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Although
to reasonable thinking the butterfly effect appears unusual, it is
everywhere in nature where small changes combine to produce spectacular
results. The term "butterfly effect" comes from the work of
meteorologist Edward Lorenz, in chaos theory, but the idea a butterfly
could have a ripple effect on events first appears in Ray Bradbury's 1952
time travel story: "A Sound of Thunder".
Here’s
the big question: Is it possible to tune-in to the effect and shift
civilization from the self destructive trajectory to a truly sustainable
one?
My
experience in life and art suggests a receptive response to nature at the
deepest level can do the business and I’ve proof of it. At one crucial
point in my artistic development I switched from figuration to systems
because that genre alone can make visible evidence for responsive
receptivity. The Pyramid is part of a systems triptych.
Who
among us is confident global civilization is not in the process of toppling
from its perch and crashing out of the high wire circus we didn’t even
realise we were in; until we looked down and saw how far we could fall? Who
among us thinks it’s sane to move forward on the wire without a serviceable
balance pole?
Like
the sorcerer’s apprentice, mankind failed to factor-in the knock-on effect
of his creativity in the service of progress and profit. We’re accumulating
an unrepayable deficit in the process via our growing weight of numbers.
Human creativity generally, the thing we think can save us, is actually
tripping us so, can our whole system be patched and rebooted globally? I
suggest a new way to motivate change from the ground up will do it.
My
Pyramid Art is both the proof such motivation works and it’s the catalyst
for its initiation. The art emerged from a four year journey of tuning-in
to a timeless force in nature, employing a novel observation technique.
Rather more than a mere invention then, it represents the first true
discovery in art since the Italian renaissance. Then it was one point
perspective, used to build the illusion of space. The Pyramid is useful to
get a grip on sublime beauty; the balance pole humanity needs.
Systems
art in the west emerged in the 1960's from minimalism as part of the first
wave of conceptual art. Its roots are in geometric abstraction via
Malevich, Mondrian and the Bauhaus. Abstract art has been compared to
classical music, with its ability to convey feeling and meaning without
reference to objective forms. However, abstraction per-se cannot be seen as
an invention of the 20th century avant-garde. It's present in cultures
throughout history. Islamic art is a prime example where the prohibition of
figuration led to artistic expression in patterns or systems.
Here's
the thing: We would like to think mankind can live in harmony with nature’s
self organised system. But is it really possible from our see-saw of
uncertainty, ego and intellectual conceit? In whichever circumstance we
find ourselves, we are not truly free, but manipulated by psychological
unknowns.
The
human ego discounts unconscious influences, yet we know, since time
immemorial, such forces have sparked our inspiration and aspirations. As
time rolls by, human reason has become too small to contain this
“spiritual” reality. Patterns of thought from ancient history repeat
themselves even today, so can any be used to cure our existential crisis?
How to become conscious in real time of how we’re being pushed and pulled
subconsciously, so as to shimmy back into the dynamic balance of it all?
If
we more closely considered prescient mind and mood effects beyond ego and
rationality like synchronicity, parapraxis, dreams and déjà vu, as
phenomena by which nature and circumstances manipulate us, would they then
become available for synergistic direction in a receptive and mindful
relationship to nature’s holistic being?
I used my life as an artist to explore this idea. In the process I’ve
uncovered the pattern by which to slot ourselves into a dynamic harmony.
The good news is it isn’t difficult to follow. The bad news is, for it to
work; everyone must want to use it. But before I go there, consider those
mind effects:
Déjà
vu is a French term meaning: "already seen". It’s the feeling
you’ve already "seen" the current situation, even though the
exact circumstances of the prior occasion is uncertain and perhaps
imagined. The term was invented in the 19th century by Emile
Boirac for his book: “Le future des Sciences Psychiques” (The Future of
Psychic Sciences). Déjà vu is usually accompanied by a compelling sense of
familiarity and eeriness Sigmund Freud referred to as "the
uncanny". The "previous" experience is most frequently
attributed to a dream, although occasionally there is a firm sense it’s
genuinely happened. The effect suggests we have a psychic connection to a
timeless dimension where consciousness and deeds past, present and future
are part of the fabric of space-time, to be glimpsed through these
dream-like experiences.
