from each node. Sententia can create such amazing variety and options because each “cell” of its wave of information has a key to the myriad options of the core material. In other words, each “cell” of reality’s “mind” reflects the universe, and the universe, of course, reflects back. The difference from the element “in” the cell of reality, and the element “in” the core material is one of degree. There is a parallel analogy, with some qualifications. The cell of a horse is the horse. All of the information that is the identity of the horse is in the cell; even though the myriad cells that form a complete horse is something different, in essence, the horse is in the cell. Reality is not a horse or a horse cell, since its capacities are so much more immense and each element and vector has numerous degrees and positions in its array. Moreover, when a horse meets another horse or another horse cell, there may be a minor effect, but when sententia occurs, every element of each realty, and every node, as well as every other element, is transformed into something new both for itself and for reality. There is a reason for this interaction. Reality has many “shapes,” but in every shape, every aspect and element of it interacts constantly because it is always facing every other element constantly. For example, reality can be like a cone. This cone has “infinite” conical shapes and movements, but always there is the sign of the conic whip and always every element faces every other element. The end of the cone in Germinare is an indication of how deep, how “infinitely” layered, this one glimpse is. Sententia spreads, drives, delves and flies up in countless ways. It has unlimited visions and duplications of itself, fibers of activities intertwined among itself. The end reminds us of the numerous layers not envisioned, yet vibrant and spreading reality.
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Stabilitas
Notes on Stabilitas: The knowledge of reality, interknowledge, is a seed (the work of nodes and vectors) that grows in the thoughts of the one who has interacted with it. It need not appear or function as a completed object that cannot change, but may transform and develop on its own. Real knowledge then is an avant-garde power of thinking rather than only a thought or a thing; it is both the producer and the product of its production. How that knowledge grows depends on reality, its realties and the meditative force of the one trying to know. Knowledge is a long and vast link with myriad spawning grounds by which sub-realities and sub-forces can reuse it. There is no real graveyard of knowledge. Certainty, as it is commonly understood, depends upon knowledge being a standard throughout the universe. In other words, what we know is not an isolated incident, but happens again in other contexts and means the same. However, in interknowledge, there is not only this certainty, because real knowledge is not stable—since it is more a seed or potential than a completed object—but also because stability is one of many conditions through which reality works. If stability means that knowledge is fixed in such a way that what it states will not change or have variations, then that knowledge will probably function only or mostly within a limited group of sub-realities, such as it does within existence, and not work elsewhere for reality, regardless how functional it may seem. How is that possible? Reality does not rule, coerce, enforce or intentionally copy one or another pattern from one sub-reality to another. Each sub-reality matures as it chooses and its nature is welcome in the great swirl of possibilities that is reality. Reality, like a rainbow and its colors, accepts all possibilities, is defined by them all, but is not only the possibilities of one or the other sub-reality. Sub-realities have many leaping elements (see Saltus and Compages) and bridges. The leaping elements are one of the factors that determine whether one pattern is unique to any sub-reality, and how the possibilities involve one another. The bridges evolve both from the forces of the sub-realities and reality itself. Nonetheless, sententia constantly flows through to provide a kind of stability—though there is no structure or authority—but if growth is to happen—and growth is integral to interknowledge—then a continual shift occurs and the so-called stability must move on too. Nonetheless, with this qualification, we can view the condition of stability that sentential provides in Stabilitas. A point of interknowledge emerges from a series of instant and spontaneous group of core movements of knowledge, each of which reveals one layer (among endless layers) of interknowledge. We note that there seems to be little similarity in their abstractions, even though they are all real and one. Nonetheless, the flow of their activity always harmonizes. In this harmony is the primary face of stability of interknowledge, though it is not the only face. The abstractions each function individually and yet all function together. Each has its own nature and will evolve with its own nature, and, in ways only intimated in this entity, involve each other. Moreover, as is evident, each of them is the same but has transformed into a different function of interknowledge. Note that here, as in all of the entities, no specific organization happens. This anarchy is not because the entities are free-hand, but because there is no precise dimensions upon which to base organization.
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Stabilitas has been selected.
