Gilgamesh descending (5)

And now we must move swiftly, as the king’s heartbeat quickens with purpose.

Again, he watches the Fate Dancers… and begins to see the depths of what they do. These movements describe a ‘whole’. They are parts of how that unity evolves itself, while carrying its essential nature, unchanged… except for the result of its own process, working on the material of that which is not yet awakened to that change. It is something for which the mind has no language – except to watch the dancing…

Gilgamesh knows he is the agent of change… That all good change in the face of the chaos that came before comes from him. Enkidu – his brother and twin – is learning well. But there is a test of his new life coming up. Gilgamesh has determined that the kingdom of Uruk is still not safe; that there is another threat to his consolidated power. The demon named Humbaba lurks in the wild cedar forest. It is time to plan the death of this wild force so that all may be brought under the rule of Uruk.

His energy is all-consuming…. I am consumed.

They do not understand. Before, they did not need to understand. What has changed? Is it the presence of my brother, Enkidu, next to me, as we take turns to sleep in this vast cedar forest, where the trees really do touch the sky – this place of the greatest wildness in the whole of Sumer? The sky-father will bless me for this, as his night-time rest will no longer be disturbed by the hissing of Humbaba’s deadly whispers, echoed though the tall trees… Soon, there will be no great trees here, as they fall to the bloody blade of that which will kill the tree-demon… King Gilgamesh.

The final battle approaches, I can feel it. For seven days and nights we have gone deeper into the great cedars – to get to the heart of where cowardly Humbaba hides. My brother, Enkidu, is failing me. When confronting the Council, he even said he thought I was wrong! I, his brother, who shared with him my life and my throne, He said that Humbaba, the source of all our ills, was really Huwawa, the great and provident spirit of the cedar forest!

I had to compel him, showing him the nature of true strength in the face of the weak. Only when kneeling, again, before my mother, Ninsun, did I waver for a second, when she took Enkidu as her own child, leaving my blessing until the end of our audience. I bit my tongue, knowing that to prove my strength would vindicate me. Knowing that, on our return, she would hold me up in triumph…

Each night in the darkening forest, we take turns to sleep while the other watches. He says I cry out in the blackest of hours, but I know I have no need of dreams. When he sleeps he cries and rolls on ground, as though clutching his heart… With each night of dreaming he seems to lose a little colour, and awaken a paler man. When me met in battle in the square of Uruk, he was resplendent with the bright colours of adventure… Now, they fail him, but I know that at the bottom of that black pit lies courage; and that his dreams of suns falling from the sky into valleys are his loss of his bravery.

I know, too, that when the colours of cowardice have washed away in that valley of his mind, there will come a blackness – a blackness within which he will find, as all good warriors do, his inner nature… and then, in victory, he will shine once more.

When I stand guard over his fevered sleep, I take my sword from his leather bindings and hold it over him, sweeping the air to rid him of these ghosts. But his writhing continues and I am sickened. Tonight, there is a yellow sickliness about him, but, as I stand over him, I see that it is leaving his body and draining into the earth.

I sit back and watch this wonderful return of bravery, as shining black takes over his skin. While his courage steels itself, I hold my sword and will its strength into him, my brother. They do not understand my sword, whose handle grows too wide in the palm of anyone else who tries to hold it. Its potency is mine, alone… They do not understand the curve of the blade and how it reflects the arc of the sky – home of the Sky-Father who, I know, guides me.

Above all, they do not understand that it has a name, a curving, shining black name, that I shall never speak… For to speak it would be the death of what I do…

There comes the sound of crashing trees, giant cedar trees… and Humbaba is upon us! Wake, my brother, I call, your time of courage is now. And he does, and rises mighty and restored and shining black from the inner victory over his final nightmare. With a skill equal to mine, he weighs up the monster whose magic emerges from all around us, then calls Come Gilgamesh! and charges at its hidden heart.

The battle is long and has many faces, all of them screaming. The mighty cedars roar with rage that I dare to lead this attack upon the demon they have concealed… but it matters little, for the sword that has no name and that cannot be held by another is singing its black song… and nothing, not even tree-demons, can stand in the way of its will – my will.

Humbaba the tree-demon is dead. The trees are silent. They are silent because I have cut them all down. My black strength surged after I let Enkindu deliver the last blow… it was important that he see his re-found courage at work. He kneels at the side of the monster, Humbaba, sliced open in a thousand places.

I clear the last of the trees from the place of our final sleep and return to look at the kneeling Enkidu. He is slumped forward, as though praying. I clutch his shoulder to give him strength but he falls into the blood and the maw before us both.

Now, there is only the blood-lust and the beatings of both our hearts; and the other is not Enkidu, for I see, with a scream that fills what was a mighty forest, that Enkidu is dead…

The hidden eyes in the forest are downcast, as are mine. Not even the temple guardian can look upon the devastation.

Other parts in this series:

Part One> Part Two> Part Three> Part Four> This is part five

©Copyright Stephen Tanham

Lord of the Deep, the Silent Eye’s 2019 April workshop, was adapted from the Epic of Gilgamesh by Stuart France, and Sue Vincent.

This narrative is a personal journey through that ritual drama in the persona of Gilgamesh.

Header image by Sue Vincent, © Copyright.

Stephen Tanham is a Director of the Silent Eye School of Consciousness, a not-for-profit teaching school of modern mysticism that helps people find a personal path to a deeper place within their internal and external lives.

The Silent Eye provides home-based, practical courses which are low-cost and personally supervised. The course materials and corresponding supervision are provided month by month without further commitment.

Steve’s personal blog, Sun in Gemini, is at stevetanham.wordpress.com.

