5/22/2019 8:14 a.m.
Hanns(H): So, I want to go back to framing. We left off kind of sudden yesterday, because I lost the thread. Later that day, I had this insight pop into my head:
ALL perception and awareness is framing.
The Club beyond Time and Space (TCB): That’s right. You frame something out against the background.
H: But then I also thought about Cubism, especially George Braque, his images, compare to for example Picasso. To me, Braque’s imagery was always the strangest [ and best of cubism ].
TCB: In what way?
H: In how he broke down perspective, showed mutual angles, simultaneously showed the same object from many different angles.
TCB: OK, so now framing… How does it connect?
H: Well, the way we typically frame something in art is to set a single viewpoint, and an angle of view, thereby zooming in and out of a topic, in order to feature that topic. So art frames it. It cuts off the outside of it, zooms in, and features it.
TCT: Exactly – I guess you are doing all the talking today [ laughing ].
H: Yes. [smiling]
TCB: OK, so that is in essence also what is happening in real life, you see? When something comes firs to awareness, you frame it of the whole. That is, you really put like a mental frame around it, until you can see it clearly. You block out the rest around it, the total context.
Now, you notice some object. And “notice” is tied to knowledge. So now your cognitive process becomes about understanding, and builds knowledge about some object. So you look at it from all sorts of a different angles, until you understand it better.
So you build up some cognitive model of the object. In your mind.
And that is where cubism fits in. It sort of shows all the different angles simultaneously. How they exist 1) both “outside” –if we can use that term—if you moved the angle [of the viewpoint], and 2) inside, in your model of it.
It is still a framing, because it has a subject, a figure against a ground, but it is, well, multi-angular and thereby you might say multi-dimensional.
H: OK, good description.
TCB: Thank you [ laughing ]. So, you are doing the same thing right now, not in Artwork, but with understanding: You noticed something – that you are framing; and now you are expanding on that knowledge by exploring (remember that word) the topic, to gain knowledge. To “explore” is to “start the flow,” but not to block it.
That’s what is happening right now. You set your AT-TENSION, after you became aware, explore, let it flow, noticing, building knowledge from different angles.
H: Plus framing.
TCB: Right, the AT-TENSION already frames a bit. But the framing means to see the object from different angles, different zoom values and different angles of views
But then it all merges again. You build a more whole model, understanding of it. And the more viewpoints you can add, the more whole understanding becomes.
That is true of a single subject.
But if you can step back, and then link many such subjects, the total understanding, the total knowledge, about, let’s call it “the world,” expands.
So it helps to be able to see things, “the world,” from as many different viewpoints as possible.
And that then also means, taking yet one more step back, multiple simultaneous lives.
THAT [my emphasis] now switches from a singular variant life to the “perspective” of the oversoul –call it that—who wants to examine a lifetime from all angles, all lived variants, and thereby get the whole experience.
[pause] It is a movement toward wholeness. The separate, you, a life, becoming more whole again. All this, really, -- understanding, building knowledge—is really the same movement: away from separation, back towards wholeness.
H: But what about when you become aware of something dangerous?
TCB: Well, what is dangerous? It can only be from the perspective of a 3D being. To us, up here, it would all be the same. But OK, yes, that is just built in to the 3D apparatus: to maintain its life, and thus notice things that would threaten it.
[pause, so now what?]
TCB: But it is still to elevate certain things, to look at a whole along certain patterns. To sieve that whole along certain patterns. In this case, the pattern is: what is dangerous to me? And out fall various things that the organism has learned are dangerous; either learned as a historical race, or in a distinct life.
So you see, you always regard the whole through this 3D being that you are, always applying patterns, looking for patterns, and laying your grid over the world.
You always measure it – along various criteria. And to measure means “Maya.” [Referring to the Hindu concept of Maya, commonly taken as illusion, but that is wrong:] Not a veil that separates you, but a measuring.
And that measuring will bring up various things to awareness: You become AWARE of it. The first distinction.
H: So the first distinction is biological?
TCB: NO, because we do it, too. It is really, as we said, the engine that drives it all.
H: So a link?
TCB: THE link between all things that are separated.
H: I don’t quite understand.
TCB: Out of the first distinction, all things spring into being.
But let us go back for a second. MEASURING will bring various things to awareness. And some of these things that “fall through the grid” to awareness, you will not understand. You notice them, but you don’t understand so you have questions and look for answers.
That process of questioning, and finding answers, is the process of making the occurant go away and trying to reintegrate them into your knowledge, and thereby the whole.
It’s an ongoing process, not unlike Hegel’s dialectic. Of looking at some “opposite,” learning to understand It, and re-enfolding it back into you.
H: OK. I feel myself drifting. [loosing concentration, and connection]
TCB: Sure. A lot was said. You need to process it. Let’s stop.
H: OK. Thank you!
Namaste — I bow to you and the Divine in you.
Copyright © Hanns-Oskar Porr