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Ratio
Sententia itself, like all events of reality, has many roles due, in part, to the work of the nodes (Lex, passim) and vectors (Tenax, passim). Germinare presented one role and its actions, a sententia that invites diversity and creative disorder. Here in Ratio, we see something more familiar, because it is so pervasive in, though not confined to, existence: order, definition, limited clarity and a kind of symmetrical and symbolic logic. These qualities are the result of many other struggles and moods, some of which evolve, like other aspects of existentive thought, from the severe logic of number. We see that the movement of sententia in Ratio has its “fingers” more marked, its work here bubbling with specific structures, all similar, but differing in number (fourths and thirds) and size. When we contemplate this string’s continuance, it displays other symmetries, each in this role moving around fourths and thirds, each presenting the identity of the sub-reality but lacking the fifths or other intervals that might channel the full interactive power of reality. Though not generating the interactive force of other roles, nonetheless the force of Ratio is intimidating and seemingly so comprehensive that it exceeds the needs of almost all elements of the sub-reality. Moreover, its symmetrical logic is hypnotic, even, in its own way, beautiful, and, without awareness of other sub-realities, can truly seem to encompass the universe. Note how seemingly balanced this entity is compared to other entities. It is simple, uses few elements, its form is restricted, and even sententia flows through it in accord with its momentary symmetry. Yet its balance is hard, not soft. If there is the smallest shift in the elements, then Ratio will lose its identity and another role arises. Moreover, despite its clarity, it has, like all events of reality, a mysterious component that cannot be defined or useful in the context. Note the couplet facing a fourth near to sententia. The couplet mirrors all of the couplets that move “within” the thirds and fourths, yet this couplet and this fourth have no structure or seeming position in the action of this entity. They seem among but yet outside the order and symmetry. What then is their task? How do they participate in this role? Sententia has many remnants that reveal potential and possibilities; however, sententia reveals also reality; it hints how, even within existence, no role is “outside” the transforming hands of reality. It is important also to see this entity from its end and sides and not only from only one visual perspective. By twisting the perception, you will see how the elements make to create a series of climates.
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Coniunctio
Though all entities reflect a multidimensionality and multiplicity, Coniunctio expresses itself in a more comprehensive way in those areas because it reveals so many different strands involving vectors, nodes, actions, base forms, denergy, leaping elements, and many other elements and forms in which no force is dominant. It also shows that asymmetry has many purposes, but those purposes and asymmetry have no single definition. Coniunctio, in other words, is without a so-called focus. In fact, it forcefully demonstrates why reality has no single focus yet all elements are united in a field of enormous variety. In this sense, Coniunctio mirrors and is an archetype for many processes. Of course, if all of the entities could be set on one page, shifted constantly, intermixed and connected, we could easily see that each entity is an archetype of another, because every event is real and interchangeable in some way. Coniunctio also teaches us that every entity can take on the interpretation of any other entity. Many are like pieces of a puzzle that “notch” into each other. Polis, bridging, integration paths, and reflections are especially evident from Coniunctio. We see here most clearly—though again the connection is assumed everywhere—how each action strings to another action, even if that action arises from different nodes, how it is denergenic, how the underlying pulse of reality flows—Coniunctio even has an “atmosphere” that mimics a sea—and its interrelatedness of diverse sub-forces symbolic of the creative immensity of reality. The fourteen layers of Coniunctio make it difficult to grasp, as noted about every entity--except when we view it beyond the two physical dimensions of the page. All of the entities are multi-dimensional and must be perceived this way to come alive, and yet Coniunctio has so many layers that it transcends common perceptual capacities; it is, in fact, wholly metaperceptual. The behavior that tends to blur the perceptual anchor points is intricate folding (Efficere), and the initially deceptive sense that we can grasp this entity on one plane. For example, the four long vectors are one starting point in the journey of this entity. We note that, with folding, one element reveals one of its other lives, one that is very active, and that touches on other elements, and that generates the similitude in at least three events (as in all of these actions, we can only discuss what sits before our eyes). A similitude is an action that continuously generates similar elements as catalyst for different events. Meanwhile, the similitude also shows one of its lives and demonstrates a bridging with other elements. Several of these events we have already seen in other entities, but here we see how the nodes have revealed the side and under-bellies of these elements.
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Coniunctio (01:44) has been selected.
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Fundamenta
A name for the energy that lies behind the actions of the principles of reality is virtue, which means for me the power to connect with reality through the principles. Fundamenta symbolizes how certain of these principles—community, struggle, freshness and reattachment—develop and express themselves. Often the fluidity, creativity, transformations and life of reality may mistakenly lead one to think that reality has no anchor. These and other principles are its anchor, though they, like reality, are not determined or fixed in any sense. Each principle has a different “chemistry” of virtue, yet each is intimately bound up with the other. Fundamenta presents one glimpse of this event of virtue. It can be interpreted several different ways, depending on how the page is angled and what you or I seek and intuit. For example, the five states of struggle, attached and yet also unattached to the other principles, is seen here in yellow. The four streams of color that seem to provide some anchorage is community. The molecules of bond floating through the event are reattachment. Freshness has a single bumpy line that seems disconnected from the rest, though this belief is incorrect. If we can imagine that the event is not flat but is occurring on several dimensions, we can see how the freshness principle is one of direction and development. However, another view of Fundamenta, equally valid, is to see each formation as a reflection of different energies of virtue. One of these could be the round yellow mass in the corner, the blue stream and the jagged force—introspection, vision and will. Another would be what appears to be a disconnected series of yellow barriers, a reddish stream that does not stretch as far as the barriers, and a connected group of comfort supports. A third is the collision of the blue amoeba-like forces with the powerful, walled-in and bound-up formation. Note how the amoeba forces are spilling into the fourth aspect, the massive stream emanating similar box-like answers. How these relate to community, reattachment, freshness and reattachment is perhaps more clear than the first interpretation, but the first interpretation does not lose its credibility because of that.