Gilgamesh descending (2)

I enter the temple at the head of the twin columns of the Dancers of Fate. Those of the kingdom enter behind their King in silent reverence as we pass the Guardian and bow our respects.

Alone, but knowing they follow, I cross the centre of the exotic floor and move towards the east of the temple. The gold-draped chair is waiting. I turn and stand, watching the precise formation of Fate Dancers peel away left and right, to literally flow down the circumference of the large circle that is the enneagram; the heart of this temple of the mysteries.

All wait for the King. I take a deep breath before beginning. He is waiting in the space around the golden chair… The familiar feel of an autocratic king from thousands of years ago.

I realise that I am the break in his continuity. Settling into the seated vessel, once more, this ancient king breaks with tradition and gazes across to look at the woman who is half human, half goddess – Ninsun, his mother. The memory is still fresh in his mind: the dream of the rock that fell from the sky to the ground, the way it was adored – the way he hugged and loved it! His strong body curls with the strangeness of it; the embarrassment of how he knelt before her as in a trance, asking her to tell him what it meant…

A friend, Ninsun had said. Even a man capable of being a brother! He was to come into my life… I can feel the King’s astonishment, even though I know he is cuniform words in clay from nearly three thousand years ago. And then the separation leaves us… and there is just Gilgamesh the King on his large throne, whose arms curl up into two wooden hands that hold his beloved sword. He is calm… purposeful. But the most powerful man in the world knows that world is changing.

He was beloved of the Gods, he knew. Why else had the world fallen at his feet? Surely, he had nothing to fear.

Now, there is no more time to indulge the mystery. The women are dancing again and he must watch, captivated. The women known as the Fate Dancers had devised these movements for his pleasure, though he divined the hidden hand of the gods in the way it stroked his heart, like a lyre whose music was not heard, but felt.

Everyone in the royal palace loved the hypnotic flow of the Fates’ dance. Shamhat had even petitioned him to let them make its gliding patterns permanent in the floor of the royal chamber. And he had agreed; at a great cost to the royal purse… for the dancers, but most of all for her. For Shamhat.

But that had been before she refused his advances, saying she had served her time and no longer answered to him but to the Divine Council, alone. His fingers grip the blade of his sword. No other circumstance in the world could have frustrated him like this! The Fate Dancers dance on… unperturbed.

“Shamhat!” He spits out the word. The High Priestess’s name etches a bitter taste on his tongue… Before him, like flickers of half-seen light, the Fate Dancers maintain the perfection of their movements; but Gilgamesh, with his hawk-like vision, sees their eyes flicker, before, smiling, his fingertips bid them continue.

Shamhat! He would make her pay for her public refusal to share her bed with the God King. But it would have to be subtle. Like him, she was partly God, partly human… and clever.

He looks down from his throne at the elegant and beautiful movements across the glistening white floor of his chamber. The Fate Dancers’ feet follow a pattern of lines that intersect the large circle at nine points. Three of them are formed into a triangle bounded by golden stars set into the white crystals. The other six lines intersect like the ghostly pattern of a gemstone and their intersections with the circle are marked with stars of dark blue lapis lazuli.

All this had been created for Shamhat, working – he now saw – to aid in this strange contest of the mind and body with which she saw fit to challenge his authority. But he loved the movements of the dancers. So much so that he could feel his world shifting each time they began to flow across the magical glyph before him.

There would be time to fix this, he thought to himself, settling back into his throne and reaching for his golden cup of mead.

He must have dozed off… Before him, the floor design glitters in the flickering light of the tallow candles. A rough man dressed in furs kneels at the edge of the court and he could sense another behind him. Gilgamesh reaches for his sword, but the vizier’s hand stops him, gently.

“My apologies, King Gilgamesh, I sought not to disturb your rest. There is no threat.”

Gilgamesh lets go the grip on his sword. “That is a dangerous place to stand, even for a royal vizier!”

The vizier bows and points at the kneeling supplicant. “He has news we felt you would wish to know, especially in these… uncertain times.”

Gilgamesh can taste the dawning of the new in the air all around him.

“Speak, man!” he shouts at the trapper. “If what you say is true, let us have no ceremony. What is it you have seen?”

“Why, I have seen a giant, my king!”

The king laughs, refreshed, relaxed and alert. He is amused. Good-naturedly, he tells the trapper that he has been listening to tavern stories. The man protests and the king is about to dismiss him as a fool when he realises that the description of the powerful and fleet wild man is remarkably close to how he, the king, would be described by a stranger, had he lived from the land.

“There is truth in your voice,” Gilgamesh concludes. Reluctantly, he asks the trapper why this has such importance that he risks his life coming to the royal palace to report it.

“My Lord,” says the trembling man, “he could be your very twin.”

Gilgamesh takes a breath and gazes upwards, letting it out slowly. No-one can see his smile.

Time passes. The royal chamber is empty, apart from the king. The tallow candles have burned low. They are making sputtering noises in their flickering death. Gilgamesh follows the spirals of soot high into the dimness of the chamber.

He is pleased with himself. The trapper has been despatched to find the high priestess, who will be told that she is to use her divine arts to seduce and civilise the wild twin. He knows that this action will open up a new sea of possibilities, but he does not care.

All that matters is that he will have vengeance on the woman he used to love…

Other parts in this series:

Part One,

Lord of the Deep, the Silent Eye’s 2019 April workshop, was adapted from the Epic of Gilgamesh by Stuart France, and Sue Vincent.

This narrative is a personal journey through that ritual drama in the persona of Gilgamesh.

Header image by Sue Vincent, copyright the Silent Eye.

