41
" The extraordinary value of the I Ching is that it reveals the secrets of dynamic natural law. Working with its changes opens up access to the middle level of the Positive Paradigm Wheel, the “e” energy layer of Einstein's Unified Theory.This middle level serves as mediating, two-directional gate-keeper between the ever-changing surface rim and the universal, timeless center. You can't get from here to there, except through the middle layer which, in Western thinking, is effectively taboo, buried in the inaccessible " unconscious." To the extent that natural law is a blind spot in the prevailing, linear and exclusively empirical paradigm, we are left powerless to move beyond the surface level of experience. The realm of light and conscience which rests beyond, on the far side of the dynamic energy level, remains functionally inaccessible. Moral codes promoted by religionists or politicians are sometimes equated with conscience. But they're no substitute for direct experience. Only by becoming intelligently competent in managing the subtle energies of the middle level is it possible to travel further inwards for the immediate, personal experience of inner light. When the middle level becomes clogged with painful memories, negative emotions and socially taboo urges, it becomes a barrier to deeper knowing. The Book of Change is indispensable as a tool for restoring the unnecessarily " unconscious" to conscious awareness, so that the levels of human potential can be linked and unified. In Positive Paradigm context, survivors who prevail in dangerous times aren't those with the most material wealth, possessions or political power. They're the ones who've successfully navigated the middle realm, reached the far shore of enlightenment and returned to the surface with their new information intact. Those who succeed in linking the levels of experience are genius-leaders in whatever fields they choose to engage. They're the fortunate ones who've acquired the inner wealth necessary to both hear the inner voice of conscience and act on the guidance they receive. "
42
" Lao Tze's vision is compatible with the Positive Paradigm of Change. In fact, placing the language of his passages into the levels of the Wheel serves to clarify his vision. The model is therefore shown here, along with its application to the subtitle: Common Sense. The right-brain compliment to the left-brain words of Passage One is also supplied below as a hint of what's possible.Einstein's warning, the basis of Rethinking Survival, could well have been spoken by a Chinese sage: 'Our task must be to free ourselves from the prison [of separatist thinking] by widening our circle of compassion to embrace all living creatures and the whole of nature in its beauty. . . We shall require a substantially new manner of thinking if mankind is to survive." Prominent themes which link Einstein with the Chinese yoga tradition include not only Compassion but also Unity and Survival. In addition, anticipating the Positive Paradigm, Lao Tze repeated alludes to a timeless center at life's hub encompassed by the surface rim of fluctuating events. 1. The Eternal is beyond words, undefinable and illusive, all-pervading yet mysterious.The timeless, though ungraspable, is the unfailing source of all experience.To transcend mortality, and attain sublime peace, turn inward, releasing desire and ambition.To manifest inner vision, accomplishing every goal in time, extend outward with passionate conviction.Unmanifest and manifest are two sides of a coin, seamlessly joined, though apparently opposite.Entering this paradox is the beginning of magic. "
43
" I had to ask Scottie what TYVM meant, because now that I’ve narrowed into her activities, I notice she is constantly text-messaging her friends, or at least I hope it’s her friends and not some perv in a bathrobe.
“Thank you very much,” Scottie said, and for some reason, the fact that I didn’t get this made me feel completely besieged. It’s crazy how much fathers are supposed to know these days. I come from the school of thought where a dad’s absence is something to be counted on. Now I see all the men with camouflage diaper bags and babies hanging from their chests like little ship figureheads. When I was a young dad, I remember the girls sort of bothered me as babies, the way everyone raced around to accommodate them. The sight of Alex in her stroller would irritate me at times—she’d hang one of her toddler legs over the rim of the safety bar and slouch down in the seat. Joanie would bring her something and she’d shake her head, then Joanie would try again and again until an offering happened to work and Alex would snatch it from her hands. I’d look at Alex, finally complacent with her snack, convinced there was a grown person in there, fooling us all. Scottie would just point to things and grunt or scream. It felt like I was living with royalty. I told Joanie I’d wait until they were older to really get into them, and they grew and grew behind my back. "
― Kaui Hart Hemmings , The Descendants
44
" Because this painting has never been restored there is a heightened poignance to it somehow; it doesn’t have the feeling of unassailable permanence that paintings in museums do.
There is a small crack in the lower left, and a little of the priming between the wooden panel and the oil emulsions of paint has been bared. A bit of abrasion shows, at the rim of a bowl of berries, evidence of time’s power even over this—which, paradoxically, only seems to increase its poetry, its deep resonance. If you could see the notes of a cello, when the bow draws slowly and deeply across its strings, and those resonant reverberations which of all instruments’ are nearest to the sound of the human voice emerge—no, the wrong verb, they seem to come into being all at once, to surround us, suddenly, with presence—if that were made visible, that would be the poetry of Osias Beert.