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Ancillary note: Because virtue also is the energy that sub-realities and sub-forces quickly assimilate, we need to detour into a discussion of the work of sub-realities. As reality flows and creates, and virtue expresses itself, sub-realities and their sub-forces “interpret” virtue in individual ways, and may create another “layer,” a powerful coalescence of ideas and practices that can form the basis for a particular moral philosophy or ethics. Nonetheless, because reality has countless simultaneous dimensions, movements and actions, a glimpse of which we see in Fundamenta, the relationship of each coalescence with reality will be different, even though it is real, since each coalescence will connect with the strands of reality in a different way. That difference may explain why certain anomalies arise in the interpretation of virtue, such as the concepts good and evil. In the long list of actions and events of reality, including those present in the preceding entities, none of them has the quality “good” or “evil,” however those concepts are defined, because such concepts are applicable to the work of sub-realities rather then reality itself. No sub-force, in fact, regardless of its advanced state, can by nature compare its assessments and interpretations to the “infinite” possibilities and potentials of reality’s universe. However, there is the obvious certainty of reality: All are real and all reality treasures as its own. To be in full accord with reality, an element would also treasure all reality. Yet reality does not rule or dictate in any dimension. A sub-force may choose not to treasure what is real but that choice does not erase the overwhelming embrace of reality. Reality creates virtue constantly and from that virtue, the expression of its principles is inestimable. Nonetheless, a morality of polarities—good/bad, right/wrong, just/unjust, etc.—is not only an interpretation, but also is one interpretation. There are no single judgments or moral/ethical ways to examine reality’s actions, except in terms of its certainty as expressed. Reality’s principles affect all of its elements repeatedly, but they do not coerce. Coalescence manufactures myriad moral attitudes and rules of existence. Many areas may seem to demand such an interpretation for survival, but it would be foolhardy to apply that or any interpretation as a principle of reality.
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Fundamenta 02:38 has been selected.
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Peritus
Reality is constantly producing its energy--virtue--and virtue itself constantly has a different face, a different force and a different nature from its many experiences. This powerful creativity and experience shows its mystery and influence in every event. The principles of reality react to this constant shifting of virtue. For example, the virtue of community has no one blueprint, because virtue’s energy is constantly pushing the principle to react to the greater contexts of reality. So it is that virtue through its myriad contexts and exposure has skills and abilities of great depth whenever its energies arise. Peritus is a microcosmic glimpse of this process narrowed to virtue’s effects on one principle as the greater context informs. This entity not only presents the flow but also the content. The process appears linear, but this is only one stance. Whereas it seems that the actions follow one another without connection or interaction, we need to rotate the image both physically and abstractly in our minds so that the actions of virtue intertwine and reveal the order/disorder. The different graphic presentations of the effects indicate their transformation and action. A few of these include duplication, where virtue creates a mirror of itself so that it can feed the actions of the principle when its work moves on; obstruction, where virtue prevents perversion of an action so that it no longer has a virtuous action; extension, where virtue creates various ways to remain with an action for an extended transformation; ordering, where the actions structure the principle into a code of virtue, and resource, where virtues offers seeds of harmony and unity when they are needed. A key quality of virtue is its depth, available to any force of reality who seeks to move beyond its sub-reality.
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Peritus 01:01 has been selected.
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Vestigium
If we confuse power with control, we will wonder why the principles of reality are not more pervasive. We will wonder why virtue does not show its energies more clearly. Yet great force and depth do not always imply compulsion, even in the so-called natural world. The sea, for example, is big and powerful, but it does not force the fish in it to stop eating other fish or escape from those who would eat them. Yet the sea envelops all of its life; all of the life within it depends upon it; no one within it can escape it, and yet the sea is much more than those life forms. So too reality does not wait upon and control all of it sub-realities and sub-forces. Their choices happen but reality does not make their choices. In fact, reality does not make any choices; reality does not choose—choosing would imply decision—because reality acts as it acts, without “thought” and without “reason.” Thought and reason are within it, but have no power over reality. Each event and each action have many dimensions of consequences and happenstance, and what may appear on one dimension may not have the same (or any) consequence on another. Reality does not interfere in any action or event, even in that rare time when the participant is in harmony with reality. If the participant is in harmony with reality, then the participant will follow unintentionally the principles of reality. Nonetheless, though reality does not choose, it leaves marks where it steps, indicating, of course, that a way has been taken. Vestigium illustrates a mark of reality. This, and every other, mark is individual, has many dimensions, and is active not static. This particular “footprint” has at least six complete and individually functional aspects, together forming shifting individual shapes, both abstract and powerful, whose most prominent actions are: Bipolarity, striation, spiraling, monism, attraction, and synthesis (though these words do not describe all of any action). None of these actions is oppositional yet oppositions do exist. Nothing is real except reality. The marks of reality are what we feel of reality as real beings. We encounter them; they encounter us; we sense them; we learn about them from others who have experienced them; we just miss them; they touch us so that our imaginations come alive; they inspire us; they are the link to our own identities and paths, because the marks of reality, even though they are only remnants of reality, are alive and full of power. We need to view this entity, like all entities, from several angles and perspectives if we wish to feel its force. Each of the actions interrelates but can separate and function on its own from a different “position.” Perhaps it would help if, for the sake of clarity only, we could solidify any entity and watch how each element seems to shift without losing the precise image given here. Instead of seemingly flat and one dimensional, one action will drop, another will seem like a floor to the ceiling of another, another will spin around the so-called top of another. Another will seem to soften and begin to twist the pillars of its structure, as if it was a pile of spaghetti. Yet despite all of these superficial changes, the image remains true. What we envision, however, is a point from which another shift will occur among countless points.