Stephen Tanham is a director of the Silent Eye School of Consciousness, a not-for-profit teaching school of modern mysticism that helps people find a personal path to a deeper place within their internal and external lives.

The Silent Eye provides home-based, practical courses which are low-cost and personally supervised. The course materials and corresponding supervision are provided month by month without further commitment.

Steve’s personal blog, Sun in Gemini, is at stevetanham.wordpress.com.

The Light between the Railway Carriages

The light between the railway carriages…

It was one of the best analogies I ever had given to me; yet it took me years to grasp its fullness. Like any true seed of ‘spiritual’ insight, it was strong enough to lie on the rock till a little pocket of earth developed beneath – a receptive place into which it could extend its roots.

We all grow up thinking, without question, that ‘thought’ is continuous, and the basis for our ‘in-here’ existence. It may take a lifetime to see that the thought-machine that fronts our world is our own creation and coloured with our thinking and emotional history. This colouration paints ‘the’ world, making it our world, familiar in its likes and dislikes, fears and moments of courage – many of them unobserved, except by that mysterious watcher within us.

The world we inhabit is therefore the sum total of our reactions to everything that has happened to us. Many of these reactions protect us – like knowing not to put our hands onto something burningly hot; others fill us with prejudice against threats that are not present in our moment.

The ocean in which this history exists is the internal ‘field’ of our thoughts.

‘Look, there’s a cherry-blossom tree!’ We cry, imposing the history-carrying words over the raw and beautiful experience of the reality. Names are useful, but they also pre-program our seeing. Knowing this, we can work backwards if we choose, and repeatedly use the word so that it temporarily loses its meaning. We may then find ourselves on the edge of a kind of fear. Have we damaged our brain’s memory of what a cherry-blossom tree is?

Of course not… but staying within that uncertainty may teach us something.

Just seeing how the mind takes that defensive stance is instructive. If, instead of allowing that fear, we carry on with the exercise and spend a ‘mute’ few minutes next to the ever-changing perfection of the tree, we may experience the gap – the light – between the railway carriages of the train of consciousness thundering by on its eternal and dominating journey.

In those precious moments, we may see that there is a landscape beyond the noisy and flashing train, one that comes slowly into focus and reveals itself as a very different place, yet one to which we are, most certainly, closely related – since we and it are now still… gazing upon each other in a new way.

©Stephen Tanham

Stephen Tanham is a director of the Silent Eye School of Consciousness, a not-for-profit teaching school that helps people find a personal path to a deeper place within their internal and external lives.

The Silent Eye provides home-based, practical courses which are low-cost and personally supervised. The course materials and corresponding supervision are provided month by month without further commitment.

Steve’s personal blog, Sun in Gemini, is at stevetanham.wordpress.com.

Costumes…

*

“So what’s it all about, then?”

“Oh, lots of things, like, duty and service, and honour, and love, and friendship, and devotion and good government, and bad…”

“But ultimately?”

“Ulitmately it’s about the need to balance polarity.”

“Is that an individual polarity or a collective polarity?”

“Somewhat inevitably, it is both the polarity of an individual psyche and the polarity of a collective state.”

“And erm, do we touch upon Matriarchy and Patriarchy at all?”

“Given that brief it would be very difficult not to.”

“And we seek balance in this sphere too?”

“But of course…”

“So, how come Aruru, the Mother-Goddess, gets to wear a delicate tiara of jewelled flowers,

while Anu, the Father-God, gets a plant pot plonked on his head?”

“It’s just the nature of things.”

*

*

Lord of the Deep – Workshop April 2019

The Silent Eye’s Spring workshop for 2019

*

The glories above were unamed.

The word for that world beneath, unuttered.

Source and time, unfettered, merged…

From the mingling waves-of-water came mud and slime.

Enshar and Kishar, twin halves of the globe, shone out of them.

*

A DRAMATIC ADAPTATION OF THE EPIC OF GILGAMESH

The Oldest written story known to man…
What spiritual treasures lie hidden in this, five thousand-year old, Epic?
What can this ancient civilisation teach us about the questions of existence?
Join us on the quest of a life-time, this month, to find out…

*
‘Gilgamesh is among the greatest things that can ever happen to a person.’
– Rainer Maria Rilke.

Fully catered weekend package, including room, meals and workshop: £235 – £260

Click here to download the Booking Form

For further details or to reserve your place: rivingtide@gmail.com

Lord of the Deep: The quest for Immortality

26-28 April, 2019 – Great Hucklow, Derbyshire

Dancing with the ghost in the machine

If you’ve ever been involved with anything of an ‘amateur dramatic’ nature, you will know that moment: the protagonist, hated until the final few moments (when the greater picture is revealed) shuffles off, in rags, to his doom; and the shared and questioning silence longs for the gentle and poignant soothing that only the right music can bring….

Screech, click, screech, ping, wheeeeeedle…. .

Frantic sound of fingers fiddling.

Screech, click, screech, ping, wheeeeeedle…. and then the final piece, a gentle Sufi melody cuts in… only it’s about twenty decibels too high in the flying fingers’ frantic search for sound… any sound.

The much maligned King Gilgamesh (who turns out to be only 99% schmuck) looks to the heavens in an unscripted gesture. Everyone is stunned… but for all the wrong reasons.

It didn’t happen, not yet… but it’s time to make sure it can’t…

Amateur actors – our annual workshop participants – such as the Silent Eye seems to be able to attract year on year, are wonderful people. They are enthusiastic, flexible and multi-tasking. They stand, clutching their scripts, in the middle of a space invested with spiritual emotion, power and purpose and give their all… to such an extent that, come the start of Sunday afternoon, no-one wants to leave and break up the intense camaraderie that these warm and mystical adventures generate.

