Linearity encourages an attitude of mind in which a complex system is analyzed into simpler systems. This is because a linear system can always be broken down into a collection of coupled linear differential equations that correspond to interacting elements. For example, the conduction of heat and sound in a metal can be described in terms of interacting abstractions called phonons. In the linear region, a metal behaves as if it were composed of elementary phonons – just as atoms act as if they are composed of elementary particles. But, as the temperature of the metal is raised, or if it is perturbed more violently in other ways, nonlinear behavior dominates and it is no longer possible to explain its properties in terms of interacting phonons. The behavior of the metal now emerges out of the system as a whole and new and unexpected effects may suddenly appear. One obvious result that is not to be expected from a set of interacting phonons, is the breakdown of the atomic lattice that occurs at the metal’s melting point when it is transformed from a solid into a liquid! (Peat, 1987)
In more general cases of chaos, turbulence, changes of state, transition, and evolution, nature displays subtle mechanisms in which new and emergent properties manifest and descriptions must take into account the WHOLE SYSTEM and not just its parts.
This Nonlinear nature is more like an organism than a machine. To understand it, we must have new attitudes that incorporate synchronicity. The structures of the ‘linear world’ are built through the ordering and arrangement of elements. Bricks are stacked with cement to make walls; walls make a house. Every structure is built from simpler parts and its final form is not explicit in any one of its parts. Such structures are ‘constructs,’ for they are made according to external design. The meaning of these things is found OUTSIDE of them and is imposed on them.
In contrast to this, nonlinear systems can evolve forms that are maintained through a process of constant change. A fountain of water maintains its shape because it is never the same! It is constantly born through the flow of water. It is an EXPRESSION of the whole system and requires no external act of construction to give it life. It CONTAINS ITS OWN MEANING.
Our 3rd density world is exactly the same. All the events and participants emerge collectively out of apparently chaotic or individualistic behavior. Within each is enfolded some greater whole and, at the same time, each individual manifestation unfolds over this whole and expresses it. Each existent thing or being emerges at a critical point, a juncture in which its potential is at first embryonic and then flowers into a living form. There are no apparent external plans or builders in THIS DENSITY, because the expressions of our world emerge from 4th density.
The dynamic structures of our ‘living universe’ all owe their existence to a wider whole which involves the entire universe at all levels of density. Everything that we see or experience is born out of this underlying “ground” of 4th density, exists for a time, and then dies back into this ground.
Synchronicities occur when the “emergence” is most active or when the “veil” between this world and the world from which ours is born is thinned or ruptured and we see the “fingerprints of the gods” moving through our world.
We seem to live our lives with all the appearances of freedom and it is difficult to consider the possibility of an underlying “pattern maker” which directs the structures of our reality and our experiences within it. We make decisions, change our minds and opinions, perform acts of will and create art and science – or do we?
No one would argue that the language we speak has an internal structure; it is ruled by grammar and semantics and syntax. Yet, we are free, within this structure, to create prose, poetry, plays and so forth. At the same time, a piece of music is a free creation of the human mind, yet all music is governed by laws of structure including physical properties of tones, scales and harmonic progressions. So, it is not impossible for freedom and creativity to exist with some sort of internal, archetypal structure. As to whether the internal structures themselves can be changed is a different question!
When one deeply studies creative inspiration, it seems that it is something that lies beyond the conscious ego and cannot be summoned by the control of the will. The Greeks described the “inspiration” for all acts of mankind as the work of the various “gods.”
To the ancients, this powerful world of “symbols” was a firm reality. Freud considered it to be the unconscious and that it was predominantly personal. Jung went even deeper and described an objective layer that he called the “collective unconscious.”
In 1906 Jung noticed that one of his Swiss patients, a paranoid schizophrenic, was squinting at the sun while moving his head from side to side. The patient explained that the sun possesses a penis which is the origin of the wind and that by turning his head from side to side he could make this penis move. Naturally, this sounded quite irrational to Jung.
Several years later Jung came across a Greek account of an ancient Mithraic ritual which tells of a tube, let down from the face of the sun, which is the origin of the wind. It was a striking correspondence between an ancient myth and the fantasy of a modern psychiatric patient. How could a schizophrenic’s mind have come up with an image that was identical to one once believed by the followers of Mithras?
Jung began to delve deeper into mythology and discovered a number of other correspondences that had surfaced over the last two thousand years. Medieval paintings show divine rays emanating from the sun and some legends claim that the Holy ghost impregnated the Virgin in a similar fashion. In addition, the visitation of God is often experienced as a divine wind. It appeared that a certain essence of this myth of the sun was common to man’s mind over the past two thousand years or more.
Over the years Jung collected manuscripts from the Middle Ages, Gnostic texts, and classicla works from china, India, and Tibet. He analyzed the many dreams and waking fantasies of his patients and traveled to Africa and India to hear dreams, myths, and legends at their sources. Again and again he discovered that similar dreams, images, and myths were surfaceing in remote parts of the world and in very different cultures and historical periods.
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