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Convenire
Actions are spontaneous, uninitiated rearrangement of disparate elements. They resemble puzzles or gene pools with “infinite” possibilities, and each possibility, in this case, creating a different world. Hence, a meeting of two forces does not produce a shift in reality, since contacts do not make actions. It is not a cause and effect relationship. The elements of actions are cross-dimensional forces, that is, they are not “within” something or “outside” something, but integral to the event arrangement. Though they do not arise from any kind of coercion, they are accessible to influence, though each influence is one of a myriad number. If the suggestion has the force to create the rearrangement, then it is possible to sense and experience the action. So when we view Convenire, we are seeing a movement of elements from one possibility to another without any of them necessarily communicating or contacting another, and yet all together making a mark. There is no cause or reason why this movement or face arises to be an action—since arrangements need not become actions—but the capacity to experience the action, as noted, depends upon the inscrutable suggestion of reality. Each of the elements presented in Convenire has importance and individual contribution, but the action arises from the combined arrangement of these elements without any interaction among them. It is similar, in a crude sense, to how some see life. To them, life moves forward simply by us “showing up,” by us being there to complete the mix of that moment. So too when elements come together, they can have action simply because they are the particular elements that can spark the action. It is possible, however, to clarify, in a small way, why these elements act, particularly if we could string several other arrangements of elements alongside it. We would see that, in comparison, this arrangement is extremely dense, that it has a kind of asymmetrical symmetry that reality enjoys, that a harmony of direction has occurred that seems quite different from the suffused atmosphere of other arrangements. In any case, the action of Convenire happens and those who experience it are those who want to feel the difference from other arrangements of elements. Those who have let themselves become sensitive to these shifts will be shocked by the power of this action.
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Convenire 02:42 has been selected.​
Adulescentia
Yet the arrangement of elements is busy enough even without action. In fact, without the endless grouping of elements into arrangements, an action such as in Convenire would never occur. Moreover, as noted previously, the quest for arrangement and disarrangement is one of the living forces of reality or, said another way, it shows why reality is also life and a kind of living being. We see in Adulescentia elements with degrees of force that are forming, that are “young,” that are unclosed (again a sign of their “adolescence”), and are trying to control. Yet there are waves of attempts to settle them. The most prevalent sense here is tension, and a predominance of the same kind of element, perhaps an indication why this movement of elements does not settle into an arrangement or action, since asymmetry does not imply imbalance. The glimpse of this process shows that a tendency sometimes resides in every element to form arrangements and lead to at least a sub-action, but alone an element will pass out of any window. There are certain tendencies in elements, however, that will repel seemingly by nature the tendencies in others.
Delibare
Striving for harmony with reality—harmonium—invites spiritual feeding of many different foods for many different dimensions of being. The harmonium of that unintentional meeting feels as one resting in a nothingness center (emptiness can be a receptacle) on which flow tasty glimpses of reality. Each glimpse is an abstraction, a sketch of some action that demands focus for it to be grasped. While there, in that meeting, and after some time tasting the varied food, the harmonium begins to react, often by exploding into some colorful enthusiasm for life, thought or some less obvious ideal. The expansion, though real and itself something that the harmonium will invite back, is short-lived, bland, and meaningless, even if somewhat of a spectacle, since the harmonium is, after all, only reacting, not merging or creating a life of its own. To merge or to create, to become independent in a real sense, would require longer and longer rest times and patience swallowing the realties that arrive. Some may seem as nothing, but this feeling is deceptive. Nothingness is metaperceptual (Coniunctio), and is nothing only to those unwilling to reveal it. The boundaries of these glimpses are not real; they are what we feel. We sense limits or perhaps these are the limits of what we perceive. The harmony, however, is real, though often temporary or limited, but not uniform, as Delibare shows. Each dimension has a character with its own shifting structure and awareness. Moreover, the character of the dimensions depends also on the harmonium.