Parapraxis is another intuitive mind effect, better known as the Freudian
slip. These errors in speech, memory, or physical action are interpreted as
occurring due to the interference of unconscious conflict or desire. Freud,
in his 1901 book: “The Psychopathology of Everyday Life” described a large
number of such seemingly trivial, bizarre, or nonsensical errors and slips.
As in the study of dreams, he submitted his discussion with the aim of
demonstrating the existence of unconscious "intentions" in the
mentally healthy.
Synchronicity
is an experience all mentally healthy people get from time to time. It
consists of a series of two or more events unrelated causally, but observed
to occur together in a meaningful way. Synchronicity as a concept does not
compete with causality, yet it reveals an underlying framework larger than
all the combined causal systems that display it. The suggestion of this
larger framework is essential to satisfy the definition developed
by Carl Jung, who published the book on synchronicity in 1952.
Following
discussions with Einstein and Pauli, Jung believed there were
parallels between synchronicity, aspects of relativity theory and quantum
mechanics. He was riveted by the idea life was not a series of random
events, but rather the expression of the deeper cosmic order he and Pauli
referred to as Unus Mundus. The concept led to the insight every person is
both embedded in that hidden framework and can become the focus of it when
awakening occurs on the level understood to be spiritual.
In
my extensive experience of synchronicity it always appears relevant to a
question hanging in the mind. Even if it doesn’t provide an outright answer
its influence can offer an “inspired” adjustment in the path toward a
heartfelt goal. This suggests synchronicity equates to creative feedback
with nature in answer to guidance questions, via some unconscious
intelligence through which we’re linked to all the systems of the universe
in real time. Those who think to remain ignorant of the link is the same as
being free of it, are sadly deluded.
I
was brought up as an atheist. My Mom and Dad, respectively French and
English were a quarrelsome pair. Perhaps that’s why I followed Jung’s ideas
from my teen years, through my art school days and beyond, in a subliminal
search for some essence of love I felt had gone missing. At first I was
concerned with Jung’s Anima - Animus concept. Anima describes the inner
feminine side of a man’s character, informing his sense of beauty, love and
justice. Animus is the hostile, reforming, inner masculine side of the
female personality. Perhaps because of my concern with this contrapuntal
nature of humanity, I was basically prepared when an overnight
transformation of consciousness overtook me in my mid-twenties.
It
accompanied the breakdown of a liaison with the esoterically talented and
highly attractive Australian dealer, Rebecca Hossack… well before she
opened her first London art gallery. After a promising beginning, I found
myself rejected in a contradictory way that appeared to have been
psychologically engineered. Synchronicity came into my life in earnest at
that point. Through it I began asking the world questions and weirdly it
answered me straight back. I pursued the dialectic thread, modifying my
path in life so four years in to the process, I arrived at the art
discovery I offer you here.
Pyramid
Art can be seen as evidence for a creative butterfly effect that works
positively in synergy with nature, due to some hidden force of love
embodied in the questions we spontaneously pose and the situations we find
ourselves in. The eminent art historian, Kenneth Clarke, in his magnum
opus: "Civilization," said: "All art is in one way or
another, about the search for God." Well, eureka! I offer graphic,
mathematical proof of the abstract force synonymous with the Collective
Unconscious, a hive mind or Divine Spirit in man. Better still, I’ve found
an easy and fun way to tune-in.
Carl
Jung is considered the first modern psychiatrist to view the human psyche
as "spiritual by nature". He was of the opinion and I quote: “The
decisive question for man is: Is he related to something infinite or not?
That’s the telling question of his life. Only if we know that the thing
which truly matters is the infinite can we avoid fixing our interests upon
futilities, and upon all kinds of goals which are not of real importance.