There are no mistakes, just real-time variations in the script. Like Jazz, the best bits can be improvised, often with humour from above… Ask Barbara, who we once completely lost, Schrödinger-like, in the middle of Act Three in the centre of the room. To this day, no-one knows where she went.

Being the technician can be a difficult job. And, it’s near impossible to be one of the characters in the mystery play and the technician. So, the partial answer is to make the soundtrack as free-standing as possible.

The problem is the technology, or, rather, the combination of technology and the media – sound – that is required to be ‘piped’ through the technology. Most domestic music players are just not up to the job.

The epic stories of Gilgamesh the King are the oldest known legends on Earth. Using this as a basis, Stuart France has re-envisaged the story in five acts of ritual drama, where everyone attending plays their part, large or small. Stuart and Sue Vincent have crafted a workbook of nearly two hundred pages of beautifully laid out script.

I have been volunteered to play the part of Gilgamesh, but since I have taken our technology forward, too, I’m taking no chances…

Gone are the multiple CD machines, laid out at strategic points in the temple space of the mystery play; each one involving a lightning sprint from compass point to compass point. Gone, even, is the use of an uncooperative Apple iTunes with its incomplete staging of cues. Gone is any notion of carrying around the sound with a portable speaker – one of the past’s more heroic failures…

Instead of Screech, click, screech, ping, wheeeeeedle…. or just plain silence, we have this on the iPad screen:

It’s a deck… a sound-deck in software. It’s what professionals use to control the music and lighting for stage shows, moving with consummate timing from event to event as the production progresses. If you were into William Gibson’s sci-fi (Burning Chrome etc) it’s what the pre-internet generation used to ‘jack into’ the ‘net and control the world with…

Tired of playing games that couldn’t really argue back, they began to design real software; masterpieces that really could kick-ass… but in a good way.

This scaled down masterpiece of software, called iMiX Pro, runs on an Apple iPad – mine. This is not to say that it does all the work for you. Oh, no… shoot, man, there’s a bucketload of stuff y’all need to do up frooont! (Sorry, that’s my inner Texan coming out). I’ve been sitting at this ‘deck’ for two days and only now… am I winning. And that’s the thing with these systems, you have to get the music into the machine before the ‘ghost’ that is the combination of producer and good software design come together in glorious expletives that do sound decidedly Texan.

In the beginning, there is the raw music, or other sound files; so, as before, you have to get them onto (in my case) your Mac and into… Hmmmm iTunes.

In the process, you have to re-name the tracks you want to use so that, when they re-appear in the iMiX software, they are recognisable. So, lovingly and carefully, you work out a naming scheme that shortens the track names in order to see something of their name in the individual panels on the iPad screen. The above first window is the result.

Next, you need to take the original files and convert them into one of Apple’s ‘Playlists’. These are just collections of songs. So it’s easy. You group all the original tracks and select ‘Add to Playlist’… and off she goes. You then have all your music in a second and more pliable container.

The use of a Playlist is essential because they have to be in this format to get the group of tracks across to the iPad. Along the way you get to put them in order – no mean feat with over twenty tracks. But, finally, they are ready to be beamed (okay, wired) across to their new portable home – a bit like the NASA lunar lander making a bid for freedom from the orbiter module. Once you’ve set off for the weekend, the iPad is on its own.

An hour later, you finally figure out how you did it last time and the transfer is complete… except the Apple transfer software has lost your carefully constructed sequencing and you’ve just got the order it decides you need on the iPad. They’re all in there, somewhere, you’ve just got to find each one again. So, you think about making paper list – or contact Sue, who recognises sleep-deprivation and provides one as a list of what should be happening in each act.

A small bottle of gin later, you realise that it doesn’t matter what the Apple software has done to your weekend’s sequence because the iMiX’s colossus of a DECK is about to rescue you!

Look back to the original diagram. Each of those vertical ‘pods’ is a beautifully programmed home for your hard-won music and sound tracks. And it offers you total control over how and when that track is played…. heaven.

You can control the volume; you can trim the clip regardless of what any other piece of software has done to it. You can select its unique fade-in and fade-out. And written up the side of the ‘pod’ is the full name of the track you so lovingly created…Texan sounds…

So, two days after I began, we have the Deck, fully programmed and ready to be operated, in lightning-fast real time, by our mega-techno dude who insists on being nameless.

But he’s related to one of the Directors.

There will be no ‘Screech, click, screech, ping, wheeeeeedle…. or just plain silence’. So, while I won’t actually be operating the Deck, I’ll be the ghost in the machine…

Houston, we’re good to go.

Now all I have to do is figure out how to best play that ego-maniac, Gilgamesh…There are lots of ego-maniacs in the world at the moment. Very timely, that, Stuart…

Wish us luck… please. Even better, come and join us. We can fit in a few more people if you’d like to join this merry but sincere band. And we promise that you, too, won’t want to leave, come Sunday lunch…

©Stephen Tanham

Stephen Tanham is a director of the Silent Eye School of Consciousness, a not-for-profit organisation that helps people find a personal path to a deeper place within their internal and external lives.

The Silent Eye provides home-based, practical courses which are low-cost and personally supervised. The course materials and corresponding supervision are provided month by month without further commitment.

Steve’s personal blog, Sun in Gemini, is at stevetanham.wordpress.com.