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Lux
Notes on Lux: Actual union with reality, where the harmonium has swallowed the realties and contributed to reality’s course, is formless, with many kinds of windows that shift and reveal the course. The harmonium becomes many and yet one, and each sub-union has “infinite” unions, so that the harmonium explores windows of windows and, in fact, becomes an element (though the harmonium was always an element and yet had not achieved union to express it) and an action. No union—here the word “union” can no longer bear the load of what occurs—sprouts that does not include the end of identity of the harmonium or the end of what harmonium considers its identity, since real participation and union transform perspectives of life and being. This awakening—the word “awakening” is too dramatic—does not make something new, but rather a light that reveals what was always there. The harmonium feels fragmented, and not necessarily evenly fragmented, but fragmented in forces that are all dissimilar and yet each with its own import. These forces are not parts of a puzzle that fit together to make the harmonium, but rather are the ways in which the harmonium relates to reality, the ways, once united, the harmonium can bridge itself with reality. In other words, the harmonium finds unity and unifies in an environment of diversity, creativity and constant transformation.
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Lux 101 has been selected.​
Densitas
Densitas illustrates the micro processing of union in a single dimension. We note that the bonding elements of the process becomes more and more dense as the tentacles of realties infiltrate the being of the harmonium. This density is a key factor in many actions of reality because it allows reality to realize the capacity and readiness of the harmonium. If the harmonium cannot stay the course, then the bonding process—the process of increasing density—will not continue because the tentacles of bonding will not have found something upon which to grip. Again this process illustrates that the harmonium must contribute and be ready if the union will occur. The greater the density, the greater the bond, until finally the bond happens, and the awakening reveals the course. Please note also that reality itself has substantive changes, as the process unfolds.
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Invicem
The harmonium faces many tasks once it merges with reality. Not only must it concern itself with reality and its kind of activities, but it must also manage itself. After all, reality is different from the harmonium, even though they can merge without a seam of union noticed. To move with reality, the harmonium will contribute something not only to seal the union but also to receive what reality gives. The relationship thus is reciprocal, requiring the harmonium to shift through many so-called layers in order to reach the fire of its own potential and contribution. The harmonium will ride many different waves and cross many challenging bridges before it steps firmly upon the ground of its being in reality. These stages seem like obstacles, but they are more like curtains that rest upon the harmonium. Each dimension removes a different kind of curtain. At the same time, it is also like a series of stairways that the harmonium constructs in a house, from one wave to another, for reasons that are obscure to the harmonium until the attainment of the fire. This image may encourage us to see a process of purgation, but that image would be incomplete. The harmonium is not trying to rid itself of past mistakes or impress some unseen god of its regret. Invicem simultaneously shows the curtains, stairways, and the layers, as well as other corridors that the harmonium will take in its tasks, and the capacity at any point to follow only one without completing this journey. Invicem expresses only a glimpse of one journey out of countless journeys that a harmonium could travel in its love of reality.
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Permanare
Permanare is in triple reverse (in the sense of vacillating) perspective in order to present as many actions as possible in one event. We note that the macro and the micro not only influence each other and need each other—two obvious qualities—but they exchange roles with each other, one growing (for lack of a better term) into the other. By analogy, suppose the universe, for example, is not real only as a macro event, but is also real as a micro event, and the atom is real also as a macro event. This simple analogy will lead us to viewing reality’s events in a broader way, as presented in this entity, so that we can see the harmonium, when it reaches the fire, diffuses into so many sub-realities that its “structure” and unique forms permeate. That diffusion is the macro activity of each harmonium and enables the harmonium to move and be with reality. From the forms and structure that permeate are numerous dimensions of actions and events, each one connected to the core of the harmonium yet pervading in many directions. Permanare magnifies the fiery moment when the harmonium bursts into its macro being, spreading its forms and structure, and infusing its own “genetic” contributions. If we focus long enough on this entity, we will also see how it grows in three separate perspectives in reverse from the way we would normally read it.