Thus we demand that the world grant us recognition for qualities which we
regard as personal possessions: our talent or our beauty. The more a man
lays stress on false possessions, and the less sensitivity he has for what
is essential, the less satisfying is his life. He feels limited because he
has limited aims, and the result is envy and jealousy. If we understand and
feel that here in this life we already have a link with the infinite,
desires and attitudes change.”
In
other words, the recognition of the sublime force of beauty and love would
be our balance pole, should we get a firm grasp of it.
Jung considered a psychological balancing of internal opposites including
the conscious with the unconscious, the cathartic process required for a
person to reach full potential in life, through the acquisition of psychic
wholeness. He called that process “individuation”. From my experience it
occurs naturally, tailored to the individual, via the pursuit of
synchronicity as a guiding force. But that knowledge isn’t much use unless
a way to experience it on demand can be found. It motivated me to crack the
problem through the collaborative art I have built for you to take part in;
Papolona.guru. The word is descriptive of a unique kind of butterfly and is
inspired from the Catalan language. I’ll be introducing this project later.
Jung
was of the opinion the concept of free will is unbalanced; I would go
further and say it’s rigged. Even Einstein agreed when he said and I quote:
"The intuitive mind is a sacred gift and the rational mind a faithful
servant, but we've created a society honouring the servant that forgets the
gift”. Such amnesia in my view stems from our failure to develop a relationship
of love with sublime beauty through an everyday working synergy. Instead,
bolstered and befuddled in equal measure by the commercialisation of life
as the yardstick for all value, we have built a mental blockage to the very
thing that could save us from ourselves.
Science
has failed to devise a theory of mind. It also emphasises the value of skepticism
to excuse its failures. This doesn’t change the fact some inflexible
thinking and lack of foresight is responsible for our collective predicament.
Science, Corporations, economic empire and nationhood are all entangled and
responsible for this. When corporations shirk their wider responsibility
and politicians are clueless, constitutionally emasculated and when protest
is inherently ineffectual, it falls to the regular small folk to channel
the higher power in non-violent revolution.
Modern
science has its knickers in such a twist on this higher power issue; it
must have you believe in its ultimate fantasy concept, the Multiverse. The
preposterous doctrine was first proposed by Hugh Everett, back in 1954 in
his graduate thesis, and then summarily bolted on to the scientific cannon
to explain away the Anthropic Principle. This concerns the observed fact
our universe is finely tuned to produce life and reasoning intelligence
like ours. Pyramid Art leverages mathematical evidence to show it
creatively animates and blocks us in every moment.
In
the 50’s the ethically truthful and vehemently godless foundation of
science had remained untested since the age of reason, by virtue of its
evidence based knowledge gathering system. Its status was then challenged
by Fred Hoyle, the Cambridge professor of theoretical astrophysics who
discovered the fusion process, creating carbon within stars, is so finely
tuned and so unlikely, logically it could not be the product of a
universally random organisation principle; the Darwinian basis of our
evolutionary world view. Consequently, carbon based life, such as ours and
indeed, the entire universe, we are forced to conclude, must have been
designed by a timeless, cosmic force Hoyle referred to as: “The
Supercalculating Intellect” i.e. God. The Multiverse was a way for the
establishment, through cosmological science, to double down and trump the
idea it considered so subversive and threatened both the concept of truth
and the authority of the state, developed over centuries through the
hegemony of science, as opposed to religion.
The
adoption of the Multiverse was simply a perverse gamble, motivated by
entrenched atheism and not proven facts because evidence to support the
theory is impossible to acquire. Its dishonesty has put the future of life
on this planet at risk. We have disturbed nature’s balance here because
Hoyle was ignored and scientific innovation accelerated, spiritual brake
disabled and the boot of commercial gas down to the floor. We’re passing
through this uncomfortable landscape now at such ridiculous speed, simply
because our “divine” origin has remained uninvestigated and his
transduction through human creativity remains unconsidered. It's a big
deal. Our world vision has been corrupted. Did someone say: EMERGENCY STOP!