The Rotating Blade of Meaning (8) – Final Part

helicopter-meaning blog - 1

In the preceding parts of this series (see below for full list) we have seen how Arthur M. Young, inventor and chief engineer of Bell’s early helicopter design, was convinced that it was possible to construct a ‘map of human meaning’, a graphic figure that would show the relationships between the laws of physics and the observer in a new way.

In its experiments, science had always tried get rid of the observer; and yet it was the observer’s mind that constructed the experiment in the first place…. How odd, thought Young, to try to get rid of the core animating principle behind the whole thing!

His early confirmation of this came with a new analysis of the common forms of motion, starting with the idea of distance from a point, then examining the relationship between distance travelled and the time taken (velocity); then considering the rate of change of such velocity when more force (pressing the accelerator in a car) was applied to create acceleration.

Each of these could be laid out on a circle, with distance being at the right, horizontal point. Each of the others came into existence at a right angle – ninety degrees – to the previous. In parts two and three, we saw how velocity was distance (a straight line) divided by time; acceleration was distance divided by time squared (an area); and that there was something missing at the final point (the upper vertical), which would equate to distance divided by time cubed – a 3D cube – the foundation of our physical world.

As an engineer, Arthur M. Young knew that he had used formula that divided by things cubed in his control systems for the helicopters he designed. He realised that this was the point at which the observer interacted with the system, in the form of control.

His task was now to extend this circular mapping to integrate all the other equations of ‘motion’ in the greater sense. These included all the remaining formula used by physics to describe aspects of motion.

First, he had to reconcile the properties of ‘fourness’ that had led to the mapping of general meaning with the key mystical concepts of ‘threeness’

The diagram above shows the process whereby something of a ‘higher nature’, spiritually, divides itself into two ‘children’ in order to come into manifestation at a ‘lower’ level. This is a deeply mystical idea and is the basis of most of the world’s metaphysical thought.

The key to understanding this is the realisation that the ‘above’ does not entirely remain there, it ‘enters into’ its creation – the lower. Nothing is lost… in fact much is gained. The whole, the One, becomes Two, but does not lose its oneness, when seen at the original level. The result is Three… represented by the triangle, which can direct itself up or down. If down, it is in the ‘God-descending’ process of involution. If upwards, it is the planetary process of evolution.

The One undertakes this transformation only because it can extend itself in the process. The potential role for mankind is to bring this intent to fruition; matching the microcosm (us) to the macrocosm (the creator). To ‘God’, there is an involvement with the creation. Mankind has to learn first to ‘see’ God in the multiplicity of the world. To do this requires the undoing of much of our ordinary learning, based upon the desire be a living part of unity.

Sadly, it is beyond the scope of these few blogs to provide more of the mathematical and logical mapping that Arthur M. Young carried out. Many of the techniques were invented by him. He was seeking what he called his ‘Rosetta Stone of Meaning‘. We can, therefore, cut to the chase and show the finished thing:

The figure comprises the original square cross of our original process of human meaning overlaid with four triangles. The result is twelve points on the circumference of the circle – exactly the number that astrology uses in its map of the year and the signs.

What had Arthur M. Young achieved with this reconciliation of physics, metaphysics and the place of the observer within both?

First and foremost, he had shown that our state as observer of ‘the’ world was not a single state, that there were incremental stages of consciousness corresponding to his maps of meaning. He showed that raw experience was the first product of our perception and that it occurred before our consciousness of anything. Whatever is ‘out-there’ has to register before our mind can begin to process it. After that, as the Rosicrucians often said,  ‘mind assigns it dimension’. This produces a literal depth of perception that a different part of the mind can then categorise.

It does this so it can group like things, giving related sets of experience. As an infant (as discussed in Part 7) the most important of these is what will hurt us. The organism has to endure, and there are many things in the out-there that can hurt or kill it.

Over time, we confuse the two organic fear of survival with what we like and dislike. In this way our registered experience become confused with what is being ‘valued’ as good and bad – in the Genesis story this is the fruit of the tree of good and evil. Ultimately, there is no good and evil, only what is. But our personal growth demands we take the long learning curve to real knowledge of our place in existence: gnosis, as the ancient teachers named it.

Arthur M. Young showed us that our consciousness – that jewel at the centre of our organism, needs threeness and fourness to divide its ‘circle’ of meaning into twelve parallel aspects. Once these are known, there is nothing that can fall outside their realm. The totality of our existence is mapped into this glyph – and it is of great significance that this corresponds with the twelve-fold divisions of the wheel of astrology – the most ancient of the ‘power-glyphs’.

What is humanity in this picture?  As organic beings, we are wholly of this planet. The good Earth lends us her bright materials, and the seed from afar takes root and grows. It’s highest function is to be fully conscious, and, within that, to use the inbuilt gradients to set a course for ‘heaven’. Many storms await, but captains are made of storms, not books on navigation – though the latter are vital if this life-layer of humanity is to learn to give its fullest love back to the globe that nurtured it.

Information about Arthur M. Young, 1905-1995

This series of blogs are based upon the book: The Geometry of Meaning, by Arthur M. Young.  ISBN 1-892160-01-3.

Many of his talks are available on YouTube.

Previous posts in this series:

Part One,   Part Two,   Part ThreePart Four

Part Five   Part Six

Part Seven

©️Stephen Tanham

Stephen Tanham is a director of the Silent Eye School of Consciousness, a not-for-profit organisation that helps people find a personal path to a deeper place within their internal and external lives.

The Silent Eye provides home-based, practical courses which are low-cost and personally supervised. The course materials and corresponding supervision are provided month by month without further commitment.

Steve’s personal blog, Sun in Gemini, is at stevetanham.wordpress.com.

You’ll find friends, poetry, literature and photography there…and some great guest posts on related topics.