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Sanare
The study of pathology reveals a view of our physical essence so rich, complete and complex that it makes our ordinary viewpoint of our body shallow. After such a study, we realize that the forces within us at the cellular level are incredibly busy with judgments and powers, and that we are always, in some sense, battling so-called sickness and healing ourselves at the cellular and sub-cellular levels. None of this is congruent with the image of our physical selves that we see in the mirror, where all seems in order and healthy, and the roar of activity within is unheard. However, we have no choice but to accept what we see. We do not have the senses or the ability to reach within our bodies and observe what is occurring at that other dimension (without the use of instruments or machines). The same, however, is not true of reality, which allows us, if we will, to feel and know reality intimately, at the “cellular” dimension and beyond, even if we are unable to maintain a grasp on the whole. Not only are there many portals—seen in other entities—but there are many “magnifying glasses” and “microscopes” within us that will open up that realm and help emerge the harmonium. “Seeing” through them, nonetheless, does not imply we understand or experience the objects they present; nor does it mean we are a full participant of reality. This entity, Sanare, expresses several aspects of this process. Like several other entities, Sanare needs to be “folded” (like origami) (see Efficere and Ad) before its multidimensional nature is presented, though the folds can vary and any fold is, of course, only one face of an “infinite” activity. Any face of Sanare, however, will show the constant healing that occurs when the harmonium struggles to endure, develop and reach more and more intimacy with reality. Sanare expresses the matter simply, paring it down to only a few examples of many ordered efforts of reality to heal the interaction of one force with another and open a gateway for participation. The efforts are superficially quite different, but are united and simultaneous, each gentle and tender to the sensitive and tentative attempts of the harmonium. Meanwhile, within the efforts, is occurring a stretching that the healing has made possible. This stretching draws out those elements that set aside or remove obstructions to the holding of reality. Touching reality is one task, holding on to reality is another. This stretching awakens the harmonium into and accustoms it to reality’s bewildering maze of events, enabling it to experience the “cellular” dimension of reality.
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Sanare 1:56 has been selected.
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Tranquillare
The journey of the harmonium is similar to an observer watching and waiting for the right moment to move through a maze of many events. Like the practice of meditation, the journey is repeated again and again as the harmonium gains in maturity in its grasp of what it “sees,” including, of course, its own journeys, because every journey is real and opens up streams of events that become participants of reality, and what it is. An analogy will express the challenges in this practice. In order to see what it is in a stream, at first we think that we must disturb it. But once we disturb it, the stream has changed and all of the participants of the stream and its life at that point have shifted. To experience the stream without disrupting the water, we must for a time become still with the water, or sink into the water and become still. Once we are unnoticed and have become another element of the stream, then we can witness with more power the life of the stream. So it is with the harmonium. Entrances and exits are complex and disruptive, though the immature need to use them. (See Tenax) As we become more mature and remain mature—for lapsing or losing the hold is one of the main problems of the harmonium—we then witness and explore our condition and are able to make our exists and entrances much less disruptive. Tranquillare expresses these three major conditions: entrances, exits and remaining still; how entrances and exits have disrupted and how remaining still creates focus so that the harmonium witnesses and grows. Please note that two entrances are shown, the most disruptive and the next most disruptive, and two exits of similar degree are also presented, while the harmonium in some kind of relationship with reality emerges slowly into focus and attains for now a stillness.(See Palla) We also see that stretching mentioned in the note on Sanare.
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Tranquillare 02:59 has been selected.​
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Ludificare
It is very difficult to ignore the many intimations of other entities in Ludificare (i.e., Tragos, Demoror, Fluxio, Populus, Stabilitas). Each entity has behind its corners and under its torso many other events, and all of them fit together and move apart at will. As I discuss in the Introduction, these notes are only a tiny part of the activity and knowing in each entity.. However we may pull them apart from one another, we shall not find the bottom of their real natures because uncovering one may reveal another or uncover another side of the first. Yet reality has a sense of humor too. Under the playful spirit in Ludificare, there is told the secret of how sub-realities are built. Reality seems to play with us in the interest of stretching us and the universe at the same time. Play, after all, is the catalyst of innovation and invention. This playfulness can be more frustrating than helpful when it baffles us, but Ludificare needs to be studied carefully. It will reveal how it binds together the symbols and expressions of the entities mentioned as well as others.
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Ludificare 1:54 has been selected.
Dilatare
Though quite clear in any posture, Dilatare needs to be tipped a little to help in its expression. If we glance at it from a certain angle, we can see how reality stretches itself in countless efforts to create and to bond with creators. It accommodates many types of events, though they all, in this entity, have similarity of purpose. Imagine that reality is accommodating on “infinite” dimensions simultaneously with many purposes, and we can begin to grasp the possibilities and potential. Reality does not only accommodate, reality also performs, educates, inspires and sends examples, each different, each a portal to another portal, which perhaps leads to another sub-reality or at least to a kind of revelation. In these “examples”—for lack of a better word—the process has a resting place for us to await that catalyst that draws the harmonium. Why resting place? Nothing works only in a rational sense in the realm. You cannot become adept at reality by going to university or studies with a reality “expert”. You must unite with it and live by it and become alive within it in the way a cellist merges with the cello when she performs. She, the instrument, and the music are one, and something ineffable and intangible occurs which may forever change her or the people listening to her. There is much in the music experience that parallels reality and the real process, particularly in the way we feel when a piece of music touches us. In any case, that is another expression in this entity, the means by which reality performs and lures the harmonium out of its resting place through its own music. Each harmonium is unique and requires a unique connection with reality. The reason for this uniqueness I have only implied previously. Though reality does not intentionally bring into being individuals, individuality is one of reality’s footprints, because each event will have its own mark, as each event arises differently. Since no two events are the same, no two participants in those events can be the same. It may seem to our science that two creatures are exact, but the being of each of them is individual, if we could measure them with reality’s stick. Two or three creatures may seem alike, but reality is not concerned only with what seems, but what is. Furthermore, there is another reason why they are individual: Reality touches each of them individually when it stretches forth its creature opportunity and sings its song of growth.