The
multiverse concept apparently defines the limits of human rationality. The
idea imagines ours is just one of an infinite number of universes, whose
laws are determined by chance. Remember, this is a doctrine backed by the
arbiters of scientific truth to maintain, despite evidence to the contrary,
our universe obeys laws set at random and not by a supreme, abstract being.
In other words, the Multiverse concept was adopted to avoid the need to
investigate God in our here and now.
I
followed synchronicity events as signposts to research his abstract
reality. It guided me to assemble a system for pattern making based on an
archaic form of binary code sequence taken from an ancient Chinese book.
The system came into being over a long weekend; starting on the same day
Rebecca Hossack signed the lease on her first London art Gallery at 35
Windmill Street.
Logic
dictates if ours is a randomly arranged universe, a meaningless set of
shapes would have resulted from my system, certainly no graphic revelation
of the creative being at the heart of reality, but this is precisely what
happened.
My
system makes use of numbers to extract the pattern in a way a child can
understand. Conventional wisdom says no such meaning should exist. But
since it does and it’s so clearly messianic and all generated
mathematically, it goes to prove the sovereign force of beauty influences
the human mind all the time and can be tapped-in to through synchronicity.
Mankind needs help from somewhere and since this evidence exists, why not
investigate more closely?
The Pyramid is
derived from the set of eight trigrams and two arrangements of the 64
hexagrams composed of broken and unbroken lines, analogous to the three-bit
and six-bit binary numbers. They come from the world’s oldest, constantly
used book, known as the I Ching. A mere handful of hexagram series have
been bequeathed us from history. One of the series I used is ancient. This
King Wen sequence is also known as the classical sequence because it's the
oldest arrangement to survive. It was designed in the 12th century B.C.
while the monarch was a prisoner, held to ransom. The other sequence I
used is relatively modern, designed by Richard Wilhelm’s son Hellmut, who
liaised with Carl Jung when publishing his father’s seminal work at the end
of the 1940’s.
Wilhelm
senior was the German sinologist, theologian and missionary best remembered
for his translations of philosophical works from Chinese into German and in
turn into other languages. His translation of the I Ching is provided with
a foreword by Carl Jung whose association with the project gave the
translation into English (by Kerry Baynes) the boost responsible for the
1960’s surge of western interest in its philosophy.
The
I Ching is as historically important in the east as the Bible in the west.
My art, through the meaning of symbolism generated, links both to one
timeless force in mankind. The I Ching’s philosophy is based on two
complimentary, universal principles we’ve all heard of: Yin and Yang. They
translate as Creative and Receptive… hence the binary notation, but in
essence the philosophy is monotheistic, referencing the character of a
singular cosmic ancestor we could become receptive to.
In
the 11th century AD, the philosopher Shao Yong developed an arrangement of
the hexagrams corresponding to the binary number sequence 0 to 63, with Yin
as 0 and Yang as 1. There is however, no evidence he understood binary
computation. Similar sets of binary combinations were used in traditional
African divination systems, such as Ifá, as well as in medieval Western
geomancy, so it seems an ancestral, trans-cultural binary anticipation of
modern computation exists.
Gottfried Leibniz, famously the rival of Isaac Newton over credit for the
invention of calculus, single headedly came up with the modern binary
number system in 1679. Leibniz was aware of the I Ching. Chinese
accomplishments in this sort of philosophical mathematics were something he
greatly admired. He also confirmed his code was inspired by Shao
Yong’s. So, without the I Ching, how would we have arrived at today’s
information technology?
The
ultimate goal of computational science is to create a functionally useful
AI (Artificial Intelligence). The Pyramid, as a mathematical systems art
discovery would suggest the creative mind of man couldn’t function without
the influence of a natural AI (Abstract Intelligence). This is the one
thing science is in denial over and man generally unaware of because it has
failed to come up with a theory of mind. As a consequence, how do we know
we are not like zombie worker ants, engaged in building our cities of clay,
directed unconsciously by some mysterious design force?