The Rotating Blade of Meaning (7)

Now we have finished with our incursion into maths, and I know that will be welcome…

Why have we been talking about such non-spiritual things as acceleration, velocity (speed) and distance? The answer is that these aspects of motion are at the heart of how we learn about the world, and how we interact with it. In learning, we forget how we learned and become absorbed in the results.

When the infant reaches out to grasp the hot cup she shouldn’t touch, and her fingers fail to grasp it, but push it away, she is using acceleration in the force she is trying to exert with her fingers. The small training cup may move but a larger and hotter teapot wouldn’t. The difference is not in the child’s fingers but in the mass (heaviness) of the teapot. A burn may be the result. It’s important to be able to gauge the mass of things – cycling into a tree or a wall is more painful than a hedge.

When the young boy, against his parents’ wishes, finds himself following his friends across that busy road, his life depends upon his ability to gauge the distance and how fast (velocity) he can run before the approaching vehicle kills him. If he’s successful, his parents will never know – and he is free to carry on learning.

If, halfway across that road, he sees that he has misjudged the speed of the approaching car, then he still has one chance of survival left to him: he can begin to run faster, in other words, accelerate. By generating more power (force = acceleration) in his leg muscles, he can propel his body forward, faster than before, and then faster, again, until the limit of his straining organism is reached. The swerving car passes him, its wing mirror rips the back of his coat, its horn is blaring, the driver frantic… but the boy is alive, and has learned something that will affect the rest of his life. In accelerating by choice, he has exercised something not present in position, distance, velocity or acceleration: he has developed control using his desire and free will to survive – using his mind and the mechanical capabilities of his body.

These are vital things, and they are key to how we learn and continue to learn. They give us our basic capabilities; and they help us to make sense of the world – our individual world – for we can know no other. Can we relate them to Arthur M. Young’s core diagram of how we learn the meaning of anything?

 

Let’s take a journey into ‘micro-time’. We enter a new house. In the corner of the first room there is a shape. It looks like a triangle, but so do many things. This is our first ‘taste’ of the previously unseen object. We examine it in more detail, believing that knowledge of its construction and function is important. We are at the stage of the Objective General in the above diagram.

We notice that triangle is actually three dimensional and has little ‘dimples’ in its material, We have good evidence that this object is made from a compressed paper derivative. We are now at the level of the Objective Specific.

Further study shows that there is light escaping from the edges of the object, and that its colour is a vivid orange. This is the Subjective General – because we are now imposing on it values (colour etc) that are actually part of our own minds – none of us sees exactly the same shade of orange, for example.

In a flash of recognition, we know its purpose: it is a lampshade, and it has been switched on.

This example shows how we perceive, though we do this in ‘micro-time’ and automatically. If we encountered an object whose like we had never seen, our minds would have to evaluate it in this way, step by step – but that process, too, would be automatic.

The  ‘automation’ in our consciousness is necessary. Without it, we would be exhausted with all the routine ‘processing’ our brains would have to do. Its negative cost is that our world very quickly loses its magic unless we deliberately ‘look-again’ at things.

This science of perception was already well known to scientists, psychologists and mystics. Arthur M. Young’s interest was in the fact that it could be viewed as a diagram of meaning, as above.

He superimposed the attributes of motion that we have discussed in the last three posts onto the circle in the same way. Remember that each of the sequence: distance, velocity, acceleration, and now, control, had been seen to emerge from a 90 degree shift from the previous state – a ‘right-angle’, as the ancient builders described it. This followed the way the line (a number) became a square (the number squared), and then a cube (the number cubed).

What resulted was this:

 

We move clockwise from Distance to Velocity to Acceleration. This is the point where classical physics ends. But Arthur M. Young was an engineer and knew that you had to add control (and thus the Observer) to have the whole system work – as in the creation of the helicopter. Control needed to be at the top of the circle, with another 90 degree shift from Acceleration.

With this discovery, Arthur Young knew that the circle had to be capable of holding all the relationships to not only how we know objects, but how we interact with objects. More importantly, these relationship would each have their own angle in the circle. The above diagram shows how the fundamental quality of time had a 90 degree relationship with this master-symbol, and could map itself four times around the circle before returning to its original state.

Young had been fascinated by the history of how Egypt’s treasures had been discovered. He remembered that an artefact named the ‘Rosetta Stone’ had enabled the same description to be mapped between the ancient Greek and Egyptian languages, opening up the written story of that mighty civilisation.

He decided that his search was of a similar nature. Could he extend how Time was mapped into the circle to the other fundamental qualities of physics, such as mass and length?

In the next and final post of this series we will summarise the conclusions he came to, and show his Rosetta Stone of universal meaning.

Previous posts in this series:

Part One,   Part Two,   Part ThreePart Four

Part Five   Part Six

©️Stephen Tanham

Stephen Tanham is a director of the Silent Eye School of Consciousness, a not-for-profit organisation that helps people find a personal path to a deeper place within their internal and external lives.

The Silent Eye provides home-based, practical courses which are low-cost and personally supervised. The course materials and corresponding supervision are provided month by month without further commitment.

Steve’s personal blog, Sun in Gemini, is at stevetanham.wordpress.com.

You’ll find friends, poetry, literature and photography there…and some great guest posts on related topics.

Part One,   Part Two,   Part ThreePart Four

©️Stephen Tanham

Stephen Tanham is a director of the Silent Eye School of Consciousness, a not-for-profit organisation that helps people find a personal path to a deeper place within their internal and external lives.

The Silent Eye provides home-based, practical courses which are low-cost and personally supervised. The course materials and corresponding supervision are provided month by month without further commitment.