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Quattuor
These entities result from my own explorations and meditation. That experience itself, the process, has never been on display here, because the event itself is more than enough for me to record. On this occasion only—at least up to this point in my journey—Quattuor reflects the actual and raw stuff of communication that, in other experiences, reality and I have immediately transformed into what becomes the event. I doubt that this amorphous media is typical for all--how could I know?--but perhaps there must be at least some commonalities. Hence the reason I include this entity. To the four immediate dimensions shown must be added, in this journey, the harmonium, which makes five participants. The harmonium is usually integrated into the entity, but since this entity expresses the stuff of communication, and does not include the projection of the harmonium into the event, the harmonium is missing. Thus, we might think that we are viewing here a draft, a stage, of the final entity, something incomplete, and trying to find a single word that might act as a doorway to understanding the entity was impossible. But that is not the case. In fact, this entity expresses most clearly the source of the event. I had difficulty naming this entity because it does hold in its being the core of so much of what the harmonium sees. For example, we see in each of these dimensions a different character and action, yet not only do they somehow move within one another, but they refine and highlight each other. On the one hand, they seem to be separate layers, but, on the other hand, they melt into one another, creating borders and changing their nature to accommodate.
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Quattuor 2:03 has been selected.
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Columen
Growth for the harmonium is, at least on one dimension, to do several real things at the same time. To reach into several sub-realities, to experience realties and not existents, to be aware of reality’s movements and ways, and to redefine oneself continuously so that one is discontinuous with any one condition: These are some of the challenges of real life illustrated in this entity, which is about reaching for the real life. Of course, Columen not only illustrates the journey; the entity also reveals real life itself. Admittedly, sufficient challenge awaits all of us in the leap from existence to other sub-realities, but once that condition is reached, which is a beginning, then the climb to greater revelations awaits. Practice for this endeavor is in doing several important (in contrast to mundane or menial) acts or thoughts simultaneously. This exercise is no more than an exercise, but it will enable us to realize a little of the potential in our minds. Three points, among several, are noted in Columen. The first is the importance in growth of restarting. In many situations we see ourselves moving from one starting point to an end point, and, when we reach that point, we assume that we are finished. In a real environment, we find a way to restart the same journey or a different journey from different “places.” Restarting is similar to shifting, which is also expressed here. Shifting is seeing life as a continuum, rather than a fixed, frozen place, and trying to move along that continuum. If we can move with the continuum, then we will leap into a higher life with reality. The third point in Columen is to build without logic, not to think, and not to do in terms of any logical order, but imagine that we are painting our life or creating a web that has no specific order or direction, but whose purpose is something more refined, abstract, intangible or spiritual. What would our life look like if we lived in that way? Columen, like all of the entities, has no up, down, in, out or over. Real life starts anywhere, without points. Exploration depends upon taking something to a deeper level, not defining a point and claim this is its only fulcrum. As we can see from the entity, life focused on a few realms will initiate retention, which is the equivalent of helping you to stay when you are slipping back.
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Columen 1:20 has been selected.
Rhythmus
Though the complexity of this entity speaks for itself, nonetheless any principle of reality extends far beyond a single entity. However, that said, no other description except rhythm could apply to this entity. Rhythm of reality is similar to music, though it moves on many staffs at different beats and tempos, each staff creating its own identity and creations, as well as seeking harmony with other staffs. Unlike music, which traditionally is notated in a linear way, reality’s rhythm is notated as a series of flashes in which a preponderance of living rhythms are alive and working out their actions. In all of this wild and wondrous explosion of idea and energy, the harmonium floats and swells with delight, absorbing along the way the “lessons” of reality.
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Rhythmus (01:39) has been selected.​
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Infinitas
Like rhythm, the activity of boundlessness is not presentable concretely in a single entity, and even less its connection to the harmonium or nature. However, like Rhythmus and, in fact, like all of the entities, the conception of Infinitas demands that the mind shift and allow its real powers to work. However, while all of the entities are boundless, Infinitas focuses on the quality of boundlessness, which means that this entity focuses on one of the dimensions of reality. It is particularly important to present boundlessness because we think of reality in a finite way. We look at what our senses present to us and we conclude, correctly in terms of what our senses present, that reality is bounded. Hence to clarify reality we cannot exclude what is bounded. To clarify boundlessness, we also cannot exclude what is bounded. In fact, what we discover is that there are many poles in reality’s so-called nature, and, in some cases, there are none (or what we would describe as none). Boundlessness swallows up in some sense what is bounded, what is other than boundless or bounded, and what is neither bounded nor boundless. Infinitas presents its sample in three real forms, each with individual activities and forces. Hence boundlessness—a term, by the way, which cannot fully explain what this entity implies—has many different faces, depending on its activities and forces. In this way, of course, it mirrors each of the dimensions of reality. The activities of these real forms will be apparent to those who have contemplated other entities.