The
influence of Abstract Intelligence can be inferred from the system and
formula I created by following synchronicity. Decide for your self whether
you should consciously try tune-in.
The
binary sequences used to reveal the symbols: The King Wen and Wilhelm
Index, come from opposite ends of history. The very existence of this
meaning exposes a force influencing man unconsciously through the ages. The
vision humanity is currently in pursuit of does not recognise it.
Something
is timeless if it possesses an ageless, eternal or immortal quality,
unaffected by time. Eternity means existence for a limitless length of
time, but many have used it to refer to a dimension altogether outside
time. The eternal or timeless dimension and intuitive aspects of humanity
such as creativity may be considered the functional product of a central
force of nature operating from beyond time and material reality, able to
work through us simply because of the way the mind works, about which science
knows almost nothing.
Physics has detected a timeless force, which it views as a non-local
phenomena expressed within the interconnected void that exists everywhere
within matter, known as the quantum field. More than 99% of the volume of
matter consists of that vital nothingness. The entire universe, according
to physics, is a quantum phenomenon, which naturally includes life and the
mind.
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Given
its systematic and mathematical structure, the meaning exposed in the
Pyramid suggests a cosmic pattern or plan for each of us exists, within the
timeless dimension. I have shown we can tune ourselves-in to it if we try.
In the process we can crystallise beauty into our lives. In that context
the AZ symbol in the central imagery of the Pyramid, circled in the
point west image above, suggests the abstract source, its goal and the
map to navigate the labyrinth of existence. It’s also an update to the
Biblical Alpha & Omega, beginning and end of the ancient Greek
alphabet. That was the symbolism early Christianity used to represent the
liberator, or messiah. Above the AZ symbol is a butterfly in flight,
referring to metamorphosis, liberation, the butterfly effect and
timeless beauty as a flying entity, a symbol for success; which
by the way, is drawn like a signature, in one continuous line, changing
direction just four times. This alone is a defining graphic indicator of
the cosmic designer.
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I’ve
learned one thing applicable to all walks of life through my artistic
investigations. Beauty is the sublime reality upon which everything is
founded. It isn’t something confined to the mind or its whims and fancies,
but a universal pattern we can consciously recognise, reflecting the
sublime source of being.
Here’s
the crux of my argument: If we learned to see direction through the
pattern, the source would keep us on track and solve this world’s problems
in a dynamic way conventional thinking is incapable of.
Art
is essentially the study and expression, through making perceptions and
concepts that attract, fascinate and beguile us apprehensible. These are
the very things conventional thinking can’t compute. Sublime beauty becomes
visible when we notice those anomalies of consciousness, signs of action
that can only be attributable to a timeless force beyond materiality.
Conventional wisdom on these experiences would have you believe they’re
mirages and delusions whose pursuit is a waste of time and couldn’t
possibly lead anywhere. I view this general attitude as the plodding kind
of laziness tripping us off our high wire. It means the most important and
valuable faculty we need to engage now remains undeveloped. The balance
pole to regain our poise and move forward with nature remains out of reach.
Pyramid
Art came out of my trust in Carl Jung’s vision, because it instinctively
rang true to me. But his ideas have more or less been sidelined in
mainstream psychology because of his focus on spiritual experience
“reasonable” thinking has all but rejected as delusional. The area has thus
been left for the artist and poet to explore. For all who would wish to
engage themselves in a revolutionary re-opening of this spiritual subject,
be they practiced artists or no, I’ve created a systems art project to
join. Evidence for synergy can then be gathered and used to build
confidence in the concept, because that’s what’s needed to snowball a
movement.
The
way I see it, only the heightened perception of sublime beauty can wake
civilization from the current, somnambulant state. In its most profound
sense, our experience of beauty engenders positive reflection about the
meaning of existence. Without such meaning, we’re asleep at the wheel,
insouciantly running out of road.
Civilization
has failed to establish the framework for the perception of the vital
aspect of nature’s foundation of value, meaning and purpose. It has pretty
much left the territory vacant, with the mantra: “Beauty’s in the eye of
the beholder”... forgetting to mention, it’s actually the most precious
foundation of the universe, life and everything.