Steve’s personal blog, Sun in Gemini, is at stevetanham.wordpress.com.

You’ll find friends, poetry, literature and photography there…and some great guest posts on related topics.

 

The Rotating Blade of Meaning (6)

 

Bell_30 sm St(Above: the original Bell 30 which established commercial helicopter technology, and was invented and developed by Arthur M. Young. Picture Wikipedia, public domain)

In our last post, we looked at those most frightening objects: numbers which are squared and cubed. This exercise in cruelty was an attempt to remove the fear of these things in order to put them in a very special place: Arthur M. Young’s conception of how consciousness worked – and its simplicity.

Arthur Young discovered that how the human mind grasped ‘meaning’ could be represented in a very simple graphical figure; one which gave greater depth to our understanding of consciousness. As well as being a scientist and famous inventor (the Bell helicopter was his creation) Young was a master astrologer – a very unusual activity for a scientist. He did not feel that astrology was antithetical to science, and admired the way the ancient science tried to encompass the whole of mankind’s experience rather than just the workings of the material world.

Young reminded us that our picture of the ‘world’ is our own; and is formed as a composite of information from our senses and our mind. This includes the way we react to it, as well. Let’s absorb this. There is no world, except the one we make. We are incapable of a full consciousness of the ‘out there’. That is not to say that we will always be limited in this way, but the present development of our species forms a very subjective picture: what I think, as opposed to what is. And we need to remember that it is very much a picture, though it has more dimensions than the area of the ‘picture’ we constructed in last week’s blog (Part 5).

There are certain things that have always been with mankind. A good example is the sky with its sun, moon and the mysterious planets – those ‘wanderers’ in the night sky that behaved very differently from the constellations around which ancient peoples spun their stories.

Arthur M. Young had determined that there were four stages, or aspects of how the pictures formed by our consciousness. Now, we must bear in mind that all of these are projected by the mind onto what we paint as ‘out there’. These stages have been carefully constructed during the course of our evolution, so Young felt justified in placing them at the centre of things.

One of the drivers of evolution was how we reacted to the motion of objects, friends and predators. To Young, the motion-related issues of distance covered, velocity and acceleration were related to three of the four aspects of meaning that we humans need to fully comprehend what is happening to us, and how we should interact with it. We examined this in Part Three and Part Four, like this:

(1) Distance travelled is seen to be the baseline of motion. It is analogous to our simple line of blocks in the last blog. The diagram is reproduced below:

Arthur Young line alone

(2) Velocity (or more commonly Speed) is Distance divided by Time, as in miles per hour. In other words, it’s a rate of change. With a constant speed (as in car staying at 70 mph on a motorway) the motion is at a constant rate and there is no acceleration, until we ‘speed up’ or brake. In our simplification of the formula we saw that Velocity is equal to Distance divided by the Time taken to cover it. in the diagram below, the distance is simply the length of the top line of blocks.

Arthur Young 3+3 +RightAA

3) Acceleration is the rate of change of the previous aspect of Velocity. In a car travelling at a constant 70 miles per hour is not accelerating.  If our car, which had been travelling at constant 70 miles per hour, suddenly accelerated to overtake a wagon, there would be an increase in not only the distance, but also the velocity. This equates to the distance divided by time squared. We have seen that anything squared is equal to a square. Here’s our square from last week:

Arthur Young Nine Full wallAA

In each case of the above aspects, we have evolved our understanding by creating a ninety degree (a right angle) turn. We moved from a line (1+1+1) to an area, a square, by turning our evolving shape through ninety degrees and extending all of it by the same length.

Have we finished what we can know? Our blocks have been carefully drawn to show that another transformation is possible. One more turn through ninety degrees is, effectively, extending all the squared blocks backwards into the diagram three times (1+1+1) as we hinted in the final diagram from last week, reproduced below:

Arthur Young Nine Full27cubeAA

Do we know this figure? Most certainly – it is a cube. We got to it by dividing distance by time cubed. We live in a world of cubes; that is , we live in a three-dimensional world. Arthur M. Young proposed that there is a missing type of motion related to this final transformation of the aspects of motion.

In the next part of this story, we will look at the nature of this third derivative of distance and time; and the vital link it provides between a scientific world of ‘only matter’ and the presence of the observer as an intelligent part of creation…

To be continued…

{Note to the reader: These posts are not about maths or physics; they are about a unique perspective on universal meaning created by Arthur M. Young. If you can grasp the concepts in this blog, your understanding of what follows will be deeper.}

Previous posts in this series:

Part One,   Part Two,   Part ThreePart Four

Part Five

©️Stephen Tanham

Stephen Tanham is a director of the Silent Eye School of Consciousness, a not-for-profit organisation that helps people find a personal path to a deeper place within their internal and external lives.

The Silent Eye provides home-based, practical courses which are low-cost and personally supervised. The course materials and corresponding supervision are provided month by month without further commitment.

Steve’s personal blog, Sun in Gemini, is at stevetanham.wordpress.com.

You’ll find friends, poetry, literature and photography there…and some great guest posts on related topics.

 

 

The Rotating Blade of Meaning (5)

 

Arthur Young part 5 Banner sm

So far, we have examined how Arthur M. Young, inventor of the Bell helicopter, engineer and astrologer/philosopher, used his skills and insight into how our minds determine meaning. Within this, he began to discover that there was a graphical symmetry to this process; a set of shapes that explained many of the ancient symbols that mankind has come to view as sacred. These will shortly be unveiled in more detail, but, first, we need to complete our tour of the foundations of how he approached it, for the symmetry emerges from those foundations and how we represent them.