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Infinitus 5:51 has been selected.​
Luctatio
Continuity and discontinuity are seemingly diametrical until one get to know them well, that is, until one has lived them. Then, we see that the conflict we seem to experience was only a spirited cooperation or interplay and sharing of forces. In fact, they seem quite similar in many ways without sharing identity. Luctatio presents an event of struggle, without capturing either all of its dimensions or its faces. Like all aspects of reality, struggle does not only occur, it is always. It is not only active. It is indeed a principle that helps define the activity and identity of reality. As all artists have shown in every era, presenting struggle is one of the most common scenes of art, but from the beginning that artist needs to know what struggle is intended.
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Luctatio 01:41 has been selected.​
Cocleae
Notes on Cocleae: A “section” of reality not only has many layers and dimensions, but those layers themselves are layers of others. Streaming through all of the layers and dimensions, in a sense holding them together while at the same time extending them to create other dimensions, are the spirals. Each of the spirals in turn arises from a creative seedbed. These seedbeds are the hearts of reality, the forces that give each face of reality its character and passion. Each section has no order or symmetry, at least not in the sense we use the word “symmetry,” but are interlaced to explore and experiment without predetermined order. The elements of reality are bursting with energy and curiosity, yet they do not bleed or overextend themselves or coerce other elements into their scheme. However, the journey often creates other journeys, and these journeys, which initially seem so much like their kin, actually have little in common with them, since the core of any element of reality is transformation. So the word “seedbed” should not lead us into thinking these creative sparks are like seeds or gardens that can produce only what arises from their own. The seeds of reality are more like catalysts. It is no wonder then that humility works so well on the path of real life. Humble people see themselves as ways for others to grow and seek the waves of reality.
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Cocleae 01:31 has been selected.​
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Sex
Sex presents several abstract visions of reality. It begins with a glimpse of reality in six dimensions. Reality, of course, is not limited to six dimensions, but this entity probes into reality by revealing how six completely different dimensions give identity to reality and its forces. For example, we note how harmonious the elements of the entity are. All seems simple and well-ordered, but each dimension has its own “logic” and manner of transformation.
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​Sex 4:30 has been selected.
Versare
Versare encapsulates abstractly the form in which all of reality turns from one transformation to another, and that this transformation may or may not be reflected throughout the “organism” that reality is. For example, we cannot claim that how reality “appears” on one plane is reflected in all of the dimensions of reality. Reality is, to use an awkward model, like countless sets of gears and pulleys; but each set has its own reality and its own function and may not seem to connect with the gears and pulleys on another level. This discontinuity is one quality of reality that gives it endless fertility and depth. Reality’s bowels need not connect to anything in its own system because there is no logical need or scientific reason why this should happen. So reality functions by a process that is even discontinuous with itself. That is why freedom, which all sages have revered and realized has a deep identity with reality, is so important. Reality exudes freedom and even its own immense forces and growths will not inhibit any dimension of it. Each dimension, each quality, each element, each sub-reality, extends to its own identity, without obstacle from the greater whole or its own processes. The only secure fact is that within its spin, there is action, there is growth, and there is creativity, even if the spokes of its wheel seem out of proportion, unrelated, and formless. The spin of reality reaches, but the spin also affects, without coercion, all of the other wild extensions and growths that occur. So the spinning unites, but the spin and its spokes are discontinuous.
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Versare 03:13 has been selected.
Zotheca
If we combine this entity with the previous entities—even though they were created at different times—we have a little compendium of reality. It will escape no one who attends to the last three entities that they neatly “fit” within one another, even though they are individual In this sense, they are similar to the earliest entities in the way their communication is an effect of cooperation. Zotheca may appear to be one of the simplest of all entities, but, in fact, within its bowels, in its "spaces," numerous principles of reality are bubbling and ready to become events. I include in this list, fertility, rhythm, community, struggle (between continuity and discontinuity), freshness, reattachment, universality, performance (medium), concern with fundamental values, simplicity, and conversion. The “structure”, while it appears symmetrical, is clearly asymmetrical. Its formlessness is everywhere apparent. Zotheca is on the brink of action, and yet has already acted. Its power seems fragmented, yet somehow a message is powerfully being told. On the one hand, it seems to be rigid and determined, yet nothing is connected, nothing clearly relates to another. It uses very few elements, yet there is no comfort in this fact, because the elements are so abstract that they have ceased to be objects. Here logic has begun to sleep. Here “opposites” disappear or cooperate. Here societal harmony evolves from freedom with communal direction. While in appearance cold and angular, Zotheca brims with life and joy. Indeed it appears in a festive mood, and so it should.
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Zotheca 01:30 has been selected.
