Light Magic

Eagle Lamp

Human observations are particularly implicated, of course, in the splendificent transformation of energy into visible light (associated with an enigmatic transition from wave-to-photon functions). Evidently the mind processes flowing energy—conceivably altering its directions-- and even reflecting it back toward sources as suggested before.

This kaleidoscopic process apparently produces the magic of illumination: within an elastic spectrum which, in my transcendent experiences, expands into a glorious variegation of ethereal color. (A deepening of earth hues enhanced along with rainbowesque pastels.) Let us now see what happens naturally beyond surface appearances.

Doors of Perception

Subsurface Configurations As Context

This website commenced by showing world scenery at subsurface levels: a gorgeous "garden of auras." The transparency achieved reveals composition of the scenery by tiny intersecting lines—ethereally luminescent—evidently consisting of sheer energy; from which appearances of maya/matter are woven through intermediately geometric looms.

I occasionally see how, for example, the "solid" surfaces of leaves and branches are spun out of them. (I vividly recall this effect one night while looking at a spotlight attached to a tree within which a gossamer webwork of rainbowesque lines was gloriously illuminated. It resembled forest cobwebs from which leaves and branches are emergent like new stars from nascent nebulae.)

Evidently these ephemeral looms are "knots" of phenomena in flux with analogy to modern "string" theory. The luminescent lines (auras) wind themselves inexorably into these apparently apriori configurations. These seem elementally archetypal, constantly changing evidently at energetically turbulent (microscopic) levels; but remarkably static sometimes at immediate (macroscopic) levels of appearance.

These elemental configurations evidently reflect what Plato called FORM; comprised of nothing more "substantial" than primevally intelligent ideas (called abstract "thoughts of God" in medieval philosophy). These formulating manifestations also appear anthropomorphic: like the sublime imagery of man and beast in the grotesque motif of tribal art. It reveals an architectural skeleton of world scenery.

Subsurface scenery simulated through cobwebs

My visual impressions may hopefully suggest ideas for more technical research. (The desperate paintings of Vincent Van Gogh are also recommended for this purpose.) A total anatomy is needed.

Views of the bluff at Horse Creek

Form further seems configured—at intermediately subsurface levels—by fundamental geometry. The effect can be likened to art drawings composited by the cross-hatching of lines to complete a scene. I am thus trying here to describe aesthetically—holistically and directly—an integrative process by which the "material" world is fabricated around us; and a context for the requisite effusion of visible light.