In the last post, we looked at how Isaac Newton investigated the motion of things that move, discovering that – for example in the motion of a cannon ball – there were different aspects, faces, of that motion; and that although they were often hidden, they were tightly related to each other. Arthur Young used the equations that Newton produced for this. Unfortunately, this led us into numbers, squared numbers and, and horrors, cubed numbers! Several brave readers made it to the end of last week’s post, but not without difficulty. So, for this week, I decided to take a small detour to illustrate how these types of numbers can be see as pictures instead of fear-inducing maths.

As a child, I had a terror of maths, assisted by an ex military ‘Desert Rat’ of a headmaster who believed that beating boys and throwing board-dusters at girls would help their education. That was the 1960s, not Victorian England; and the dubious joys of a Church of England country primary school. Times have changed, but the horror of seeing something squared or cubed has not. So, by way a small gift, let me share with you one of the most beautiful insights I ever learned – though, sadly, beyond my school days.

It was the ancient Greeks who developed the idea of squares and cubes and the numbers that represented them. They ‘saw’ numbers as representing both qualities and quantities including what they thought of as other things, like distance from a point of origin.

Arthur Young line alone

In the diagram above, a unit of distance, marked ‘1’, (inches, metres, feet, etc) is added to others, in the form: 1+1+1=3. Nothing too complicated about that; it’s simply addition, the sort of thing we use every day.

Arthur Young 3+3 +RightAA

Now, imagine that these numbers are a child’s counting blocks, as above. We arrange them in a line to produce the three, again. But this time, we begin another line of them with the last block of the first line. In doing this, we have changed the nature of what lies before us – what we are creating. As an example we might say we have begun to make a picture frame to contain our favourite photograph. In the process (and intuitively to our minds) we have turned a ‘perfect’ corner to begin the second row of blocks. This perfect corner is what we all know as a ‘right angle’, so named because of its special – and ancient – properties of ‘rightness’.

Arthur Young Nine Full wallAA

We can fill in our photograph frame with other blocks. Because of the right angle – which we know to be ninety degrees – the block will all fit together to form something dramatically new. What started off as line has now become an area…. Our simple maths formula was just 1+1+1=3. But now, we have an area whose properties can be derived from the counting blocks that make each side. We have a choice: we can simply count all the ‘one’ blocks, or we can ask our Greek teachers if there is a quicker way. They will tell us that we can multiple or ‘times’ the length of one side by another. This would result in 3 x 3 = 9. Again that’s not too frightening. Our picture frame could have been a 3 x 4 rectangle, which would have given us an area of 3 x 4 = 12.

The first one above (3 x 3) has a special symmetry in that each side is the same length.  Because of this identical symmetry, our line of three has become not just an area of nine but a SQUARE. This is the origin of square numbers: they are the same number multiplied by itself. And they produce a very magical figure – the square. To the ancient Greeks, this was very special. They envisaged that the square reflected a manifestation of divinity. From an origin – which had no quantity, but it had a location – it led to a line, which did have a dimension, then to another line at the ‘right’ angle to produce a square.

You can’t square a number to get a rectangle; you can only get a square. Anything ‘squared’ therefore is based upon the union of two identical things, but arranged in a certain way, so that they have a relationship to each other. In this case that relationship is ‘times’ or multiplication. We shall see later in this series of blogs how Arthur M. Young expanded these relationships to provide us with a full diagram of human meaning – and reconciled much of the diverse ancient wisdom in the process.

Back to our squares and rectangles. A rectangle is useful, of course – most pictures are rectangles – but a square is ‘perfect’ and quite capable of being used as a sacred symbol, as, for example. Masonic teaching shows. Within the Masonic teachings (I am not a Mason, but have great respect for what masonry sets out to do) someone of right character is described as ‘being on the square’.

Let’s  summarise to far:

We have an invisible point of origin (where we begin our construction or drawing);

As soon as we start to draw our line, we have a point, which has no length, but exists;

When we have an extension to that point in a certain direction, we have a line: in this case of length three units – but this could be any number.

When our length (or extension) is done, we turn our construction through 90 degrees – a right angle – and begin another line (effectively from another origin, but at a different point and connected with the first).

We could have continued this process, just doing the edge of our picture frame, and we would have arrived back at our start point – having created only the edge of our square. But along the way, we learned that to ‘square’ the length gave us the area contained by the whole figure: a surface or ‘plane’ of a higher order.

Can we continue this, or is the process finished with the area of our picture frame? We learned that the mystical key to the creation of a higher order was the Right Angle – 90 degrees. This whole process has been about the generation of space in which life (and motion) can happen. Can we take our figure and extend it through another 90 degrees, without repeating what we have done? And, if we get there, what will it teach us about a number cubed?

The picture below contains the answer. Enough for one post, I think. We will elaborate on this next Thurday…

Arthur Young Nine Full27cubeAA

To be continued…

{Note to the reader: These posts are not about maths or physics; they are about a unique perspective on universal meaning created by Arthur M. Young. If you can grasp the concepts in this blog, your understanding of what follows will be deeper.}

Previous posts in this series:

Part One,   Part Two,   Part ThreePart Four

©️Stephen Tanham

Stephen Tanham is a director of the Silent Eye School of Consciousness, a not-for-profit organisation that helps people find a personal path to a deeper place within their internal and external lives.

The Silent Eye provides home-based, practical courses which are low-cost and personally supervised. The course materials and corresponding supervision are provided month by month without further commitment.

Steve’s personal blog, Sun in Gemini, is at stevetanham.wordpress.com.

You’ll find friends, poetry, literature and photography there…and some great guest posts on related topics.