Our
poor conception of beauty has forced the Anthropic Abstract to manipulate
rather than partner us. The missing framework humanity needs to turn the
ignominious situation around is here ready to be swallowed whole, analogous
to the red pill that transforms Neo into the hero of the Matrix movies.
The
idea of the human potential for conscious unity with nature has ancient
roots, but in the 20th century it resurfaced in the concept of holism. This
led to systems thinking and its derivatives, Chaos and Complexity science,
highlighting our technical recognition of a transcendent beauty. Mankind’s
problem is he’s yet to realise we’ll never be in control because we’re
hypnotised by the construct we call rationality to the exclusion of beauty
in all but the decorative.
To
accept nature as partner there’s got to be more than a technical
understanding. Each of us should experience synergy in our day to day…
because we can. I have shown, through my art, following synchronicity is
the way forward, but to receive such guidance requires we tune ourselves-in
and experience it on demand.
At
one point, I concluded there can be but one mechanism in operation. I
confirmed this through my personal experiment and have built an interface,
using a remote physics lab connected to the quantum field. Through it, with
a little practice, synchronicity will speak to you. What I’m seeking to do,
because this all goes beyond conventional limits, is initiate the global
up-take of synergy with nature via a communal work of systems art. All contributors
need do to become co-artists is ask questions, learn to read answers and
make them comprehensible to others. Contributors will attain star status,
depending on how deeply they apply themselves to this art within the spirit
of the experiment. In that sense it’s competitive, but always towards the
collaborative end.
Connection
with sublime beauty would appear to be achievable simply via contemplation
of the Pyramid because it’s essentially his language and cannot be human,
not in the way we currently understand ourselves. I view it as something
with the power to synch mankind into the dimension beyond materiality, the
place we go to in death.
The
quantum field is the only place science has discovered a timeless dimension
via its experiments into quantum entanglement. The psychoactive effect of
that dimension was identified in the process. Do you accept that the
unconscious provides experiences you have little if any control over, that
are part of your personal essence? Weirdly some hidden collective source
seems to have us hypnotised.
Joining
my art experiment as a co-artist you’ll be in the position to wake yourself
up from the trance. It takes as its working assumption that “spiritual”
manipulation by nature must be due to the mind’s hidden connection to
sublime beauty via the quantum field... the void within atoms that actually
creates space-time.
If
the quantum field is the Anthropic, abstract source and has control, then
developing our intuition to read meaning into clues the quantum field can
be forced to provide on demand, will produce a feedback loop so as to
amplify the influence in a butterfly effect by which behaviour becomes
modified. That’s the theory.
http://www.papolona.guru
generates strings of clue characters when you call for them to answer a
question posed. As you recognise meaning in the quantum character strings,
you’re asked to define it in a way that’s accessible to others, because the
central idea here is to share one, some or all your readings as evidence
for your feedback and synergy claims. This is a generic example of a clue
string interpretation, given as a screenshot:
The
Papolona interface is a one purpose social network that creates a
collective artwork anyone can contribute to. No artistic skill is needed to
participate. A robot builds the butterfly emblems (Papolona) for each
reading. All you do is choose one. These modular elements become part of
our growing collection, which you can play with and print out however you
choose.
Published
readings you consider too personal can be hidden. You can explore
co-artists readings via the Papolona Universe, but only once you’ve
revealed one of your own. The goal is to achieve and claim conscious
synergy with beauty at the quantum level. Co-artists voluntarily expose their
synergy relationship to attract others to the project so our balance pole
can grow.
As
you join up, compose a question seeking guidance on something you care
about. I will get back to you and perform a demo reading for your
question. You can then use it as a template to create your future readings
and experience the sensation of tuning-in to timelessness. I guarantee the
effect will spill over into real life.
Editor’s Note: The author of this
paper invites interested parties to contact him regarding possible
collaboration, commissions, and the exchange of ideas: markdolamore@yahoo.co.uk
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