But the still life resides in absolute silence.
Portraits often seem pregnant with speech, or as if their subjects have just finished saying something, or will soon speak the thoughts that inform their faces, the thoughts we’re invited to read. Landscapes are full of presences, visible or unseen; soon nymphs or a stag or a band of hikers will make themselves heard.
But no word will ever be spoken here, among the flowers and snails, the solid and dependable apples, this heap of rumpled books, this pewter plate on which a few opened oysters lie, giving up their silver.
These are resolutely still, immutable, poised for a forward movement that will never occur. The brink upon which still life rests is the brink of time, the edge of something about to happen. Everything that we know crosses this lip, over and over, like water over the edge of a fall, as what might happen does, as any of the endless variations of what might come true does so, and things fall into being, tumble through the progression of existing in time.
Painting creates silence. You could examine the objects themselves, the actors in a Dutch still life—this knobbed beaker, this pewter salver, this knife—and, lovely as all antique utilitarian objects are, they are not, would not be, poised on the edge these same things inhabit when they are represented.
These things exist—if indeed they are still around at all—in time. It is the act of painting them that makes them perennially poised, an emergent truth about to be articulated, a word waiting to be spoken. Single word that has been forming all these years in the light on the knife’s pearl handle, in the drops of moisture on nearly translucent grapes: At the end of time, will that word be said? "
― Mark Doty , Still Life with Oysters and Lemon: On Objects and Intimacy
48
" Not only is it a wholly remarkable book, it is also a highly successful one – more popular than the Celestial Home Care Omnibus, better selling than Fifty-three More Things to do in Zero Gravity, and more controversial than Oolon Colluphid's trilogy of philosophical blockbusters Where God Went Wrong, Some More of God's Greatest Mistakes and Who is this God Person Anyway?
In many of the more relaxed civilizations on the Outer Eastern Rim of the Galaxy, the Hitch-Hiker's Guide has already supplanted the great Encyclopaedia Galactica as the standard repository of all knowledge and wisdom, for though it has many omissions and contains much that is apocryphal, or at least wildly inaccurate, it scores over the older, more pedestrian work in two important respects.
First, it is slightly cheaper; and secondly it has the words DON'T PANIC inscribed in large friendly letters on its cover. "
― Douglas Adams , The Hitchhiker's Guide to the Galaxy (Hitchhiker's Guide to the Galaxy, #1)
49
" What can we make of the inexpressible joy of children? It is a kind of gratitude, I think—the gratitude of the ten-year-old who wakes to her own energy and the brisk challenge of the world. You thought you knew the place and all its routines, but you see you hadn’t known. Whole stacks at the library held books devoted to things you knew nothing about. The boundary of knowledge receded, as you poked about in books, like Lake Erie’s rim as you climbed its cliffs. And each area of knowledge disclosed another, and another. Knowledge wasn’t a body, or a tree, but instead air, or space, or being—whatever pervaded, whatever never ended and fitted into the smallest cracks and the widest space between stars. "
― Annie Dillard , An American Childhood
51
" Oh yes," said Jana. " You want the birdbath." She let him down onto the rim of the birdbath, then watched as he dipped his head, lowered his chest into the water, and raised it. Having finished his bath, he did a dance of sheer joy, flapping his wings and shaking off the water in a circle of drops. " He enjoys life," said a voice. Mr. Powell the optometrist, a closed umbrella in hand, was letting his two dachshunds chase each other around the park. " As do your dogs," said Jana. " Yes," said Mr. Powell," they have fun in a simpler and more joyous way than most humans do. Their pleasures seem more reliable. All you have to do is say the word 'walk' and they're wiggling from head to toe.... "
53
" Hundreds of ladybugs had taken shelter from the winter in the crevices of the decayed windows. From there, they broke into the apartment in commando squads. My joy at that first sighting of the ladybug spreading its lower winglets on the rim of the jam glass, flashing three spots of fortune, soon turned into something tragic and Greek, a bloodied slaughter. Like in Ajax, I had to pluck ladybugs from my toothbrush every evening and in the morning shake out my shirt that, overnight, was infested with too much luck, and at lunch, I'd fish kamikazee-ladybugs out of my soup bowl, their Etna's crater in the middle of the round kitchen table. When I shut my eyes and held the hose to my ear and heard the little crackle of tiny bodies sucked into the eye of the tornado, I couldn't remain neutral. Putting away the vacuum, I consoled myself with sentences of friends who, after a beer or three, like to repeat to me the axiom that sooner or later, living in the city, each person discovers himself to be the murder of his own happiness. They were genuine Berlin ladybugs, they'd occupied the windows illegally like my friends in apartments from which they were later evicted. "
― , Berlin
